Music Director – Artis-Naples
Andrey Boreyko has been Music Director of the Artis-Naples since September 2014. He has brought a new intensity to the Artis-naples and the Naples Philharmonic with his inspired leadership, commissioning new works and attracting soloists of the highest calibre. The driving force behind the continued artistic growth of Artis-Naples and the Naples Phiharmonic, Boreyko balances traditional repertoire with imaginative, diverse programming for which he has gained a distinguished reputation worldwide.
Boreyko has forged strong long-term relationships with the most prestigious orchestras across Europe. This leads him to appearances next season with the Konzerthausorchester Berlin, Royal Stockholm Philharmonic Orchestra, Rundfunk-Sinfonieorchester Berlin, and Bamberger Symphoniker, amongst others. Much sought-after as a guest conductor in North America, Boreyko’s versatility and broad repertoire take him to the National Arts Centre Orchestra, Ottawa, as well as re-invitations to San Francisco Symphony, Indianapolis, Cincinnati and Houston symphony orchestras where he is regular guest. A prolific conductor of the great symphonic repertoire and a passionate advocate for less widely known works, Andrey Boreyko champions compositions by Victoria Borisova-Ollas in an extensive concert and recording project with the Royal Stockholm Philharmonic Orchestra this season, debuts with the Gothenburg Symphony, and returns to the Orchestra Sinfonica Nazionale della Rai and the Helsinki Philharmonic Orchestra.
Boreyko has also conducted orchestras such as the Berliner Philharmoniker, Deutsches Symphonie-Orchester Berlin, Münchner Philharmoniker, Staatskapelle Dresden, Gewandhausorchester Leipzig, Wiener Symphoniker, Filharmonica della Scala, Orchestra del Maggio Musicale Fiorentino, Royal Concertgebouw, Orchestre de Paris, Orchestre Philharmonique de Radio France, Tonhalle-Orchester Zürich, London Symphony, the Philharmonia and Rotterdam Philharmonic. In North America, he recently appeared at the Ravinia Festival with the Chicago Symphony Orchestra, and worked with the New York and Los Angeles philharmonics, The Cleveland and The Philadelphia orchestras and the Toronto, Chicago, Boston, San Francisco, Baltimore, Detroit and Pittsburgh symphony orchestras.
Notable amongst Boreyko’s discography with the Radio-Sinfonieorchester Stuttgart des SWR (with whom he was Principal Guest Conductor) are Pärt’s Lamentate and Silvestrov’s Symphony No.6 (both for ECM records), the premiere recording of his original version of the Suite from Lady Macbeth of Mtsensk and Shostakovich symphonies No.1, 4, 6, 8, 9 and 15 both on Hänssler Classics. He has also recorded Tchaikovsky’s Manfred Symphony with the Düsseldorfer Symphoniker and Lutosławski’s Chain 2 with the Los Angeles Philharmonic for Yarling Records. Another prominent feature of Andrey Boreyko’s artistic versatility is the world-premiere recording of Górecki’s Symphony No.4 with the London Philharmonic Orchestra for Nonesuch, which was subsequently also premiered by the Los Angeles Philharmonic in the US under his direction to considerable acclaim.
From 2012 Andrey Boreyko was Music Director of the Orchestre National de Belgique, a post не held with great commitment for five years, expanding the Orchestra’s activities nationally and internationally. He was Music Director of the Düsseldorf Symphoniker (2009-14) and Chief Conductor of the Jenaer Philharmonie (of whom he is now Honorary Conductor), Winnipeg Symphony and Berner Sinfonieorchester. He received awards for the most innovative concert programming in three consecutive seasons from the Deutscher Musikverleger-Verband – the first in the history of the prize.
“[…] 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.”
“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.”
“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.” (klassik.com, 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, NEWSmuz.com, 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)