18th May 2018
Unlike some other conductors, Mr. Bychkov doesn’t seem interested in pointing out stray subversive riffs in the score. Instead, he allows Shostakovich’s restless invention to sound joyful for its own sake. With the Philharmonic, this approach resulted in an opening of rare propulsion. Rather than sounding gravely wounded, the first movement had reserves of noir-film savoir faire. Still plenty dark, yet also steely…. His persuasive leadership, and the broad range of repertory he’s covering, may well leave the Philharmonic’s audience wondering what he might have done with the job of music director
13th May 2018
Bychkov’s version of Antonin Dvořák’s Symphony No. 7 was decidedly not your grandfather’s mellow, good-natured walk in the Bohemian forest. Rather, it was fiery, edgy, dramatic, with the various inner voices jostling and vying for attention. For those expecting a Dvorak symphony to sound like his Slavonic Dances, they would be happier with the Kubelik or Kertész recording. The 6/8 waltz in the third movement, in the hands of Bychkov, sounded ominously like a dance of death, paralleling Dvořák’s own personal tragedy at the time of composition (1884).
30th April 2018
This month sees Semyon Bychkov return to the USA to conduct concerts in Chicago, LA, New York and San Francisco. From 3-6 May, Bychkov conducts the Chicago Symphony in works by Tchaikovsky and Bruch with soloists Katia and Marielle Labèque. A week later, he can be heard with the LA...
27th April 2018
The programme of the concert at the Rudolfinum featured Tchaikovsky’s Symphony No. 4… The Czech Philharmonic gave a precise reading, with slightly slower tempos for the sake of clarity of phrasing and with secure ensemble playing by the Orchestra and all of its sections. Bychkov’s conducting was light, and he allowed himself to be carried away by the music’s romantic emotions