Chief Conductor & Music Director Designate – Czech Philharmonic Orchestra
Otto Klemperer Chair of Conducting – Royal Academy of Music
Günter Wand Conducting Chair – BBC Symphony Orchestra
Managed in association with Enticott Music Management
On 3 October 2018, Semyon Bychkov starts his tenure as Music Director and Chief Conductor of the Czech Philharmonic with a concert that celebrates 100 years of Czech Independence. During the course of the season, Bychkov and the Orchestra will celebrate the centenary with concerts in Prague, London, New York and Washington; embark on extensive tours of the US and Germany; and present concerts in Vienna, Bruges and Bratislava.
Born in St Petersburg in 1952, Bychkov immigrated to the United States in 1975 and has been based in Europe since the mid-1980s. In common with the Czech Philharmonic, Bychkov has one foot firmly in the cultures both of the East and the West. Following his early concerts with the Orchestra in 2013, Bychkov devised The Tchaikovsky Project, a series of concerts, residencies and studio recordings which allowed them the luxury of exploring Tchaikovsky’s music together, both in Prague’s Rudolfinum and abroad.
The first fruit of The Tchaikovsky Project – a recording of Symphony No. 6 coupled with the Romeo & Juliet Fantasy-Overture – was released by Decca in October 2016, and was followed in August 2017 by the release of the Manfred Symphony. The Tchaikovsky Project culminates in 2019 with residencies in Vienna and Paris, and Decca’s release of all Tchaikovsky’s symphonies, the three piano concertos, Romeo & Juliet, Serenade for Strings and Francesca da Rimini.
Semyon Bychkov won the Rachmaninov Conducting Competition when he was 20 years old. Two years later, having been denied his prize of conducting the Leningrad Philharmonic Orchestra, he left the former Soviet Union where, from the age of five he was singled out for an extraordinarily privileged musical education. Starting with piano, Bychkov was later selected to study at the Glinka Choir School where he received his first conducting lesson aged 13. Four years later he was accepted at the Leningrad Conservatory as a student of the legendary Ilya Musin.
By the time Bychkov returned to St Petersburg in 1989 as the Philharmonic’s Principal Guest Conductor, he had enjoyed success in the US as Music Director of the Grand Rapids Symphony Orchestra and the Buffalo Philharmonic. His international career, which began in France with Opéra de Lyon and at the Aix-en-Provence Festival, took off with a series of high-profile cancellations which resulted in invitations to conduct the New York Philharmonic, Berlin Philharmonic and Royal Concertgebouw Orchestras. In 1989, he was named Music Director of the Orchestre de Paris; in 1997, Chief Conductor of the WDR Symphony Orchestra Cologne; and the following year, Chief Conductor of the Dresden Semperoper.
Bychkov’s symphonic and operatic repertoire is wide-ranging. He conducts in all the major houses including La Scala, Opéra national de Paris, Dresden Semperoper, Wiener Staatsoper, New York’s Metropolitan Opera, the Royal Opera House, Covent Garden and Teatro Real. Madrid. While Principal Guest Conductor of Maggio Musicale Fiorentino, his productions of Janáček’s Jenůfa, Schubert’s Fierrabras, Puccini’s La bohème, Shostakovich’s Lady Macbeth of Mtsensk and Mussorgsky’s Boris Godunov each won the prestigious Premio Abbiati. In 2018, he conducted Wagner’s Parsifal both at the Wiener Staatsoper and Bayreuth. Other new productions in Vienna include Strauss’ Der Rosenkavalier and Daphne, Wagner’s Lohengrin and Mussorgsky’s Khovanshchina; while in London, he made his debut with a new production of Strauss’ Elektra, and subsequently conducted new productions of Mozart’s Così fan tutte, Strauss’ Die Frau ohne Schatten and Wagner’s Tannhäuser.
On the concert platform, the combination of innate musicality and rigorous Russian pedagogy has ensured that Bychkov’s performances are highly anticipated. In the UK, in addition to regular performances with the London Symphony Orchestra, his honorary titles at the Royal Academy of Music and the BBC Symphony Orchestra – with whom he appears annually at the BBC Proms – reflect the warmth of the relationships. In Europe, he tours frequently with the Royal Concertgebouw Orchestra, the Vienna Philharmonic and Munich Philharmonic, as well as being an annual guest of the Berlin Philharmonic, the Leipzig Gewandhaus, the Orchestre National de France and the Accademia Nazionale di Santa Cecilia; in the US, he can be heard with the New York Philharmonic, Chicago Symphony, Los Angeles Symphony, Philadelphia and Cleveland Orchestras. In 2018/19, in addition to his commitments to the Czech Philharmonic, Bychkov will conduct the Leipzig Gewandhaus, the Berlin and Munich Philharmonics, the Royal Concertgebouw, Santa Cecilia, the Cleveland Orchestra and the New York Philharmonic.
Recognised for his interpretations of the core repertoire, Bychkov has worked closely with many extraordinary contemporary composers including Luciano Berio, Henri Dutilleux and Maurizio Kagel. In recent seasons he has worked closely with René Staar, Thomas Larcher, Richard Dubignon, Detlev Glanert and Julian Anderson, conducting premières of their works with the Vienna Philharmonic, New York Philharmonic, Royal Concertgebouw and the BBC Symphony Orchestra at the BBC Proms.
Bychkov’s recording career began in 1986 when he signed with Philips and began a significant collaboration which produced an extensive discography with the Berlin Philharmonic, Bavarian Radio, Royal Concertgebouw, Philharmonia, London Philharmonic and Orchestre de Paris. Subsequently a series of benchmark recordings – the result of his 13-year collaboration (1997-2010) with WDR Symphony Orchestra Cologne – include a complete cycle of Brahms Symphonies, and works by Strauss (Elektra, Daphne, Ein Heldenleben, Metamorphosen, Alpensinfonie, Till Eulenspiegel), Mahler (Symphony No. 3, Das Lied von der Erde), Shostakovich (Symphony Nos. 4, 7, 8, 10, 11), Rachmaninov (The Bells, Symphonic Dances, Symphony No. 2), Verdi (Requiem), Detlev Glanert and York Höller. His recording of Wagner’s Lohengrin was voted BBC Music Magazine’s Disc of the Year in 2010; his recording of César Franck’s Symphony in D minor was the Recommended Recording of BBC Radio 3’s Record Review’s Building a Library; and his recent recording of Schmidt’s Symphony No. 2 with the Vienna Philharmonic was selected as BBC Music Magazine’s Record of the Month.
Semyon Bychkov was named 2015’s Conductor of the Year by the International Opera Awards.
We are thrilled to announce that Semyon Bychkov is named the Chief Conductor & Music Director Designate of the Czech Philharmonic from the 2018/19 season. Please read the press release below.
Appl, Bychkov, Dausgaard, Degout, Finley, Meir Wellber, Perahia, Petrenko and Vedernikov Capture Nominations for the 2017 Gramophone Awards
The shortlist for the 2017 Annual Gramophone Awards is announced, and IMG Artists is delighted to congratulate its extraordinary nominated artists. Celebrating its 40th anniversary, the “Oscars for Classical Music” will be announced on 13 September at a star-studded...
“From the first trumpet call to the final hectic bars of the crowning rondo, the Kennedy Center audience was in thrall. Quiet and attentive throughout, it exploded with applause at the final chord. Each orchestral section was superb, from high brass (that trumpet again), to solid, musical low brass in perfect ensemble, Mahler’s all-important horns speaking loudly when asked, with the strings, high to low, smooth, singing and powerful, winds inaudible in the tuttis but brightly characterful when Mahler asks for their individual or sectional presence, and, of course, the superb percussion. All responded alertly to Bychkov’s requests from very loud to very soft and all gradations in between. It was amazing to hear subito-pianos and pianissimos so miraculously achieved by so many musicians.
None of this would have made a difference without Bychkov himself on the podium. Yes, the opening funeral cortege was a bit measured, and the movement as a whole, no matter how well conducted (and it was last night), is a bit of a trial. Reaching Parts II and III, the music, conductor, and orchestra came fully into accord: The Scherzo was a delight (if the music is a little long winded, blame the composer), and the Adagietto came across as a love song, not an endless dirge. The humorous Rondo brought out the best from everyone.
So back to the question: which orchestra is the world’s greatest? On this occasion, there was only one correct answer: the Royal Concertgebouw under Semyon Bychkov. Case closed.”
“Bychkov calls the ‘Leningrad’ Symphony ‘a cry from the heart against death’… His interpretation goes wider than anger and despair, though both emotions coursed through every bar. There was, throughout, a sense of historical and cultural continuity under threat. It’s the best thing I’ve heard Bychkov do, and one of the greatest performances of the work in recent years.”
“Conductor Semyon Bychkov… succeeds in maintaining lucid orchestral textures and achieves a finely judged balance between stage and pit.”
“Each of [this new work’s] four movements is fastidiously shaped, and in each there are outbursts of anarchically dissonant fury. But under Semyon Bychkov’s baton the BBC Symphony Orchestra delivered a superbly detailed performance, with the sudden turns into pastiche-Mahler and pastiche-Bach opening like wondrous flowers in a parched terrain. The rest of this Prom was of a similarly high standard. Mezzo Elizabeth Kulman brought rare grace to Wagner’s Wesendonck-Lieder – the beauty of her ‘Im Treibhaus’ took the breath away – while Strauss’s An Alpine Symphony did all that such high-octane program-music is supposed to do.”
“In the Albert Hall’s generous space Strauss’s colossal aural panoroma of a day’s hike on a Bavarian mountain seemed to have found its natural home. Conductor Semyon Bychkov gave the grand passages the time they needed to glow as well as roar, and he made sure the rare delicate passages really told, like the wonder-struck moment when the climber reaches the summit and is lost for words. Strauss’s symphony was the Prom’s summit in terms of aural splendour, but the Symphony No.2 ‘Cenotaph’ by 53-year-old Austrian composer Thomas Larcher wasn’t far behind. There wasn’t a dull moment in this 35-minute piece, cast in the traditional symphonic four movements. Familiar ideas were made to seem brilliant and new, partly by super-bright orchestration, partly by sheer insistence … In between these two diverting pieces, both huge but somehow weightless, it was good to hear something of real substance. Wagner’s Wesendonck-Lieder are often given a sultry air, as if to reveal the all-too-human erotic feelings behind the mystical sentiments of the poetry. Here mezzo-soprano Elisabeth Kulman gave the songs a lovely chaste quality, supported with the utmost delicacy by Bychkov and the BBC SO, which was surprising and deeply moving.”
“The Philharmonic remains a superb Mahler orchestra more than a century after the composer led it and half a century after Leonard Bernstein secured its Mahler tradition, and Mr. Bychkov made the most of it despite the hall’s intractable acoustics. Nothing was overblown, and the balances among the various sections, especially between brasses and woodwinds, were exquisite … All in all, an excellent outing for orchestra and conductor.”