Maxim Vengerov

Universally hailed as one of the world’s finest musicians, and often referred to as the greatest living string player in the world today, Grammy award winner Maxim Vengerov also enjoys international acclaim as a conductor and is one of the most in-demand soloists in all of classical music.

Born in 1974, he began his career as a solo violinist at the age of 5, won the Wieniawski and Carl Flesch international competitions at ages 10 and 15 respectively, studied with Galina Tourchaninova and Zakhar Bron, made his first recording at the age of 10, and went on to record extensively for high-profile labels including Melodia, Teldec and EMI, earning among others, Grammy and Gramophone artist of the year awards.

Tireless in his search for new means of creative expression, Maxim Vengerov has let himself be inspired by many different styles of music, including baroque, jazz and rock and in 2007 followed in the footsteps of his mentors, the late Mstislav Rostropovich and Daniel Barenboim and turned his attention to conducting. Mr Vengerov has since conducted major orchestras around the world including the Montreal and Toronto Symphony Orchestras, and in 2010 was appointed the first chief conductor of the Gstaad Festival Orchestra. He went on to further his studies with Yuri Simonov, an exponent of the Russian-German conducting school, and graduated as a conductor with a diploma of excellence from the Moscow Institute of Ippolitov-Ivanov in June 2014. He has since enrolled in a further 2-year program of opera conducting and will be conducting his first performance of Eugene Onegin in Moscow in December 2017.

Critical Acclaim

  • Maxim Vengerov opens the season of the Melbourne Symphony Orchestra

    “Vengerov entered into his work with complete absorption, so familiar with the work’s processes that he merged into the action with sterling fluency, articulating needlepoint rapid high passages in immaculate articulation, accounting for the first movement cadenza with a dramatic flair to equal David Oistrakh or Leonid Kogan, whooping through the finale’s interludes. In all, offering a first-class and seemingly effortless interpretation of warmth and benign passion.”

    – The Age, 01 Mar 2017

    “Rarely has a Melbourne audience responded so warmly to a violinist; people knew they had just heard the greatest virtuoso of our day…All of Vengerov’s strengths [...] - Read more

  • Violinists: the incredible Maxim Vengerov has this advice, just for you

    Classic FM, September 22 2016

  • Classical music superstars Alondra de la Parra & Maxim Vengerov join Queensland Symphony Orchestra

    The Courier Mail, February 22 2017

  • Maxim Vengerov opens the season of the Sydney Symphony Orchestra

    “Maxim Vengerov is one of the greatest violin virtuosos of our timeHis artistry was so complete that one was left awestruck…Most soloists perform Joseph Joachim’s cadenza in the first movement. Not Vengerov. He has composed his own cadenza. Cleverly constructed from the concerto’s themes, it was a staggering display of almost superhuman virtuosity, replete with extended sequences of trills, high harmonics, double & multiple-stopping & intricate, rapid-fire passagework. It took one’s breath away.”

    The Australian, 20 Feb 2017

    “A magnetic artist, he is a true poet of the violin…rock-solid technique & pinpoint intonation allied to a [...] - Read more

  • Maxim Vengerov, Long Yu & The Philharmonia – Chinese NY concert

    “Maxim Vengerov performed the solo role with verve and tenderness, deserving well the tremendous applause he received.”

    MusicOMH, 12 February 2017

  • Olga Borodina on tour with Gergiev & Mariinsky Orchestra

    Verdi’s Requiem – Euskalduna Concert Hall (Bilbao)

    “Elle a conquis le monde entier, avec des incarnations mémorables. Elle ne cède pourtant pas à la tentation de l’opéra et honore le Requiem verdien d’une dimension indéniablement sacrée.”

    She has conquered the whole world, with memorable incarnations. She does not, however, yield to the temptation of the opera and honors the Verdian Requiem with an undeniably sacred dimension.”

    – Anaclase.com, 23 Jan 2017

  • Un Maître sur la scène du Rosey

    La Côte, January 30 2017

  • Maxim Vengerov in recital at the Philharmonie de Paris

    “Face à tant de talent et d’excellence, et ce quel que soit le répertoire abordé, on est obligé d’admettre que Maxim Vengerov est sans conteste l’un des violonistes les plus brillants de notre époque.”

    Faced with so much talent and excellence, and whatever the repertoire is, we must admit that Maxim Vengerov is undoubtedly one of the most brilliant violinists of our time.”

    Classiquenews.com, 18 January 2017

  • Maxim Vengerov rehearses Sibelius Violin Concerto with Orchestre de Paris

    The Strad, December 7 2016

  • Maxim Vengerov performs & conducts Tchaikovsky with the QSO

    “***** A marvellously realised interpretation of Tchaikovsky’s Violin Concerto and Sixth Symphony…This was thrilling, passionate music at its best, played by a master”

    Limelight Magazine, 01 Dec 2016

    “…he is the real deal, a genuine superstar who can deliver the goods on any stage you care to mention.”

    Scenestr, 13 Dec 2016

  • Maxim Vengerov performs & conducts at the Theatre of San Carlo

    “Vengerov ha avuto l’attenzione e l’Orchestra del Teatro di San Carlo tutte per sé in una interpretazione molto “romantica” della Sinfonia n.3 “Scozzese” di Mendelssohn; va detto, altresì, che l’ampiezza delle dinamiche imposte e la fraseologia tutta con ritenuti, rallentando ed enfasi, ha preservato l’intelligibilità delle forme sinfoniche del brano, che ha riscosso grande successo sul pubblico in sala.”

    Vengerov had the full attention of the Orchestra of the Theatre of San Carlo all for himself in a very romantic interpretation of Mendelssohn’s 3rd Symphony (Scottish); furthermore it has to be said that the dynamic range imposed and the [...] - Read more

  • Violinist Maxim Vengerov appointed visiting professor at London’s Royal College of Music

    The Strad, September 5 2017

  • Album review: Berlioz Romeo & Juliette LSO0762

    Olga Borodina and Kenneth Tarver are in their brief performances flawless”

    Pizzicato Magazine, 13 Aug 2016

    ” **** His [Gergiev] orchestra and chorus has been seasoned with Berlioz under Sir Colin Davis, with two familiar soloists, the rich toned Olga Borodina and Kenneth Tarver, who once again delivers Mercutio’s Queen Mab fantasy with elegant fluency and dash.”

    – BBC Music Magazine, Sep 2016

  • Maxim Vengerov in recital at Edinburgh Festival

    “***** No matter if it’s for his flawless artistry or breathtaking virtuosity, violinist Maxim Vengerov is rightly hailed as one of the world’s great players”

    The Scotsman, 12 Aug 2016

    “Their virtuosity and magnetic stage presence coupled with their rich, lustrous sound swiftly captivated the audience…Vengerov’s expert artistry was further displayed with lush double stopping and almost microscopic ornamentation in Beethoven’s Sonata in C minor Op 30 No 2…A stunning performer, Vengerov displayed the full extent of his technical ability with Ernst’s Polyphonic Etude No 6, The Last Rose of Summer”

     – Herald Scotland, 11 Aug 2016[...] - Read more

  • Olga Borodina @ First Night of the BBC Proms

    “Prokofiev’s Alexander Nevsky cantata…a refined intervention from Olga Borodina in the ‘Field of the Dead’ section; this Russian mezzo’s artistry allowed her to weave exquisite arabesques around the choral theme.”

    The Independent, 18 Jul 2016

    “Highlight of the FIRST NIGHT BBC Proms was the majestic Olga Borodina entering through the BBC Symphony Orchestra to survey the battlefield dead. That sound.”

    Edward Seckerson, 15 Jul 2016

    “Olga Borodina provided velvety Russian tone in a heartfelt lament over the bodies on the battlefield”

    Guardian, 16 Jul 2016

    “Olga Borodina’s noble performance acknowledged the hollow tragedy of war”

    Artsdesk, [...] - Read more

  • Maxim Vengerov featured in Classic FM’s ’25 greatest violinists of all time’

    Classic FM, July 1 2016

  • Maxim Vengerov in concert with The Oxford Philharmonic, Barbican Centre London

    On Vengerov’s performance of Sibelius’s original violin concerto (1904 version), “Vengerov offered his wonderful virtuosity…he had to work extremely hard to meet the almost impossible challenges set down by Sibelius, and he rose to the occasion in splendid fashion”

    On Vengerov conducting, “Vengerov may well be following in Mravinsky’s Leningrad footsteps.”

    – Edward Clark, Classical Source, 07 June 2016

  • Olga Borodina @ the Mariinsky Theatre

    A selection of reviews from performances with the Mariinsky Theatre:

    “Borodina sang brilliantly and together with Gergiev’s equally melodious and gentle orchestra she formed a magnificent duet. Borodina performed naturally, in her own manner… the image emerged from her sense of confidence, her irresistible nature and her sense of power…”

    – Kultura

    “Saint-Saëns’ heroine requires special qualities of timbre and the ability to change the ‘temperature’ of the singing in an instant – from passionate heat to icy cunning. Borodina has all of this, the nobleness and purity of her voice sometimes making those who listen to her Dalila to [...] - Read more

  • Maxim Vengerov in concert with the Orchestre Philharmonique de Monte Carlo

    “Thousands cheered the return of Maxim Vengerov…One of the greatest violinists of our time”
    – Monaco-matin, 09 May 2016

  • Maxim Vengerov plays the ‘Schneiderhan’ Stradivarius violin – 1st prize for the Menuhin Competition 2016

    The Strad, March 15 2016

  • Maxim Vengerov – European recital tour

    “***** Maxim Vengerov et Roustem Saïtkoulov au sommet de la musicalité à Genève…La belle musicalité des solistes et le romantisme effleuré furent plus que touchants : un grand frisson parcourut certainement l’audience par ce supplément d’âme russe qu’ils offrirent à un public conquis.”

    – Thomas Muller, Bachtrack, 01 Mar 2016

    “Maxim Vengerov envoûtant”

    – Julian Sykes, Le Temps, 01 Mar 2016

     

  • Maxim Vengerov – Australian Tour

    ***** It is as if Vengerov has taken each note and taken it as close to perfection as is humanly possible, before putting it all together in a dazzling wholethe consistently creamy tone, the faultless intonation, and the way he finds the music in the virtuosic madness is what makes his playing so inspiring.” 

    – Harriet Cunningham, Sydney Morning Herald, 12 Dec 2015

    “ ***** Vengerov justifies the hype that sees him placed as the finest before the public today…There was nothing to fault, for here was a recital which must immediately rank not only [...] - Read more

  • I was 4 yrs & 8 months when I first picked up the violin…

    Hear more from Fine Music FM’s live interview with Maxim Vengerov

    Fine Music FM, November 18 2015

  • Maxim Vengerov in recital at the Teatro Del Lago, Chile

    “El sonido del famoso violinista ruso es magnético: su afinación en esta pieza (Bach) es perfecta, y el fraseo reflexivo, con un control del volumen exquisito, invita al enorme desafío emocional e intelectual que supone escuchar el monumental bachiano.”

    “The sound of the famous Russian violinist is magnetic: his tuning in this piece (Bach) is perfect, and the thoughtful phrasing, with an exquisite volume control, makes the enormous emotional and intellectual challenge of listening to Bach, monumental.”

    – El Mercurio, 16 November 2015

    “Sin duda el es un virtuoso del violín, de un despliegue técnico insuperable, que estruja y recorre [...] - Read more

  • Maxim Vengerov and The Munich Philharmonic

    “Hinreißend schmachten”

     – Süddeutsche Zeitung, 1 November 2015

    “Voller Saft und Kraft”

     – Münchner Merkur, 2 November 2015

    “Satter Sound”

    Tageszeitung, 2 November 2015

  • Maxim Vengerov: ‘Playing an instrument should never become routine’

    The Strad, October 16 2015

  • Olga Borodina & the season opener of The Munich Philharmonic

    “Olga Borodina mezzosoprano supported this … with her clear, pure timbre and her dark and full lower register, an excellent base for her high notes. Developing from pianissimo to a full, rich and luminous sound.”

     – Bachtrack, 19 Sep 2015

  • Maxim Vengerov in concert with the Oxford Phil’, performs Sibelius’s violin concerto (1904 version) & conducts Berlioz’s Symphonie Fantastique

    “The Adagio breathed conviction as Vengerov’s dark tone sang soulfully through the peaks and troughs until the erotic charge of the second big climax…His up-bow staccato double stops, treble stops, perfectly forged thirds, jumping octaves and harmonics were a series of forces to be reckoned with. The movement had a white-hot energy, an unstoppable momentum”

    Vengerov conducting:

    “…the pastoral scene, in the hands of Vengerov, shimmering, like an impressionist painting, with sunshine and warmth…There were delicious moments, and a real edge-of-your-seat excitement as Vengerov whipped the orchestra into a frenzied and terrifying conclusion.”

    Musicografo, Vol. vi, i, [...] - Read more

  • Maxim Vengerov in concert at the National Concert Hall, Dublin with RTE National Symphony Orchestra

    “…[Vengerov] plays with sparkling panache and his unassailable technique is combined with deeply rooted musical feeling…Despite all that Vengerov ensures the romantic heart of the music is constantly beating…”

    The Independent, 11th May 2015

  • Maxim Vengerov in recital at the Festival de Pâques, Aix en Provence

    “…il pourrait jouer n’importe quel morceau de bois et en tirer des miracles dimanche 5 avril, au Festival de Pâques d’Aix-en-Provence, Maxim ‘Maximus’ Vengerov (40 ans) a prouvé qu’il est de nouveau le ‘meilleur violoniste du monde'”

    ” …he could play any piece of wood and draw miracles, Sunday 5 April at the Easter Festival of Aix-en-Provence, Maxim ‘Maximus’ Vengerov (40) proved that he is again the ‘best violinist in the world'”

    Le Monde, 6th April 2015

    “Maxim Vengerov, empereur de l’archet à Aix-en-Provence…Au sommet de son art, le violoniste a donné un récital éblouissant”

    “Maxim Vengerov, emperor [...] - Read more

  • Maxim Vengerov on tour with Orchestre Philharmonique de Radio France & Myung-whun Chung

    “Russlands Stargeiger Maxim Vengerov mit alter Kraft zurück…Welcher lebende Weltklassegeiger kann von sich behaupten, einen ähnlich voluminösen, durchdringenden Ton erzeugen zu können? Einen Ton, der selbst in höchsten Höhen noch saftig und kraftgeladen klingt?

    “Russia’s star violinist Maxim Vengerov back with old power…Which living world class violinist can claim to be able to produce a similarly voluminous, piercing sound? A sound that even in the highest notes still sounds juicy and full of power”

     – Berliner Morgenpost, 28 March 2015

  • Maxim Vengerov and the Istanbul State Symphony Orchestra, Istanbul

    “Vengerov ilahi sesler çikariyordu kemandan…”

    “The sound Vengerov made with violin was divine…”

    – Hincal Uluç, sabah.com, 17 March, 2015

  • Olga Borodina & Orchestre National de France conducted by Gianandrea Noseda

    “Le grand mezzo-soprano russe Olga Borodina gagne la scène de l’Auditorium”

    anaclase.com,  07 Mar 2015

  • Maxim Vengerov & NY Phil at Avery Fisher Hall, N.Y

    “He received a hero’s welcome. There were bravos and smattered applause between movements and a protracted ovation at the end of the piece. Isolated whoops of the weak-kneed kind usually reserved for rock stars greeted his announcement of an encore…[Overall] Mr. Vengerov delivered an engrossing account of the Tchaikovsky, enlivened by the glossy, warm sound of his 1727 Ex-Kreutzer Stradivarius.”

    nytimes.com, January 23, 2015

  • Olga Borodina returns to the Metropolitan Opera

    “Mezzo soprano Olga Borodina, as jealous princess Amneris, was the most exciting performer in the current cast of the Met’s Aida. Borodina, with her lush tone and commanding dramatic presence, was not only my favorite performer during Thursday’s performance…Especially exquisite was Borodina’s performance of the Act IV duet “Già i sacerdoti adunansi” (Already the priests assemble), since her mellow mezzo-soprano blended perfectly with the clarinet obbligato. Borodina was arresting in her Act II scene, “Fu la sorte dell’armi a’ tuoi funesta”(The battle’s fate was fatal for your people), when she confronts Aida, her slave, about her relationship with Radamès, [...] - Read more

  • Maxim Vengerov opens the season of the Orchestre de Paris with Paavo Järvi

    ‘Vengerov, Khatchatrian : violin dingues’

    LeFigaro.fr, September 15, 2014

     ‘Dix minutes de kitch succulent, ovation de la salle’

    Musikzen.fr, September 12, 2014

    ‘Concerto en ré majeur de Brahms brille de tous ses feux sous l’archet impérial de Maxim Vengerov qui n’a rien perdu de son art souverain.’

    Concert Classic.com, September 10, 2014

    ‘Vengerov … fait ici merveille.. c’est bouleversant.’

    – toutelaculture.com,  September 12, 2014

  • Maxim Vengerov at 40: Ten facts about the great violinist

    Classic FM, August 2014

  • Classical music stars shine in new season at Saffron Hall

    Herts & Essex Observer, September 4 2014

  • Album review: Sergei Prokofiev Ivan the Terrible

    “Un velours indicible caractérise le phrasé d’Olga Borodina, dans l’enveloppante mélopée de l’Océan (n°3 et n°6) comme dans la suavité vitriolée de la berceuse (n°15).”

     – Anaclase.com, Aug 2014

    “Recording of the Month…Track 6 Many Years! features the strong and expressive voice of mezzo-soprano Olga Borodina…and I relished Borodina’s voice in track 15 Song of the Beaver”

     – Musicweb-international.com, Aug 2014

  • Masterclass in Brazil: ‘Solista russo toca para jovens da Maré’

    Globo TV, August 29 2014

  • Doing Double Duty – Violinist & conductor Maxim Vengerov brings his festival to Israel

    Jerusalem Post, August 27 2014

  • Maxim Vengerov to perform for Musica Viva

    Yahoo.com, August 26 2014

  • Russian violinist Maxim Vengerov & Musica Viva favourites line up for the 2015 season

    The Sydney Morning Herald, August 25 2014

  • Leading Russian violinist key drawcard in Musica Viva’s 2015 season

    Artshub, August 25 2014

  • Festival Maxim Vengerov de Tokio a Israel

    Aurora- Israel, August 21 2014

  • I’ve found the greatest living violinist: he’s from Siberia & he turns 40 this week

    Classic FM, August 19 2014

  • Album review: Maxim Vengerov – Complete Recordings

    Vengerovs himmlische Ruhe und Gelassenheit

    – Deutschlandfunk, June 22, 2014

     

     

  • Double Acts: Mstislav Rostropovich & Maxim Vengerov

    The Strad, May 20 2014

  • Maxim Vengerov and Oxford Philomusica at Bridgewater Hall

    “Vengerov’s agents may have to add to his label of ‘world’s greatest violinist’ the subtitle ‘and one of its best conductors.'”

    — Manchester Evening News, May 2, 2014

     

  • Olga Borodina and the Slovak Philharmonic Orchestra at the Royal Opera House Muscat

    “The Russian mezzo-soprano dazzled the ROHM audience with her multi-layered, emotional voice.”

    — Times of Oman, 04 Mar 2014

  • Maxim Vengerov and the BBCSO at the Barbican

    “Dexterously grabbing his strategically-placed Kreutzer Stradivarius and twirling around to face the audience, he weaved melodic lines effortlessly, like some mesmerizing snake charmer…Conducting without a score, and sometimes without a baton, Vengerov set his interpretative seal on the work. It was a clean and powerful account, dominated by an intelligent focus which yielded beautiful, often spectacular, results…As a violinist, Vengerov undoubtedly reigns supreme. After this concert, there can be little doubt that as a conductor too, he can make his mark.”

    Bachtrack.com, 3 Mar 2014

  • Maxim Vengerov and the London Symphony Orchestra at the Barbican

    “The sheer technical mastery undiminished.”

    — The Arts Desk, February 3, 2014

    “The LSO then provided sensitive, poised accompaniment to Maxim Vengerov, soloist in Britten’s Violin Concerto. Vengerov first played and recorded this work early in his career. He tackles its technical horrors with absolute command and ease. It was a thrilling performance.”

    — The Guardian, February 8, 2014

     

  • BBC Radio 4: Front Row, live Interview

    Listen here from 15:37, January 14 2014

  • Recital with Itamar Golan, the Barbican Centre

    “The Russian-born violinist’s entire programme breathed distinction, from the rich main course to the delightful sweetmeats.”

    –  The Guardian, January 12, 2014

    “The encores to the encores could have gone on all night. How nice to report that among fiddlers Maxim Vengerov, now 39, once again reigns supreme.”

    –  The Independent, January 13, 2014

    “The recital given on Friday by Vengerov…was the stuff of legends.”

     – The Times, January 13, 2014

    “Jaw-dropping virtuosity”

    –  The Evening Standard, January 13, 2014

    “Cool, precise, concentrated, Vengerov brought to it a technical elegance that the sonata can rarely enjoy….a very generous introduction [...] - Read more

  • Sheldonian Theatre Recital, Oxford

    “Vengerov and Papadopoulos, in their perceived empathy, held the audience spellbound in their evocation of just such a feeling of primordial innocence and pastoral serenity.… In Vengerov’s speech made prior to his encore, he thanked, among others, the audience for providing him with ‘the joy of making music in the legendary Sheldonian.’ The standing ovation confirmed that the joy was all ours.”

    Bachtrack, December 2, 2013

  • Maxim Vengerov and the Polish Chamber Orchestra at the Barbican

    “This was very much a showcase for Vengerov’s supernatural command of the violin, his technique never less than faultless, his golden tone consistently sweet and mellifluous, even in the chattering brilliance of Tchaikovsky’s Valse-Scherzo.

    The GuardianNovember 23, 2013

  • Maxim Vengerov: new & turbo-charged

    Interview with The Telegraph, November 16 2013

  • Maxim Vengerov on tour in Germany

    “Außerst selten  erlebt  man  eine solche vollständig ins Musikalische integrierte souveräne Virtuositat”

    Berliner Zeitung, November 11, 2013

    “Beiden beiden Saint-Saens-Zugaben kehrte er den Teufelsgeiger heraus…Da dachte man unwillkürlich an Paganini”

    Generalanzeiger Koln/Bonn, November 15, 2013

     “Reines Hörglück mit Mozart….”

    Kölnischer Stadtanzeiger, November 2013

    “Da denkt man an Paganini”

    Kölnische Rundschau, November 15, 2013

     

  • La Damnation de Faust, London Symphony Orchestra

    “Seule Olga Borodina (Marguerite), avec un Air du Roi de Thulé magnifié par le registre grave exceptionnel de sa voix, a véritablement enchanté le public.”

    –  ResMusica, 06 Nov 2013

    “Olga Borodina’s Marguerite was formidable…”

     – The Telegraph, 06 Nov 2013

    “As fine a team of representatives as Berlioz could want…Borodina and Tarver sang with equisite beauty and heaps of charisma.”

    Bachtrack06 Nov 2013

  • Vengerov, Rencontres inédites, Verbier

    “Beyond his famously rich tone, Vengerov… has that great quality of violinists of old, playing beyond idiomatically, making the music come to him without ever making it seem unnatural.”

    BachtrackAugust 1, 2013

  • Vengerov, Chicago Symphony Orchestra, Ravinia Festival

    “Vengerov sang the cantilena of the first movement with a piercing sweetness that carried over into Conlon’s caring accompaniment. The ebb and flow of the melodic trajectory brought a rubato that always felt natural, rather than applied. Fingers and bow moving at a seemingly impossible speed, he gave the Prokofiev-like Vivace a propulsive drive that was tremendously exciting: You half-expected the instrument, presumably his 1727 “ex-Kreutzer” Stradivarius, to burst into flame.… Given performances as vital as this, Britten’s shamefully neglected concerto will not languish in obscurity much longer.”

    John von Rhein, Chicago Tribune, July 18, 2013

  • Chicago Sun-Times

    “There are many discussions of the impetus of and possible meaning of this often moody work. Vengerov went straight to the music and made this entirely a tale of harmony, melody and structure.”

    Andrew Ratner, Chicago Sun-Times, July 18, 2013

  • Classical Review

    “Vengerov was clearly in synch with this enigmatic work, bringing incisive virtuosity to the bursts of spiky agitation and terraced dynamics to the more introspective pages. The soloist underlined the Shostakovich influence in the cadenzas and conveyed the searching expression of the concluding Passacaglia, finding a degree of solace in the bleakly hushed coda.”

    Lawrence A. Johnson, The Classical ReviewJuly 18, 2013

  • Olga Borodina performs at New Mariinsky Theatre Gala

    “A melting, genuinely seductive performance of ‘Mon coeur s’ouvre à ta voix’”

    New York Times, 03 May 2013

    “Among the highlights of the evening was Olga Borodina singing an aria from Samson & Dalila”

    The Telegraph, 03 May 2013

    “Olga Borodina walks away with the vocal honours for her voluptuous Dalila”

    Presto Classical, May 2013

  • Vengerov, Oxford Philomusica, Sheldonian Theatre

    ?????

    “From heart-rending melancholy towards the end of the first movement to the playfulness of the second, Vengerov took the audience on an unrelenting emotional journey. His interpretation was full of freshness and curiosity, bringing out bluesy elements in the Largamente with a barely veiled smile. Even the most repetitive ostinato figures were colourful and engaging, and the blistering passagework of the second movement seemed almost melodic.”

    -Katy Wright, Bachtrack, April 10 2013

     

  • Vengerov, Golan, Barbican Hall

    “It is impossible to scientifically describe what makes a repeated phrase on paper sound like a call and response. Not louder or quieter, just different: a play of light and shade. It is details like these that separate living and breathing music from technical efficiency, and mark out Vengerov as a master.”

     Kimon Daltas, The Arts Desk,  February 21, 2013

  • Recital at Wigmore Hall, February 2013

    Maxim Vengerov, Itamar Golan, Barbican, London ?????

    – The Independent

  • La Damnation de Faust, Orchestre National du Capitole de Toulouse

    “Sa “Ballade du roi de Thulé” et surtout son “D’amour l’ardente flamme” furent un monument chaleureusement ovationné par la salle.”

    –  Le Monde, 13 Feb 2013

    “Olga Borodina est une Marguerite somptueuse de timbre et de raffinement vocal. Dans ses deux airs, la mezzo-soprano russe fait entendre d’exquises inflexions et couleurs. Ses deux airs sont sublimes d’émotion retenue…”

     – La Dépêche, 12 Feb 2013

  • Album review: Bach & Beethoven at Wigmore Hall

    “His sell-out return to Wigmore Hall in April last year was as thrilling as everyone hoped. The evidence is here: opening with Bach’s Partita No 2 in D minor for solo violin, the Soviet-born musician combines impeccable technique with a golden, powerful tone, muscular and sturdy but lithe too, without excessive ornament. He and Itamar Golan are fearless and impetuous in Beethoven’s “Kreutzer” Sonata in A major Op 47, but always in control. Encores by Wieniawski and Brahms, full of technical wizardry, give a sense of the feverish mood of this triumphant comeback.”

    The Guardian, February 2, 2013

  • Schön schrecklich: Tugan Sokhiev dirigiert Prokofjew beim DSO

    “Olga Borodina beeindruckt mit ihrer einzigartigen Stimme, die direkt aus dem Erdinnern aufzusteigen scheint….”

    – Der Tagesspiegel, 14 Jan 2013

  • Conducting, Competitions & Returning to the Violin

    Interview with Violinist.com, January 9 2013

     

  • TheaterJones

    “Vocally, she is a powerhouse; able to sing the highest notes with muscle and she popped out some almost bartitoneish low notes. Almost more importantly, she created a complex character out of a role that is all too often sung as a caricature of the spoiled brat who is used to getting everything she wants. This was a love triangle that she intended to win.”

    TheaterJones,  December 20, 2012

  • Olga Borodina in Met Opera’s ‘Aida’

    “…the combined fervor of Olga Borodina as Amneris and Fabio Luisi at the helm of a fired-up orchestra nevertheless made for an electrically charged and energetic performance… Ms. Borodina’s Amneris was impassioned, volatile… Her astonishingly powerful, almost masculine low notes seem to come out of an instrument different from that of the rest of her range… her singing became more refined and interior as the evening wore on, and her final plea for peace was heart wrenching.”

    New York Times, 25 Nov 2012

  • Latinos Post

    “Olga Borodina brought a complex portrayal to the Egyptian Princess Amneris… the mezzo soprano is asked to descend into the lower end of her voice. Borodina used this to her advantage and sang the phrase with a startling potent sound… the purity of her vocal delivery proved a major turning point for her portrayal of Amneris as it showcased the dignity of the character in a brief but touching moment… Her final “Pace, t’imploro” at the end of the opera was sung with an ethereal pianissimo that brought Amneris’ tragedy to a sorrowful conclusion.”

    Latinos Post, November 24, 2012[...] - Read more

  • Bachtrack

    “[Maxim Vengerov] played with solid bowing technique and panache. His pianissimo was hair-raising, such as in the second-subject material of the first movement, and it appealed more effectively than the grandeur of his fortissimo… his tone projection was never dull or short of lustre… his voicing and richness in colours provided shades of acoustic joy… In a piece like this, a seasoned violinist as Maxim Vengerov can demonstrate vividly how the violin is an effective narrative tool… Vengerov the conductor, who led the TSO without a score, was not only sensitive to orchestral nuances: he also maintained form in the [...] - Read more

  • Olga Borodina performs at Richard Tucker Gala, Lincoln Center

    “It was wonderful to hear the baritone Dmitri Hvorostovsky… and the mezzo-soprano Olga Borodina bringing their vocal and stylistic authority to a duet from ‘The Tsar’s Bride.'”

    New York Times, 12 Nov 2012

  • Olga Borodina performs Verdi’s Requiem with Gergiev & Mariinsky Theatre

    “Borodina herself gave a magnificent performance that showed us the range of a fantastic instrument in the hands of a true artist. Her use of dynamics in the sculpting of her phrases deserves special mention, as does her fantastic use of her secure lower range.”

    MusicalCriticism, 10 Apr 2012

  • Olga Borodina in recital, Barbican Hall London

    Borodina’s ample mezzo was all present and correct from the start, able to encompass a wide range of colour and dynamics without ever showing signs of stress under pressure or flecks on the surface. In terms of tone and imaginatively varied use of her instrument, she was nigh-on impeccable…

    She brought a sensuous allure to Borodin’s The Sea Princess and a delicacy to Cui’s The Fountain Statue at Tsarskoye Selo that revealed what subtle effects her substantial instrument could deliver.

    The Guardian, 09 Oct 2011

  • TheArtsDeck

    “…her classy, naturally inflected and beautifully coloured realisation of great as well as more generic native poets leaves you in no doubt what you’re supposed to feel and think… That dark voice in a thousand, capable of the kind of fruity lower register unique to Russians, is still supremely malleable…No doubt about it, this woman holds on magisterially to her title as Russian queen mezzo.”

    TheArtsDeck, October 7, 2011

  • Moscow Times

    Sparks fly when opera stars Ildar Abdrazakov and Olga Borodina share the stage (interview)

    Moscow Times

  • The Telegraph

    ‘I try not to act like a spoilt diva’

    The Telegraph

  • Opera News

    ‘Olga Borodina projects melting intensity at any tempo’

    Opera News

  • New York Times

    ‘A Russian at home away from home’

    New York Times

  • London Times

    ‘A mezzo with Russia in her soul’

    London Times

  • San Fransisco Chronicle

    ‘Borodina ravishing in ‘Samson”

    San Fransisco Chronicle

  • The Guardian

    ‘Borodina has one of the most glorious voices of our time’

    The Guardian

  • New York Times

    ‘You don’t have to be Italian to play l’Italiana’

    New York Times

  • Financial Times

    ‘This is one of the exceptional voices of today’

    Financial Times

  • Kritik

    ‘Von Klangmassen überwältigt’

    Kritik

  • New York Times

    ‘With her mocha-flavored voice — rich and dark, and yet full of expressive fluctuation within that range — she had given full evidence of Carmen’s sensuality and pride from the first-act ”Habanera” onward.’

    New York Times

  • New York Times

    Metropolitan Opera – Verdi Requiem 18 Sep 2008:

    ‘For sheer vocal splendor, Ms. Borodina may have won the day. Her sound was plush and enveloping’

    New York Times, September 20, 2008

  • New York Times

    Opera Orchestra – Rimsky-Korsakov’s Tsar’s Bride:

    ‘The great mezzo-soprano Olga Borodina, in glorious voice, pretty much stole the show as Lyubasha’

    New York Times, October 17, 2008

  • New York Times

    Metropolitan Opera – Cilea’s “Adriana Lecouvreur”:

    ‘The mezzo-soprano Olga Borodina dominates every scene she is in as the princess, singing with dusky colorings, supple phrasing and unforced power…’

    – New York Times, February 9, 2009

  • Wiener Zeitung

    Auf- und Erlösungsfantasien

    Wiener Zeitung, April 4, 2009

  • Die Presse

    Melodiös fährt’s zur Hölle und in den Himmel

    – Die Presse, April 4, 2009

  • The Independent

    “Being Maxim Vengerov at the Wigmore Hall the other night must have been rather like being Barack Obama winning the US election.”

    Jessica Duchen, The Independent

  • The Independent

    “The packed hall acclaimed him like the returning hero he was.”

    Michale Church, The Independent, April 6, 2012

  • The Guardian

    “… this was formidable music-making in which scale and prowess blended to produce edge-of-your-seat excitement.”

    Tim Ashley, The Guardian, April 8, 2012

  • In conversation with Edward Seckerson at Ivy House,

    Interview with Edward Seckerson, November 2012

  • Lunch with the Financial Times: Maxim Vengerov

    Interview with the Financial Times, November 2012

     

  • Masterclass – Montreal

    “Maxim Vengerov gives a fascinating violin master class in Montreal”

    Fogartylaw,  07 Nov 2012

  • Maxim Vengerov & Itamar Golan in recital, Wigmore Hall

    “The queue for returns snaked up Wigmore Street: this was the return of the violinist Maxim Vengerov to Wigmore Hall after injury had necessitated a switch from bow to baton. The air was electric. And so was the opening of Bach’s solo Partita No 2 in D minor. Vengerov stood alone, soberly clad. His body seemed more ballasted, his presence more authoritative than ever.”

    The Times, 08 Apr 2012

    “The world’s greatest violinist returns and reclaims his crown”

    – The Arts Desk , 06 Apr 2012

  • Aufregende Höllenfahrt

    Aufregende Höllenfahrt

    – Kronen Zeitung, 04 Apr 2009

  • New York Times

    ‘Ms. Borodina is already a great Amneris. She has one of the most purely beautiful voices around. In this role, she demonstrated how much sheer power and chilling intensity she can call on as well.’

    New York Times, 17 Jan 2001

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