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“Conductor Valery Ryvkin proved an inspired interpreter, conveying the melodic sweetness and innocence in the score and obtaining first-class playing from the excellent Sarasota Opera Orchestra.”
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(Hansel & Gretel, Sarasota Opera) |
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“For Sarasota’s first performance, apparently the U.S. premiere, Valéry Ryvkin paced the score with wit, verve and colloquial nuance.” |
(May Night, Sarasota Opera) |
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“Some credit for this must go to the conductor, Valéry Ryvkin, who never let the pace slacken and extracted fine playing from the Greensboro Symphony.” |
(Madama Butterfly, Greensboro Opera) |
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“Gately’s innovations were largely subtle and sure, complimenting the equally assured conducting of Valéry Ryvkin.” |
(La Traviata, Greensboro Opera) |
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“Conductor Valéry Ryvkin’s obvious affection for the piece likewise proved irresistible…the orchestra responded potently to that enthusiasm, often sounding double its size as it reveled in the richness of Rimsky’s scoring… conductor Valéry Ryvkin maintained a good ensemble and led with idiomatic flair.”
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(May Night, Sarasota Opera) |
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“Maestro Valéry Ryvkin drew excellent music making from his cast and orchestra, breathed life and magic into the music, and anchored the performance in authenticity of style.”
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(May Night, Sarasota Opera) |
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“…the St. Petersburg born Conductor, who has been considered one of the most important of the current American conductors, has for many years worked at the opera houses of San Francisco, Chicago, Santa Barbara, and the MET in New York. He is one of the world’s leading experts in Tchaikovsky and the Russian repertoire. His “Boris Godunov” in San Diego was a great success, and in Erfurt the congenial Russian demonstrated a profound understanding of “Joan.” Under his direction the Philharmonic Orchestra of Erfurt was in best form from the very first minutes. They played the dramatic score with broad bows and sharp attaches, and provided the singers with a magnificently colored tableau.” Classic.com (Germany) |
(Maid of Orleans, Theater Erfurt) |
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“With an able conductor in the person of Valéry Ryvkin signed on as music director....Ryvkin’s cohesive and fluent conducting and Igesz’s sometimes hyper kinetic staging usually hold the entire project together.”
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(Don Pasquale, Opera Santa Barbara) |
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"The first version (of "Boris") has been criticized for its monochromatic color and ostensibly for certain musical ineptness. But there was no justification for thar here. Under the loving and sympathetic conducting of Valery Ryvkin, a native of St. Petersburg now artistic director of Opera Santa Barbara, the work took on almost chamber opera quality, an opera rightfully dominated by singers, not the orchestra. Ryvkin and the company revealed how Mussorgsky used his palette of orchestral colors sparingly and tellingly, with a sense of theme and character appropriateness." |
(Boris Godunov, San Diego Opera) |
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“In the orchestra pit, company conductor (and Music Director) Valery Ryvkin kept a steady, sturdy hand.” |
(Séance on a Wet Afternoon [WORLD PREMIERE], Opera Santa Barbara) |
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“Valéry Rykin, Opera Santa Barbara’s resourceful Music Director and conductor coaxes the best out of cast and chorus alike.” |
(Séance on a Wet Afternoon, Opera Santa Barbara) |
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"As staged by veteran director Lotfi Mansouri and conducted by Russian-born Valery Ryvkin, the production is traditional in the best sense of the word, meaning that it's true to the work's intentions and doesn't resort to attention-getting gimmickry or distortion. The 16th-century-style costumes are striking and the sets are evocative, even if the wooden siding at the inn looks like cut-rate paneling and the backdrop in the czar's living room resembles a massive shower curtain.
The San Diego Symphony was a reliable asset, summoning delicate string pizzicatos as well as brass-fueled outbursts under Ryvkin's confident direction. And the computer-assisted church bells that were pumped through the Civic's sound system provided further proof that this season-opening “Boris” was more than good enough."
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(Boris Godunov, San Diego Opera) |
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“The young performers were expertly guided by Valéry Ryvkin, who brilliantly invigorated rhythms and sensitively controlled dynamics.”
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(L’Elisir d’Amore, Pittsburgh Opera Center) |
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“The evening was further enhanced by subtle artistic work in the pit by conductor Valéry Ryvkin.”
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(La Bohème, Greensboro Opera) |
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“Maestro Ryvkin’s musical direction was first-rate. His handling of the orchestra and singers during the fast-paced sections helped generate the excitement demanded by the action. His sensitivity to the expressive and free singing during the arias allowed for full expression of emotion. The Greensboro Symphony Orchestra’s playing was outstanding throughout.”
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(La Bohème, Greensboro Opera) |
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“The Greensboro Symphony Orchestra accompanied the opera with great clarity and color. The ensemble was led by Valéry Ryvkin, conductor and artistic director. His fine musicality provided a solid underpinning for the entire opera. He was with the singers every step of the way, breathing with them, and allowing them to sing with freedom and passion. His harpsichord playing during the recitatives was spectacular – perky and energetic – he even incorporated quotes from Wagner’s opera “Tristan und Isolde” as well as the wedding march to provide some cultural depth for those listening closely.” |
(La Bohème, Greensboro Opera) |
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“…Valéry Ryvkin gave the downbeat, and the invigorating opening bars of Bohème filled the Lobero. Maestro Ryvkin established firm control immediately, a control which he would maintain over his instrumentalists and his singers throughout the evening. His practiced hand drew out a Bohème that made its effects almost always tellingly. This he would do despite a smallish orchestra which could not possibly do justice to Puccini’s marvelous scoring. Ryvkin is a man to be cherished.”
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(La Bohème, Opera Santa Barbara) |
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“Also returning from Carmen is conductor Valéry Ryvkin, lending a sure and expressive hand to the proceedings…Ryvkin is a potent reminder that entire operas can be made or broken by what is happening below the footlights, rather than in the spotlight.”
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(La Bohème, Opera Santa Barbara) |
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