Valery Abissalovich Gergiev What the critics say about… his recordings "Valery Gergiev’s new recording with the Vienna Philharmonic is a revelation. Not only does Gergiev bring out previously unsensed Russian elements in Ravel’s adaptation [of Moussorgsky’s Pictures at an Exhibition] but he has also found in the Vienna Philharmonic an orchestra that articulates the music with authentic Russian colouring." Daily Telegraph, June 2002, on Moussorgsky: Pictures at an Exhibition/Vienna Philharmonic "Stravinsky’s Rite of Spring suits Gergiev’s unparalleled ability for penetrating to the heart of a score. He paints it in vivid, almost garish colours, at all times reading the score afresh. His long-range grasp of the piece is most impressive: the resultant cumulative effect close to overpowering." Amazon, September 2001, on Stravinsky: The Rite of Spring/Kirov Orchestra "This splendid new recording plugs another major gap in the discography of opera. Gergiev’s interpretation is ardent and well paced, his orchestra is in fine fettle, and his soloists are of consistently high quality." David Fanning, Gramophone, July 2000, on Prokofiev: Semyon Kotko/Kirov Opera "Last year’s issue of the Tchaikovsky Fifth Symphony was one of the highlights of the recording calendar. Gergiev’s new recording of the Sixth with the Kirov has the same extraordinary intensity, dramatic power and pathos; yet there is tremendous firmness of grip, too. This is a performance of stature." Robert Layton, Classic FM Magazine, May 2000 on Tchaikovsky: Symphony No.6 "This new recording should be a compelling experience. Gergiev here confirms the justness of all the superlatives that have been lavished on him, and his orchestra play like beings possessed, which is the only way to do justice to a piece like this." Gramophone, October 1999, on Prokofiev: The Gambler/Kirov Opera "Gergiev and the Vienna Philharmonic seem welded together in perfect control. When it can somehow be preserved on a disc like this, almost catching something in the air, you’re reminded of how unfathomable the power of Gergiev should seem. It has to be inexplicable." James Naughtie, Mail on Sunday, March 1999, on Tchaikovsky: Symphony No.5/Vienna Philharmonic "The Nutcracker as a short ride in a fast machine. Gergiev doesn’t relax the momentum, but this is probably how he conducts The Nutcracker at the Kirov, and the elegance with which he moves from loud or fast sections of the score to quieter or slower ones speak of ease gained from experience. I wonder if there has ever been a Nutcracker so captured apparently ‘on the wing’, or, for that matter, so exciting." Gramophone, January 1999, on Tchaikovsky: The Nutcracker/Kirov Orchestra & Chorus the man "Valery Gergiev — the wild man of music." The Times, May 2001 "The world's most charismatic conductor." Financial Times, October 1998 "One of the finest musicians of the late 20th century." Guardian, February 1998 "Gergiev carries a disproportionate share of the music world on his shoulders. He is something of a national hero in Russia for having kept alive the Mariinsky Theatre after the collapse of the Soviet Union. Under his leadership, the Mariinsky has become one of the most celebrated — and recorded — opera companies in the world." New Yorker, April 1998 "It was fascinating to watch Gergiev in action. He directs sans baton, signalling an accent or cueing an entrance by fluttering his fingers. His idiosyncratic technique can disconcert an orchestra that isn't used to working with him. But he is a charismatic conductor and he has forged a strong bond of trust with the Kirov players, and they with him. They pressed horsehair to strings and forced air through reeds and tubing as if their lives depended on it." Chicago Tribune, December 2001 "Valery Gergiev is a maestro with an authority equal to the best conductors of this century. He has become the philosopher-king of Russian opera, the star of everything he conducts. Yet he is also able to bring a score to life with unsurpassed vigor and a sympathy for each composer’s unique voice. That’s a hard combination for musicians and listeners to resist." Washington Post, June 1998 his music "Valery Gergiev [is] one of the outstanding interpreters of Tchaikovsky." Sunday Times, June 2002 "Gergiev keeps his eye on the music, works from inside it, and draws out performances that are — at best — viscerally exciting." Financial Times, May 1999 "Valery Gergiev led the Kirov Orchestra in a ferociously intense, white-hot performance. ‘Subtle’ as a flying mallet, ‘polished’ as a Midwestern twister, he calls into question many of our pat assumptions about technical precision. Would his performances be so wrenching if they were note-perfect? Who knows? Leave it at this: While I can easily imagine a tidier Macbeth, I cannot imagine a more ghastly and powerful one." Washington Post, Feb 2002 "Mr Gergiev’s organic, fervent and seductive performance makes The Rite of Spring sound again like the shocking ballet score it was when new rather than the comfortably brilliant concert work it has become." New York Times, December 2001 "From the opening bars Gergiev surpassed even himself in conjuring up a gallery of characters. It must be a while since the Festival Hall witnessed a conductor in such control: Gergiev obtained playing of whispering delicacy, and a mesmerised audience hung on to every note." The Times, May 2000 "Gergiev, who skips and bounces on the podium, arms flailing and hands a-flutter, kept his troops in almost perpetual motion in a visceral 50-minute performance." Toronto Star, December 2001 the Kirov "The Kirov Opera [is] one of the music world's greatest icons." New York Times, August 2001 "When the future of St Petersburg's Mariinsky Theatre is at stake, Valery Gergiev will break every unwritten rule." Financial Times, September 1999 "Valery Gergiev is one of the greatest conductors of our time and, under him, the Kirov Orchestra are without any doubt the hottest show around." Jerusalem Post, December 1999 "The great Kirov chorus, driven to surpass itself by Gergiev on incandescent form, brings the house down with the thrilling volume and passion of its singing. With or without Gergiev, the Kirov Opera in its native repertoire delivers some of the greatest experiences the opera world has to offer today." Sunday Times, July 2000 "The Mariinsky is living proof that the ensemble principle never homogenised its components; it always allowed room for individuality." Financial Times, June 1999 "The Kirov gets stronger and stronger — despite such minor inconveniences as last year’s 80 % cut in state funding. Ask anyone connected with the Kirov the reason for this phenomenal success and the answer will be the same: Valery Gergiev. This charismatic, idiosyncratic, visionary conductor has more or less single-handedly changed the way the non-Russian world regards Russian opera." Scotsman, June 1999 "Tchaikovsky’s Symphony No.5 sang wistfully of the romantic Tsarist past. Blow the republic: Gergiev and the Kirov are positively regal." Evening Standard (London), January 1998 Valery Gergiev at 50 What friends and colleagues say... HRH Prince Charles "I am a huge admirer of Valery Gergiev and what he has achieved at the Mariinsky Theatre." Sir Peter Ustinov "Kirov artists and musicians are known the world over, especially in conjunction with a revelation of the wealth and diversity of the Russian operatic repertory. All this is due to the unique gifts of a single man, Valery Gergiev. He is, quite simply, a great musician, an inspired administrator and incidentally, a perfect spokesman for his passion, the Mariinksy, its reputation and its future. This mission would be difficult under normal circumstances. Against a background of the collapse of the Soviet Union, the often desperate poverty of the people and the huge ration of daily uncertainties, it is nothing short of a miracle. In short, the Mariinsky deserves Gergiev, Gergiev deserves the Mariinsky." Alberto Vilar "Valery is an extraordinarily talented person, musically, with extraordinary energy and creativity. They say in music it isn’t the note, it’s what’s going on behind the note, and he’s the guy behind the note. He brings the notes alive. In the business world, he’s what they call the A-type. He’s Russia’s greatest ambassador. You think of Russia today, you think of music and ballet — and you think of Gergiev. Valery is exporting culture, a good reputation for the nation and above all a fiery energy — and that’s the best ambassadorship for Russia I know." Michael Kaiser President of the John F. Kennedy Center for the Performing Arts, Washington DC "Valery Gergiev is quite simply one of the most dynamic music-makers of this generation. He elicits from any orchestra lucky enough to play for him passionate, revelatory performances. He inspires in audiences a level of excitement not duplicated by many other conductors of our time. He is also, of course, a skilled entrepreneur and a tireless worker who has rebuilt the reputation and quality of the Mariinsky Theatre. The tremendous international excitement surrounding the 300th anniversary of St Petersburg must be attributed, in great measure, to Valery’s reputation and his very hard work over the past decade. I am most pleased that one of Valery’s ventures is to build an American ‘home’ in Washington, DC at the Kennedy Center. Our audiences are already convinced that the annual visits of the Mariinsky will be one of the highlights of each cultural season." Andrea Bocelli "Maestro Gergiev is a true artist and a force of nature. His passion and energy are almost unique, and I am very grateful to him for having given me the possibility of working with him on [Verdi’s] Requiem, since it's been a wonderful and enriching experience." Renée Fleming "Valery Gergiev has single-handedly enriched our musical lives by bringing a vast Russian repertoire to the West, quenching a thirst we were barely aware of. He is the force behind a touring Kirov Opera which I first experienced in San Francisco in a performance of Fiery Angel, which remains to this day one of the most thrilling nights I have ever spent in the theatre. I first worked with him at the Metropolitan Opera in Verdi's Otello as Desdemona with Plácido Domingo. His dramatic sense and personal charisma were immediately apparent, but what struck me most was the fact that he holds that rarest of gifts; the ability to inspire. Working with him enables me to feel as though I can overcome my own limitations and truly grow, artistically. Valery is also known for cultivating young talent, another generous and much needed pursuit. It's this multi-faceted dedication to music, which sets him apart from others and makes me grateful to be performing in the time of Gergiev." Olga Borodina "I was blessed with a voice, but it is thanks to Valery Gergiev that my professional career has taken the path it has over the last 15 years. I am forever grateful for his support as a musician and as a friend. He is not only an extraordinary artist, but stands out as a man whose human qualities such as loyalty, taking risks and giving a chance to the young, combined with an indefatigable sense of humour, have inspired colleagues and friends throughout the world. I would like to convey my heartfelt wishes on this anniversary to Valery Gergiev, good health and fulfilment in all his missions." Joseph Volpe General Manager of the Metropolitan Opera, New York "Valery brings an extraordinary dynamism to everything he does, and our company has been fortunate to have him lead Russian works such as Boris Godunov, Khovanshchina, Queen of Spades, and the electrifying Met premiere of Prokofiev's The Gambler. A tireless worker, perfectionist, and visionary, Valery Gergiev is an inspiration to us all." Nicholas Kenyon Director of the BBC Proms "Valery Gergiev is a musical force of nature. He is inspirational, dedicated, charismatic, obsessive, and produces some of the most exciting results in the musical world today. In a short time he has become a firm favourite at the BBC Proms, where audiences respond to his unique ability to galvanise performers and listeners alike. "He appeared first with his Rotterdam Philharmonic Orchestra, then returned with the Kirov Orchestra, and in 2002 mounted a whole weekend including an opera, concert and a contemporary music premiere with the Kirov. His dedication to that ensemble when he could have been guesting with orchestras and opera houses around the world is phenomenal and an example to us all. "An unforgettable Proms occasion was his reuniting of the World Orchestra for Peace which Georg Solti founded with musicians from many countries, for a terrifying performance of Shostakovich's Leningrad Symphony on the 60th anniversary of the blitz on London. He has returned to the BBC to talk about Shostakovich for television and conduct the BBC Symphony Orchestra. "We all joke about his ability to be in two places at once and conduct concerts while he sleeps, and even he does too: when the platform was not quite ready for a Prom rehearsal, he looked at this watch and said to me wryly ‘I could have caught a later plane’. He likes to use every moment: I had one meeting with him in the Musikverein, Vienna, with the entire Vienna Philharmonic on stage waiting to begin the second half of a concert. His walk to the podium was shorter than my walk back to my seat... "But when he gives you his attention it is total and concentrated, and when he makes music it is electrifying. It is not unreasonable to call him a genius." Dr Clemens Hellsberg President of the Wiener Philharmoniker "If ever there was ‘love at first sight’ in music, this description perfectly fits the relationship between the Wiener Philharmoniker and Valery Gergiev. Since the first rehearsal of Moussorgsky’s Boris Godunov at the Salzburg Festival, musicians and conductor have enjoyed an artistic and human rapport rooted in their common dedication to the music." Dr Gérard Mortier Artistic Director of Salzburg Festival 1992–2001 "There is probably no better symbol and no better ambassador for the new developments, open minds and spirit of the Russian community after the end of the Cold War. Valery Gergiev did not only succeed in the new artistic importance of the Mariinsky but managed to share his Russian temperament and deep understanding as musician and maestro in the leading opera houses all over the world." Carlo Fontana Superintendent of La Scala, Milan "For over ten years now, Valery Gergiev has held a very special place in the hearts of the audience at La Scala and in the cultural life of Milan. His presence has created a bond of friendship and cultural exchange." Lady Solti Chair of the Mariinsky Theatre Trust/Friends of the Kirov Opera & Ballet "Valery Gergiev is an inspiration to everyone who works with him. He is a man of great charm and musical integrity. My husband loved him, thought highly of him as a musician and understood his passion for music-making and dedication to St Petersburg and, had he been alive today, I know he would have been the first to say ‘Bravo Valery’."