Bychkov's natural unfolding of the symphony was particularly satisfying, all down, it would seem, to his elegant, precise baton and eloquent left hand, a completely non-mysterious looking technique releasing any amount of marvel and mystery [...] Even from the LSO, this was great playing, idiomatic, generous and right inside the notes. (Classical Source, April 2012)
It is a joy to watch this maestro at work. Not just because Semyon Bychkov's beat is unmistakably precise, but also because his manner of conducting follows a wonderfully fluent flow of movement. And it was just this aesthetic that proved a felicitous inspiration to the NDR Symphony Orchestra, whose exquisite sound combined clarity with rotundity and warmth.(Die Welt, January 2012)
It is happening now with such reliable consistency you could set your watch by it [...] Conductor Semyon Bychkov makes a guest appearance with the San Francisco Symphony, and the orchestra responds with a performance of depth, passion and brilliance. (San Francisco Chronicle, November 2011)
Bychkov showed here exactly why he has become one of the world's leading conductors, with an elegant style that mixes calm authority and persuasive heart. In Mahler's Sixth Symphony that translated into a catclysmic performance, surely one for the Proms annals. Steering an expanded BBCSO through Mahler's 85-minute work, Bychkov struck a perfect balance between tension and release, shaping everything with subtle restraint. (The Sunday Telegraph, August 2011)
The Vienna Philharmonic Orchestra concluded its three-day stint under the auspices of Cal Performances with a thunderous and darkly dramatic account of the Sixth Symphony [...] an impressive and even revelatory rendition. The imposing Viennese forces, mustered under the fluidly commanding leadership of conductor Semyon Bychkov, gave the most potent performance of their stay, marked by massive textures and fearlessly tragic rhetoric. (San Francisco Chronicle, March 2011)
Semyon has been receiving a host of fantastic press from the run of Tannhäuser at The Royal Opera House. The Financial Times commented 'Bychkov provided a near-ideal balance of architectural vision and luminous detail', whereas the Independent wrote 'In the pit, Semyon Bychkov turned good Wagner into great Wagner bringing the full and glorious force of the Royal Opera Chorus forward for Wagner's hopeful peroration.'