Mikhail Tatarnikov

Introduction

Music Director and Principal Conductor of the Mikhailovsky Theatre, St Petersburg to which he was appointed in January 2012.

Mikhail is renowned for his versatility in the opera pit with a wide ranging repertoire including Berlioz, Donizetti, Leoncavallo, Massenet, Mozart, Rossini, Strauss and Wagner as well as an extensive knowledge of Slavic scores. More recent highlights included Nozze di Figaro and Don Giovanni at Opera de Bordeaux and a new production of Onegin at the Latvian National Opera in Riga.

This season Mikhail conducts numerous productions at the Mariinsky and Mikhailovsky Theatres St Petersburg
In this and future seasons he will conduct the Rotterdam Philharmonic Orchestra in Vienna and Linz, the opening of the Ballet Season at Teatro alla Scala with an all Ratmansky programme including a world premiere, a new production of the Enchantress at Theater an der Wien, Elektra at Warsaw Opera, Onegin at Opera de Bordeaux, the Gambler at Opera de Monte-Carlo and concerts with City of Birmingham Symphony, Danish National Symphony,as well as with the Mariinsky and Mikhailovsky Orchestras.

Past invitations have included orchestras such as Orchestre Philharmonique de Radio France, Russian National Orchestra (with whom he has appeared on tour in Dresden and Philadelphia), Rotterdam Philharmonic Orchestra, Tokyo Symphony Orchestra, Oslo Philharmonic Orchestra, Gävle Symphony, Orchestre Philharmonique de Monte-Carlo (with Vilde Frang), Orchestra Filharmonica di Bologna, Orchestre National de Bordeaux Aquitaine, Novosibirsk Philharmonic, Latvian National Symphony Orchestra and National Philharmonic Orchestra of Russia.

Mikhail has also worked with renowned soloists including Anna Netrebko, Dmitri Hvorostovsky, Vilde Frang, Jennifer Larmore and Vadim Repin.

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News & Features

Repertoire

CONCERT REPERTOIRE

BEETHOVEN
Symphonies 1,2,3,5,7,8
Violin concerto
Leonora 3
Egmont

BRAHMS
Symphonies 2 and 4
Haydn variations

DVORAK
Symphony 9

MENDELSSOHN
Symphony 3

MOZART
Symphonies 1,31,35,39,40,41
Piano concerto 24 and 25
Overtures:   
Don Giovanni
Le Nozze di Figaro
Die Zauberflöte
Cosi fan tutte

PERGOLESI
Stabat Mater

PROKOFIEV
Symphonies 2,5,7
Concertos for piano 1 and 3
Violin concerto 2
Cello concerto
Peter and the Wolf

RAVEL
La Valse

ROSSINI
Overtures:
Il Barbiere di Siviglia
La gazza ladra
Semiramis

SHCHEDRIN
The Enchanted Wanderer

SCHOENBERG
Pierrot Lunaire

SHOSTAKOVICH
Symphonies 1,9 and 11
Concerto for piano, trumpet and for strings
"The Young Lady and the hooligan"

STRAVINSKY
Symphony in C

TCHAIKOVSKY
Symphonies 1,3,4,5,6
Romeo and Juliet
Overture 1812
Serenade for strings
Piano concerto 1 and 2
Violin concerto

WAGNER
Overtures:   
Die Meistersinger von Nürnberg
Rienzi
Tannhäuser


OPERA/BALLETT REPERTOIRE


BERLIOZ
Les Troyens

BRITTEN
Billy Budd

DONIZETTI
Lucia di Lammermoor

DVORAK
Rusalka
 
MASSENET
Don Quichotte

LEONCAVALLO
I pagliacci

MOZART
Le Nozze di Figaro
Magic Flute
Don Giovanni

PROKOFIEV
Ballets:
Cinderella
Romeo and Julia
Prodigal Son
Operas:
Love for Three Oranges
Maddalena
Betrothal in a Monastery

PUCCINI
La Boheme

RACHMANINOV
The Miserly Knight

RIMSKY-KORSAKOV
May Night
Christmas Eve
Sadko
Kashchei the Immortal
The Maid of Pskov

ROSSINI
Opera:
Il viaggio a Reims

STRAUSS
Elektra

STRAVINSKY
Capriccio
Apollo
L'histoire du soldat
Petrushka

TCHAIKOVSKY
Eugene Onegin (Ballet and Opera)
Iolanta
Queen of Spades
Mazeppa
The Enchantress

WAGNER
Der Fliegende Holländer
Tristan und Isolde

BALANCHINE
Serenade
Jewels

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Press

Mussorgsky, Dohnányi, Rachmaninov

Birmingham Symphony Orchestra

Symphony Hall, Birmingham

"An Impressive Birmingham Debut by Mikhail Tatarnikov"
Click on the link below for the full article.
John Quinn for Seen and Heard International

Rachmaninov, Shostakovich

Rotterdam Philharmonic Orchestra

Linzer Brucknerhauses

"Für den erkrankten Chefdirigenten sprang Mikhail Tatarnikov kurzfristig ein und erbrachte mit dem bestens vorbereiteten Orchester eine solide Leistung [...] Die 2. Symphonie von Sergei Rachmaninow ermöglichte es dem Orchester, seine hohe Klangkultur ins rechte Licht zu rücken. Das noch in der Spätromantik wurzelnde Werk weist vor allem in Adagio die für den Komponisten signifikante Tonsprache auf,in der Elegie und Pathos vorherrschen. Gerade diesem Satz entlockte das engagiert musizierende Orchester eine herrliche Farbenpracht.Lang anhaltentender Beifall belohnte diesen eindrucksvollen Abend." Fridolin Dallinger for Neues Volksblatt
"Wirkungsvoll und ausgezeichnet brachte das Konzert des "Rotterdam Philharmonic Orchestra" unter des gewissenhaften Leistung des europaweit tätigen Dirigenten Mikhail Tatarnikov, der für den erkrankten Chefdirigenten des Orchesters eingesprungen ist, russische Werke des 20. Jahrhunderts [...] Stürmischer Applaus" Franz Zamazal for OÖ Nachrichten

Rachmaninov, Shostakovich

Rotterdam Philharmonic Orchestra

Konzerthaus Vienna

Ein großes Klangtheater
Glück hatte das Rotterdam Philharmonie Orchestra bei seinem Wien-Gastspiel im Konzerthaus: Yannick Nezet-Seguin, seit 2008/09 Chef der Rotterdamer, erkrankte;
Mikhail Tatarnikov, seit 2012 Chef der St. Petersburger Mikhailovsky Theaters, führte das Orchester mit einem Rachmaninoff-Programm zum Erfolg.

1918 gegründet, hatten die "Rotterdamer" Chefs wie Flipse, Fournet, de Waart und ab 1995 Gergiev.
Großer, leuchtender Klang, Intensität, starke Präsenz der Gruppen zeichnen den Klangkörper aus. Opulenz dominiert gegenüber klanglicher Delikatesse. Aber mit Rachmaninoffs 2. Symphonie - hier ein großes, theatralisches Ritual - und dem 3. Klavierkonzert d-Moll (1909) konnte das Orchester seine Vorzüge eindrucksvoll zeigen.

Umso mehr, als Mikhail Tatarnikov ein bemerkenswerter Klangregisseur ist, der alles im Griff hat, vor allem die gewaltigen Klangmassen souverän steuert, und Rachmaninoffs üppiges Schwelgen in Farben, Schönklang und oft sentimentalem Ausdruck beschwört, ohne in Süßlichkeit zu verfallen. [...]

Begeisterung und Jubel"

Translation
"A brilliant sound dynamic
The Rotterdam Philharmonic Orchestra was in luck for their guest performance at Vienna Konzerthaus: Yannick Nézet-Séguin, Chief of the Rotterdam Phil since 2008 /09, had fallen ill; Mikhail Tatarnikov, head of the Mikhailovsky Theatre St. Petersburg since 2012, successfully led the orchestra in his place .with a Rachmaninoff programme.

Founded in 1918, the Rotterdam Philharmonic Orchestra has had Music directors such as Flipse, Fournet, de Waart and from 1995 Gergiev.
Big, bright sound, intensity, strength throughout the sections form the sound body. Opulence dominates opposite tonal delicacy. But with Rachmaninov's 2nd symphony - here a great, theatrical ritual - and the 3rd Piano Concerto in D minor (1909 )  the orchestra could show itself impressively  its advantages.

All the more apparent because Mikhail Tatarnikov is a remarkable master of sound who has everything in total control; above all he controls the powerful blocks of sound and he evokes and Rachmaninov's opulence in colour, beauty and all the correct sentiment without ever slipping into sentimentality.
[...]
Enthusiasm and jubilation." Karlheinz Roschitz for Kronen Zeitung (Wien)

J.S Bach

Multiplicity. Forms of Silence and Emptiness

English National Opera

"The orchestra conducted by Mikhail Tatarnikov performs Bach’s music exceptionally well, effectively supporting the choreography and the dancers" Margarida Mota-Bull for Seen and Heard

Arensky, Prokofiev,Tchaikovsky

Royal Scottisch National Orchestra

Usher Hall Edinburgh and Royal Concert Hall Glasgow

"Mikhail Tatarnikov, a late stand-in for an indisposed Neeme Järvi, had an impressive sense of the work’s architecture and he orientated it around the recurrences of Manfred’s theme which seemed to act like a baleful influence, directing the music into dark and ominous regions every time it appeared.
He managed to strike sparks with Nikolai Lugansky, too, in the Prokofiev concerto. Tatarnikov seemed most taken with the work’s quirky, even cheeky side." Simon Thompson for Seen and Heard International
"Mikhail Tatarnikov’s baton, replacing that of a convalescing Neeme Järvi, moved with an elegance which matched Arensky’s phrases, before being put aside for the remainder of the programme."

Alan Coady for Bachtrack

Mozart

Don Giovanni and Le Nozze di Figaro

Opera de Bordeaux

"Dans la fosse, Mikhail Tatarnikov déploie une belle énergie qui porte le drame du début à la fin sans jamais faiblir, tout en ménageant de belles parenthèses de poésie, comme les airs du Cherubino ou de la Comtesse.L’Orchestre National de Bordeaux Aquitaine maintient un très bel engagement, mais manque parfois d’un peu de nuances aux cordes, là où les bois sont d’une grande élégance. L’alchimie entre Bordeaux, Laurent Laffargue et Mikhail Tatarnikov opère une fois encore, nous livrant un spectacle de grande qualité. Après Don Giovanni et Les Noces de Figaro, la trilogie Da Ponte pourrait-elle être complété par un Cosi fan tutte de la même tenue ? [...] Encore une fois, Mikhail Tatarnikov tire le meilleur de l’Orchestre National de Bordeaux Aquitaine, osant même des changements de tempo originaux et très efficaces. On aurait pu espérer comme dans les Noces de Figaro davantage de nuances, mais le dynamisme insufflé compense cela avec brio. Une reprise réussie, portée par un plateau vocal aux nombreuses pépite,  surveiller et à suivre"
Raphaël Dor for CLASSIQUENEWS.FR
"Une fête pour les yeux et pour les oreilles, égayée aussi par l'excellente prestation de l'Orchestre National Bordeaux Aquitaine, dirigée par Mikhail Tatarnikov"
Giada Affaticati for Aqui!
"Le jeune chef russe Mikhail Tatarnikov empoigne l’ensemble d’une main de fer, avec une inépuisable énergie et une grande efficacité. La mise en place est parfaite"
Emmanuel Andrieu for Concertonet

Janáček

The Makropoulos Case

Mariinsky Theatre

"In the absence of Valery Gergiev, the premiere was conducted by aspiring young conductor Mikhail Tatarnikov, already a regular with the Mariinsky Symphony Orchestra and one of the most promising up-and-coming conductors in the country. Tatarnikov makes the most of the orchestra in Janacek’s neurotic and figdeting score, which provides a striking contract to the Czech composer’s other exuberantly melodic operas born out of his fascination with Moravian folklore."
Galina Stolyarova for The St Petersburg Times