러시아의 차세대 지휘자 - tugan sokhiev

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Tugan Sokhiev

1977년 러시아 오세티안에서 태어난 그는 7세때 부터 피아노를 시작해 17세때 북 오세티안

필하모닉을 지휘를 한 러시아의 차세대 지휘자이다. 상 페터스부르그 콘썰바토리에서 

Ilya Musin의 마지막 제자로 지휘를 배운 그는 2001년 24세의 나이로 Welsh National Opera의

음악감독이 된다. 그는 2004년까지 돈조바니,카발레리아 루스티카나,팔리아치등 오페라와

많은 러시아 작곡가들의 곡을 연주 하면서 그의 이력을 써어나간다.

2005년 프랑스 툴루스 국립오케스트라에 수석객원 지휘자로 자리를 옮긴 그는 2008년에 

음악감독으로 임명된다. 2012년 4년 계약으로 베를린의 독일 심포니 오케스트라에 수석지휘자로

임명되 서서히 이름을 알린 그는 2014년 드디어 메이저 오케스트라인 볼쇼이 테아터의

음악감독으로 임명 받고 러시아의 차세대 지휘자로 자리을 잡는다. 그는 볼쇼이에 집중 하기위해

계약기간이 남아있는 베를린과 2014년 10월 수석지휘자 자리를 그만둔다.

그의 빠른 성장과 앞으로 그가 이루어 낼 성과를  필자는 많은 기대하고 있습니다.

카페회원 여러분께서도 그를 지켜보아 주시길 바랍니다. 그가 베를린 필에 입성을 해 12월에

연주를 합니다. 베를린 필의 지휘는 그가 이제는 확고한 지휘자로써의 자리를 잡았다는 의미도 

부여 받습니다. 그의 노력과 음악에 대한 열정으로 한층 발전한 지휘자가 되기를 바래 봅니다.

                  

                                                                                       Orchestre National du Capitole de Toulouse

Tugan Sokhiev dirigiert sein DSO

Tugan Sokhiev dirigiert sein DSO

In the space of just seven weeks since the abrupt resignation of Vasily Sinaisky as Bolshoi Theater music 

director and chief conductor, the theater has managed to come up with a replacement of uncommon 

distinction and promise.

Assuming the post on Feb. 1 under a four-year contract will be 36-year-old Tugan Sokhiev, a native of 

North Ossetia, who over the past decade has become one of the most sought-after conductors of his 

generation and who currently leads two distinguished symphonic ensembles in Western Europe, 

the Orchestre National du Capitole, in Toulouse, France, and the Berlin-based 

Deutsches Symphonie-Orchester.

A graduate of the St. Petersburg Conservatory, Sokhiev studied there with the legendary teacher of 

conducting Ilya Musin — whose many pupils over nearly seven decades included the Mariinsky Theater's

 Valery Gergiev, St. Petersburg Philharmonic Orchestra musical director Yury Temirkanov and 

Teodor Curentzis, currently artistic director of the Perm Theater of Opera and Ballet — and completed 

his studies under the guidance of Temirkanov.

Although Sokhiev has never conducted at the Bolshoi, he is not unknown to Moscow audiences. 

Most recently, last October, he brought his Toulouse orchestra to town for a pair of well-received 

concerts at the Moscow International House of Music.

Since the resignation of Alexander Lazarev 19 years ago, the Bolshoi has lacked the strong 

musical leadership it enjoyed under an unbroken succession of notable conductors from near the beginning of the 20th century, among them, in addition to Lazarev, such outstanding figures in the musical life of 

Russia as Samuil Samosud, Nikolai Golovanov, Alexander Melik-Pashaev, Yevgeny Svetlanov and 

Gennady Rozhdestvensky.

Sinaisky, whose background lay mainly in symphonic conducting rather than opera, did little to raise the 

Bolshoi's musical standards during his three seasons at the helm.

He was frequently absent from the theater and seemed to leave much of the decision-making in the hands of others. Those performances of his that I attended struck me as little more than merely competent.

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The Bolshoi Orchestra has long lacked a highly experienced conductor.

According to interviews with Sinaisky, his departure from the Bolshoi, just two weeks before his scheduled appearances leading the premiere of Giuseppe Verdi's opera "Don Carlo," was triggered by disagreement with Bolshoi general director Vladimir Urin on certain unspecified matters of artistic policy.

Unlike his predecessor, Anatoly Iksanov, Urin seems determined to take a hands-on approach when it 

comes to shaping the future of opera and ballet at the Bolshoi. And in Sokhiev, Urin has apparently found 

a congenial colleague, a point he went out of his way to stress when introducing the conductor 

at a meeting with the press on Monday.

"For me, it was important in principle," said Urin, "that the new conductor be from Russia … a person 

who could speak with people in the theater in a common language. It was also important to know 

what this person believed in and how he viewed contemporary musical theater. Despite a serious 

difference in age between Tugan and myself, our views are very similar."

"The invitation was unexpected," Sokhiev responded, "and the chief thing that convinced me to agree was what I discovered in the person of the theater's present director."

Although Sokhiev officially takes on his duties at the Bolshoi the beginning of next month, his very full 

schedule of engagements with his own orchestras and as guest conductor elsewhere means that he can 

only work his way into the job gradually.

From now though June, Sokhiev will be spending a few days in Moscow each month, helping to develop

plans for the Bolshoi's next three seasons and, as a matter of special priority, becoming acquainted 

with the internal workings of the theater and with the different elements — artistic, technical and 

administrative — within its nearly 3,000-strong work force.

"Each month I will be here more and more often," said Sokhiev, "and because of that, I will be reducing 

my engagements in the West as much as possible. I stand ready to give the Bolshoi as much of 

my time as is needed."

In July, Sokhiev is due to begin rehearsing the first of two as-yet-unnamed projects he is scheduled to 

undertake during the 2014 to 2015 season. And as of September 2015, he will finally be spending

 the lion's share of his time at the theater.

It needs to be noted that Sokhiev, unlike his immediate predecessors, Sinaisky and Alexander Vedernikov, comes to the Bolshoi with considerable — and quite successful — experience in leading opera. In fact, 

his initial appointment, in 2001, was as musical director of Britain's Welsh National Opera.

Two years later, he made his debut at the Metropolitan Opera in New York City leading Pyotr Tchaikovsky's "Eugene Onegin" and since 2005 he has regularly conducted at the Mariinsky Theater. He has also

appeared at the Paris Opera, the Teatro Real in Madrid and the opera festivals at Orange and 

Aix-en-Provence in France.

As of yet, no performances by Sokhiev at the Bolshoi have been scheduled, so audiences will have to wait.