Stanislav Kochanovsky

“The greatest revelation of the evening was the guest conductor, young Russian Stanislav Kochanovsky…. Obviously very much at home with his own nation’s music, he conducted with musicality, technical proficiency, clarity and much musicality, achieving the best both from the music and from the orchestra itself.”

© Marco Borggreve


After successful debuts with the Royal Concertgebouw Orchestra and Orchestre National du Capitole de Toulouse, highlights of the 2018/19 season include debuts with the Orchestre de Paris, Oslo Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, Guerzenich Orchestra Cologne and Royal Stockholm Philharmonic. Stanislav has been reinvited to perform with all major orchestras following his debuts, including Accademia Nazionale di Santa Cecilia, the Netherlands Radio Philharmonic, Rotterdam Philharmonic, National Orchestra of Belgium, Russian National Orchestra, St. Petersburg Philharmonic, Orchestra Sinfonica della RAI, and Melbourne Symphony Orchestra, among many others.

Following his debut at the Verbier Festival in 2017 with Eugene Onegin in concert, he returned in 2018, conducting a symphonic programme (with Lucas Debargue and Mikhail Pletnev) and Rigoletto; a concert marking the 25th anniversary of the Festival. He will return to the Festival in Summer 2019.

Recent opera engagements have included Pique Dame and Eugene Onegin (Opernhaus Zürich), Iolanta (Maggio Musicale Fiorentino), Prince Igor (Dutch National Opera Amsterdam) and Boris Godunov (Korean National Opera). As a guest conductor, Stanislav regularly performs at the Mariinsky Theatre, and has more than thirty operas in his repertoire.


Performance Schedule

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    28 Nov 18 BORODIN, BROSTRÖM, TCHAIKOVSKY Royal Stockholm Philharmonic
    Konserthuset Stockholm

    “Conductor Stanislav Kochanovsky led the musicians beautifully through these dances; exotic tones sifted through a Russian filter, double removed today and therefore extra dreamy.”

    “Stanislav Kochanovsky always leads the trusting musicians through the music; the many variations on a theme showed the romantic rises in nuance and pace.”

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    26 Oct 18 KABALEVSKY, SHOSTAKOVICH RTE National Symphony Orchestra
    National Concert Hall, Dublin

    “From the opening notes, Kochanovsky elicited a sharp, crisp tone from the RTÉ National Symphony Orchestra while keeping the rhythm taut. With blaring brass and fun cross rhythms, Kochanovsky made this a dramatic, lively rendition of this delightful overture…”

    “The 12 repetitions of the “War theme” were masterfully graded by Kochanovsky starting with an innocent melody on the flute and finishing with the brass blazing forth in all their glory, a veritable cry of humanity against the horrors of war. The pizzicato at the end was nothing short of brilliant, resonating in the silence that followed.

    Kochanovsky conceived the second movement as an ironic Scherzo, rejoicing in its unsettling dissonance and typical harmonic changes […] Even the livelier moments possessed a sinister quality […] At times stormy, at other times violent, Kochanovsky ratcheted up the volume and excitement to an almost unbearable pitch before the victorious C major shone out and brought an end to the terrors of war.”
    Andrew Larkin, bachtrack


    “From the immaculately controlled crescendo representing the advancing invaders that erupts into a nightmarish depiction of the ensuing battle right through to the last movement with its ending in resolution tempered in bitterness and regret, this performance had me gripped […] At the end there was an immediate outbreak of cheering and a well-deserved standing ovation.”

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    06 Oct 18 BRITTEN, PROKOFIEV National Orchestra of Belgium
    BOZAR, Brussels

    “Kochanovsky maintained a relentless march rhythm with the help of bass and snare drums to the resounding battle cries on low brass, as the woodwinds provided some relief in an interlude […] Oozing with lush lyricism and sensitivity where necessary, as in Romeo’s Variation and Love Dance, the orchestra proved it was also capable of a shrill tone and sharp exchanges in Meeting of Tybalt and Mercutio and The Duel […] Kochanovsky left nothing to chance, and it showed. His meticulous attention to the kaleidoscopic range of orchestral colours and the timbres of the instruments in different combinations bore fruit.
    Alan Yu, bachtrack

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    07 Aug 18 VERDI Rigoletto
    Verbier Festival

    “Under the baton of the energetic Russian conductor Stanislav Kochanovsky, the phalanx delivers a dazzling performance of intensity and sensitivity, from the perfectly andante prelude to the volcanic incarnation of the storm in the third act. Mastery of the nuances, fortissimos expressed con fuoco, in perfect osmosis with the singers: everything contributes to the complete success of the execution of the work.”
    “Sous la baguette de l’énergique chef russe Stanislav Kochanovsky, la phalange livre une prestation éblouissante d’intensité et de sensibilité, depuis le prélude parfaitement andante jusqu’à l’incarnation volcanique de l’orage au troisième acte. Maîtrise des nuances, fortissimos exprimées con fuoco (avec flamme), en parfaite osmose avec les chanteurs : tout concourt à la pleine réussite de l’exécution de l’oeuvre.”
    Pierre Géraudie,

    “The delicate attention of the baton of the young Russian conductor Stanislav Kochanovsky is certainly no stranger to the more than convincing result of the orchestra.”
    “L’attention délicate de la baguette du jeune chef russe Stanislav Kochanovsky n’est certainement pas étrangère au résultat plus que probant de l’orchestre.”
    Jacques Schmitt, ResMusica

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    12 Jan 18 DEBUSSY, BARTOK, BERLIOZ RTE National Symphony Orchestra
    National Concert Hall, Dublin

    “Conductor Stanislav Kochanovsky made the music breathe with meltingly tender phrases […] What was most impressive was the way in which the gossamer threads of yearning were spun without a break throughout.”

    “There was so much that was thrilling here: the fateful Dies Irae, the brilliant fugue, the raucous syncopations. Kochanovsky ratcheted up the tension till the hairs stood on the back of my neck before an explosive final flourish.”
    Andrew Larkin, bachtrack

    “Under the skillful hands of guest conductor Stanislav Kochanovsky, their rendition of Debussy’s Prélude à l’après midi d’un faune is ice-cream for the ears: sweet, refreshing and ultimately moreish. Kochanovsky’s conducting is the very embodiment of Debussy’s writing: fluid, elegant, and inexplicably whimsical, the subtleties of which are not lost on the orchestra.”

    “Berlioz’s Symphonie fantastique sees conductor and orchestra in full flight. Kochanovsky’s style and gesture undergo a chameleonic transformation from the calm with which he approached Debussy and Bartók’s work.

    “The course of the work [Symphonie fantastique] sees a variety of explosive hand gestures, which reach a climax during the witch’s sabbath as the conductor jumps up and down on the podium, seemingly lost in his enthusiasm.”
    Shauna Caffrey, GoldenPlec

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    01 Dec 17 TCHAIKOVSKY, RACHMANINOV L’Accademia Nazionale di Santa Cecilia
    Auditorium Parco della Musica, Rome

    “Kochanovsky has a very good understanding with the orchestra: his gesture is elegant, beautiful and very refined, which almost seems to sculpt the sound. The enchanted fairy surprise with which Tchaikovsky chose to start the Allegro tranquillo, which opens us to a world of dreams, is delicately delineated by Kochanovsky, which shows a taste for the beautiful sound, the chisel, the perfectionism that reminds us of Karajan’s spasmodic love of Tchaikovsky sound’s aesthetics.”
    Stefano Ceccarelli, L’Ape Musicale, December 2017

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    23 Nov 17 SCHUMANN, MARTINSSON, RACHMANINOV Melbourne Symphony Orchestra
    Hamer Hall, Melbourne

    “Dashing young Russian conductor Stanislav Kochanovsky is widely regarded as a rising superstar … Kochanovsky drew every ounce of energy from [the cello] section, imploring and cranking the strings into emotional overdrive. It was a sensational performance from orchestra and conductor alike, and received with thunderous applause from a most appreciative Melbourne audience.”
    Lisa MacKinney, Limelight Magazine, November 2017

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    28 Sep 17 Tchaikovsky: Eugene Onegin Opernhaus Zurich

    “Pure Poesie strömt auch aus dem Orchestergraben, wo mit ungemein eleganten Bewegungen, großer Flexibilität und Zartheit der Dirigent Stanislav Kochanovsky waltet. da werden so berührende Momente wie die leisen Tüne der Sängerin in Tatjanas Briefszene möglich.”

    “Pure poetry also flows out of the orchestra pit, where the conductor Stanislav Kochanovsky reigns with exceptionally elegant movements, great flexibility and delicacy, so that the touching moments such as the silent tune of the singer in Tatyana’s letter scene become possible.
    Anna Mika, Kronenzeitung

    “Tchaikovsky specialist Stanislav Kochanovsky has a particularly touching interpretation. The young musical director manages to produce precise unity with a sublime hand, which is already evident in the first bars of the overture. Together with his orchestra, he places the wonderful composition on a higher, even an ethereal, level. Nevertheless, he remains close to the Russian roots, which he makes particularly noticeable in the dances.”
    Werner M. Grimmel,

    “Dass der Abend in Zurich auch musikalisch und gesanglich höchsten Genuss bietet, erschließt sich bereits nach den ersten Taken und Tönen. Die Philharmonia Zurich unter der Leitung von Stanislav Kochanovsky tut es Barrie Kosky gleich und befreit die Partitur von erstickender Elegie. Der junde Dirigent verpasst diesem Werk, das nicht selten in russischer Schwermut ertränkt wird, eine Frischzellenkur. Mit gutem Tempo und eindringlicher Dynamik geht er kurvenreich in die Zielgerade und lässt dabei immer wieder einzeine Instrumente transparent aufblitzen.”
    Peter Wäch, O-Ton

    “Dirigent Stanislav Kochanovsky streichelt die Partitur, weiss aber, dass er ihr die Schöneheiten nicht entlocken muss, da sie übervoll davon ist. Es gilt vielmehr, sie anaufdringlich zu präsentieren, aneinanderzufügen, mit dem Gesang zu verbinden. All das gelingt dem jungen Russen dank der überragenden Philharmonia Zürich über drei Stunden bestens: Nie drückt er, nie übertreibt er, immer aber fliesst da ein breiter, golden leuchtender Tonstrom.”
    Christian Berzins,

    “Dafür kann man sich in diesem Moment, wie auch den ganzen Abend hindurch, an der winderschönen, hoch emotionalen und alle russische Wehmut, aber auch die Walzer, MAzurken und Polonaisen mit grossem Farbenreichtum und rhythmischer Präzision auskostenden Interpretation der Philharmonia Zurich under dem einfühlsamen, leidenschaftlichen Dirigat von Stanislav Kochanovsky erfeuen. Hoffentlich kann man diesen jungen Dirigenten (er sprang hier auch schon mal in Pique Dame ein) bald wieder am Opernhaus Zurich erleben.”
    Oper aktuel

    “Die philharmonia dreht rund auf, klingt satt, opulent, aber gezügelt und sensibel in der feinsten lyrischen Verästelung. Es scheint unter der Leitung des St Petersburg Dirigenten Stanislav Kochanovsky zum russischen Klangkörper mutiert. So und nicht anders, sinnlich atmosphärisch Dramatik, glaubt man, muss Tchaikovsky’s Partitur klingen – die packende Grundlage für die szenische Essenz der Lyrischen Szenen um verpasste Liebe und scheiterndes Leben.”
    Herbert Büttiker, Zürichsee Zeitung

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    07 Apr 16 Orchestra Sinfonica di Milano Giuseppe Verdi
    Auditorium di Milano

    “The greatest revelation of the evening was the guest conductor, young Russian Stanislav Kochanovsky…. Obviously very much at home with his own nation’s music, he conducted with musicality, technical proficiency, clarity and much musicality, achieving the best both from the music and from the orchestra itself.”
    Oliver Brett, Bachtrack