Andrey Boreyko

Artistic and Music Director – Warsaw Philharmonic Orchestra
Music Director – Artis-Naples


2021/22 marks Andrey Boreyko’s third season as Music and Artistic Director of Warsaw Philharmonic Orchestra. Their planned engagements this season include performances at the Eufonie Festival, the final and prizewinners’ concerts of the 18th Fryderyk Chopin International Piano Competition in Warsaw, and the orchestra’s 120th birthday celebration. They also plan to tour across Poland and the US.

Now in his eighth and final season as Music Director of Artis—Naples, Andrey Boreyko’s inspiring leadership has raised the artistic standard of the Naples Philharmonic. Boreyko concludes his tenure as Music Director by continuing to explore connections between art forms through interdisciplinary thematic programming. Significant projects he has led include pairing Ballet Russes-inspired contemporary visual artworks of Belgian artist Isabelle de Borchgrave with performances of Stravinsky’s Pulcinella and The Firebird, and commissioning a series of compact pieces by composers including Giya Kancheli to pair with an art exhibition featuring small yet personal works by artists such as Picasso and Calder that were created as special gifts for the renowned collector Olga Hirshhorn.

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Recent News

Andrey Boreyko’s Engagement with Sydney Symphony Orchestra

Andrey Boreyko conducts the Sydney Symphony Orchestra on 15, 17 and 18 May 2019 at the Sydney Opera House concert hall in a programme of Krzysztof Meyer’s Hommage a Brahms, Chopin’s Piano Concerto No. 1 with Yulianna Avdeeva, and Schoenberg’s orchestral...

Andrey Boreyko Conducts ORF Vienna Radio Symphony Orchestra in March 2019

Andrey Boreyko conducts the ORF Vienna Radio Symphony Orchestra for two concerts in March 2019. On Thursday, 14 March, at Vienna’s Musikverein, he will lead the orchestra in a programme including Ustvolskaya’s Symphonie Poem No. 2, Kancheli’s Styx, and Shostakovich’s...


“The orchestral tutti was energetic and well-balanced – even in the brassier parts – with Boreyko crafting a canvas of crisp strings and bubbling winds”

Sam Jacobson

Bachtrack ****

“There was something special about Boreyko, too. Performing Zemlinsky’s “The Mermaid,” a tone poem based on the Hans Christian Anderson tale, the music director of Florida’s Naples Philharmonic struck this listener as an uncommonly big-picture thinker, a conductor more concerned with shape and impression than any individual line or moment. Magic pulsed through the performance and held it together more surely than bar lines or downbeats.

Boreyko had the orchestra’s number, too. Out of the ensemble, from a score that easily could grow unwieldy, the conductor coaxed every manner of aquatic effect from throbbing waves and crashing surf to shimmering horizons and deep upwellings. On top of that, he seized on the drama with a remarkably sure hand, evoking with tantalizing patience the mermaid’s yearning, heartbreak, and acquiescence… Zemlinsky of this caliber is something all too scarce.”

Zachary Lewis

“In the long introduction before the soloist enters [in Chopin’s Piano Concerto No. 1], Boreyko drew luminous richness and breadth from the orchestra… Boreyko and the SSO [Sydney Symphony Orchestra] seemed like a perfect fit as they brought off demanding passages, fast and lingering.”

Fraser Beath McEwing

J-Wire (Jewish News)

“Boreyko balanced the competing pull of 19th and 20th century expressiveness with some finesse, highlighting distinctive details with original sounds within an overall Romantic sweep.” [Performance with Sydney Symphony Orchestra]

Peter McCallum

The Sydney Morning Herald

“The San Francisco Symphony, performing in Davies Symphony Hall on Thursday, April 11, under guest conductor Andrey Boreyko, understood exactly what Zemlinsky was up to [in Die Seejungfrau]. This was a fluid, supercharged rendition, full of sparkling orchestral color and frank expressive urgency… Boreyko proved to be a skilled interpreter of the composer’s hothouse imaginings, giving the orchestra enough freedom to render the work in all its splendour without spilling over into chaos or mannerism.”

Joshua Kosman

San Francisco Chronicle

“This is where Boreyko’s conducting saved the day. He imposed strict discipline on Zemlinsky’s indulgences [in Die Seejungfrau]. He had the orchestra give bold, firm intensity to the syrupy harmonies behind the frequent appearances of the mermaid motif for solo violin… He tempered the chaos in the bold Wagnerian climaxes. He kept the frequent changes of mood on a continuous track, not shifting gears abruptly..”

David Bratman

San Francisco Classical Voice

“…a dazzling performance of Alexander von Zemlinsky’s Die Seejungfrau… If Boreyko knew every last detail of Zemlinsky’s expressive devices, he knew how to pass that knowledge to the San Francisco Symphony players. They, in turn, could not have been more responsive. The stage was filled to capacity with instrumentalists, and it seemed as if every last one of them was locked into the full gamut of Boreyko’s gestures from the sweepingly grand to the barely noticeable. The result could not have been better justification for indulging in the expressive richness of a distinctively large ensemble.”

Stephen Smoliar

The Rehearsal Studio

“The RAI Turin orchestra and Boreyko impress with a fascinating reading of Prokofiev’s masterpiece Symphony No. 5…. [Boreyko] demonstrates an innate affinity with this repertoire, paying attention to every detail of the varied and unique instrumentation” [translated from Italian]

Alberto Ponti

L'Ape musicale

“With Boreyko behind the baton, The Naples Philharmonic is the near-perfect orchestra for the Brahms Four. He obviously loves Brahms.
His conducting was specific and nuanced for a work that needs it. There wasn’t a relaxed moment for the orchestra, although the horns had some of its most memorable roles.”

Harriet Howard Heithaus

Naples Daily News (Florida)

“Conductor Andrey Boreyko conceived the orchestral element [in Fibich’s Vodnik] as something approaching a symphonic poem, from its dark, balladic opening bars right through to the tale’s tragic ending, which was rendered to spine-chilling effect. Even in the rich palette of orchestral colour Boreyko’s respectful heed to the spoken word was admirable. Not only did the orchestra never obscure Brousek’s words, Boreyko succeeded in perfectly matching the orchestra to the recitation in terms of tempo and rubato moments… Particularly deserving of admiration here was the faultless ensemble between soloist and orchestra; Boreyko was right on cue to “pick up” all the countless little instances of rubato that occur in this Late Romantic concerto.

The second half of the concert opened with César Franck’s symphonic poem Le chasseur maudit. Boreyko succeed in maintaining the thrust and swing and steady rythmic drive of this piece throughout its entirety, from the introductory hunting-horn calls to the work’s infernal conclusion. The liveliness and persuasiveness of the account were thanks in no small measure to the effective dynamic contrasts and steadily well-timed build-up to which it was treated.”

časopis Harmonie

Gramophone’s Best New Classical Albums (August 2018): Górecki’s Symphony No. 3 with Poznań Philharmonic Orchestra:

“Boreyko drives the music hard, certainly, but the last thing he does is skimp on detail. There is, in fact, a sculpted precision to the sound that I have not heard in any other recording… Boreyko is masterly in sustaining the tension throughout the movement, right to the almost motionless final chords. In contrast to the first, the third movement initially seemed to me slightly too slow, but Boreyko knows exactly what he is doing… If you have not already guessed, I was in tears almost throughout the disc. Even if you have every other recording of this work in the catalogue, you should still buy this one. It is a masterly performance of a masterpiece.”

Ivan Moody

Gramophone Magazine

“The Rundfunk-Sinfonieorchester Berlin knows him well… Boreyko is a Shostakovich expert, and that was obvious from the first minute. The chemistry between conductor and orchestra has made a noticeable difference. There was a heightened awareness, everyone was sitting on the edge of the chair, and in the end it was not just the orchestra that seemed satisfied… Symphony No. 15 by Dmitri Shostakovich depicts the essence of a troubled century; there is ridicule and tragedy about dictatorship, mass murder and wars. All this audibly significant, and Andrey Boreyko captured this with an outstanding potpourri of intensity, fury, but also clarity…In short: one of the best performances of this work of recent years.”

Andreas Göbel

Kultur Radio RBB

“[…] the conductor got to the harrowing heart of the music and brought the best out of the players (and on Friday, choristers) in front of him. Facing forward, Boreyko deployed a wide range of gestures to elicit a like array of colours.”

Musical Toronto

“It was just excellent to see how splendidly the musicians of the Frankfurt Museum Orchestra coped with this entire russophone articulation spectrum. Sharp and rapid was the Glinka Overture, where the guest conductor Andrey Boreyko determined the aesthetic format with precise, small gestures. [He] brought the Tchaikovsky Tutti in line with the solo and avoided any starry extravaganza. […][Prokofiev Symphony No. 5] an energetic and lucid attraction.”

Frankfurter Rundschau

More Reviews

“The conducting in this purely Russian evening was an inspiration […] Andrey Boreyko – a name that one has to remember. […]The great time of Andrey Boreyko came with Prok 5. The way he ties the sound to the almost classical mechanical rhythm of the scherzo and how he keeps the Russian Melos on balance, between a harsh funeral march and a vivid dance with all its wide tonal links, is just thrilling and so spirited.” (Offenbach Post, April 2016)


“Boreуko definitelу knew how to capture the good-natured humor of this music; and his control of the orchestra provided an excellent account of how skillfullу Prokofiev had ‘distributed the action’ across the entire ensemble.” (mynewspaperpost, October 2015)


“Under the direction of Andrey Boreyko, the Konzerthausorchester plays Mahler in quite an experimental way – and thereby unfolds its full sound qualities. […] The interpretation of Mahler’s C sharp minor symphony can be considered as sensational […] For Boreyko, Mahler’s music still represents uncharted territory, which is conquered with sensitive imagination […]” (Tagesspiegel, September 2015)


[Górecki’s Symphony No. 4] “Russian conductor Andrey Boreyko, music director of the Orchestre National de Belgique, led the rapt performance bravely and incisively.” (Timothy Mangan, OC Register, January 2015)


[Mahler’s Fifth Symphony, Adagietto] “The performance of the original Friday, however, was sublime. Restrained elegance, but emotionally on the edge of bursting, the all-string work received perfect treatment from Boreyko and the Naples Philharmonic” (Naples Daily News, November 2014)


[Tchaikovsky, Suite No. 3] “Boreyko gave it the leadership it needed to make the fullest impact, and each of the four movements had its own distinctive character. The variations movement concludes with a majestic polonaise, announced by a brass fanfare. Boreyko built this to exultant heights, eliciting an enthusiastic ovation from the crowd. […] One hopes that Boreyko – currently music director of the Orchestre National de Belgique and the Naples Philharmonic in Florida – will be kept on the CSO guest list, for the performance was notable throughout for its textural fidelity and attention to color. Rarely has every detail of Mussorgsky’s tone poem emerged so clearly.” (Mary Ellyn Hutton, Music in Cincinnati, October 2014)


“Boreyko was an expressive leader, who cultivated a dark sound in the haunting Russian themes. The tone and ensemble of the cellos and violas was extraordinary in the first movement, ‘Elegy’ and the conductor brought the movement to an impassioned climax. The finale included a variation for the violins at supersonic speed, a fugue, a chorale for winds with an engaging solo for English horn (Christopher Philpotts) and a violin cadenza that appeared out of the blue. Acting associate concertmaster Kathryn Woolley tackled the cadenza with considerable virtuosity and her ensuing solo was beautifully felt. […] The piece built to a blockbuster finish, with brass fanfares and a brilliant polonaise.” (Janelle Gelfand, Cincinnati Enquirer, October 2014) 


“Boreyko and the Konzerthaus Orchestra showed impressive sovereignty in the brutal marches, the fierce ghastly fugue in the first movement, the blasting wind solos and blustering percussion. Surprinsingly, they focussed on the more peaceful moments of the symphony. Hope and happiness don’t exist in the Fourth, but Shostakovich seized the memory of these moments of life. Boreyko and the Konzerthaus Orchestra were able to capture the recollection of these moments beyond all the destruction.” (Matthias Nöther, Berliner Morgenpost, October 2014)


“Boreyko’s approach is a success in every respect. Magnificent the first movement, above all. He manages to shape the extreme crescendi and diminuendi in the most captivating way. Stunning, how cautiously he forms the dotted ascending and descending intervals of the introduction, where so many others get into straining after effect – here the starting point for a genuine profound experience.” (, August 2014)


“This was a memorable concert, which gained more and more power and class, finally culminating in a brilliant interpretation of Tchaikovsky’s Fourth Symphony.” (Wolfram Goertz, Rheinische Post, March 2014)


“Andrey Boreyko’s stock is evidently riding high at the New York Philharmonic. And he came with good ideas about repertory, drawing heavily on the heady period when late Romanticism was giving way to early modernism. […] “The Mermaid” is a lush example of supersaturated late Romanticism, rich and vibrant, and the orchestra played it robustly yet with considerable polish, as it did everything under Mr. Boreyko.” (James R. Oestreich, The New York Times, January 2014)


“The fragmentation of the work [Lutosławski’s Symphonic Variations] was overcome by a single line of development… brilliantly mastered by Boreyko, who managed to assemble the variations into one entity.” (Vladimir Oyvin,, September 2013)


“The SWR Symphony Orchestra plays absolutely flawlessly, with utmost, almost frightening perfection. Many conductors tend to work with scrupulous precision, polishing up all the corners and edges in Shostakovich’s music. Thank goodness this doesn’t happen with Boreyko. The top level technique and focus with which he leads the SWR Radio Symphony Orchestra deserves deep respect. This is a recording of highest calibre and definitely one of the best readings of the two symphonies that I have heard recently. In fact, I would place the CD among the cycles of Barshai and Haitink, which might remain unrivalled, but find in Boreyko a contender who has what it takes to join the ranks of the very great. Since the fabulously subtle, brilliant and simply pleasant sound of the recording is the best that I encountered in this year, this CD is definitely on our “shortlist” as CD of the year. Awesome!” (Rainer Aschemeier, The Listener, August 2013)


“Boreyko…. brought a strong but never flashy presence and a clear and authentic musical vision to the podium. The second half of the programme was a beautifully idiomatic reading of Tchaikovsky’s Symphony No. 1 in G minor. Boreyko and the orchestra were perfectly in tune with its vision in every way. The strings played with burnished sound; the woodwinds were in uniformly good voice, and the brass made the most of the opportunities the composer had provided them. It is to be hoped that Boreyko returns next season.” (St. Louis Post-Dispatch, November 2012)


“Mr. Boreyko conducted an arresting and dramatically hued interpretation [of Brahms’ Symphony No.1].  The bittersweet melodies unfolded with soulful élan; the brass chorales in the finale sounded strong and clear.” (Vivien Schweitzer, New York Times, on Andrey Boreyko’s concert with New York Philharmonic, July 2012)


“The Radio Symphony Orchestra under the baton of the conductor Andrey Boreyko overwhelmed with the most thrilling interpretation of the last two movements of Shostakovich’s first Symphony, expressing the 20th Century’s apocalyptic atmosphere, allowing the plaintive melodies to break through the steely outer shell of the music that burned and fizzed with concentrated energy.” (Neue Musikzeitung, March 2011)


“Here was a performance defined by its architecture. No measure did Boreyko take for granted. Rather, he endowed each bar with identity and purpose, like a puzzle-master keeping one eye on details and the other on the emerging image….Yielding to exuberance in the final Allegro, Boreyko and the orchestra hit on a sort of articulate joy wherein technical brilliance only served to heighten the already festive atmosphere. Prokofiev himself couldn’t have asked for a livelier reading.” (The Plain Dealer, Cleveland, February 2011)