- About“Masterful Balance: Slobodeniouk’s technique is outstanding – One is dazzled by his precision, his elegance, which makes any extra movements superfluous, by his presence of mind in the rhythmically challenging passages and by his fine feeling for orchestral colour.” Rheinpfalz Dima Slobodeniouk combines his native Russian roots with his years of musical study in Finland, where he now makes his home. Drawing together the powerful musical strengths of these countries has placed Slobodeniouk as one of today’s younger generation of deeply informed and intelligent artistic leaders on the podium. Based on a consistent re-invitation rate from the past season, 2010/11 season will see Slobodeniouk return to the Orchestre de Paris with Gil Shaham as soloist, Netherlands Radio Philharmonic, Deutsche Staatsphilharmonie Rheinland Pfalz, Helsinki Philharmonic, Tapiola Sinfonietta, the Ulster Orchestra and Estonian National Symphony Orchestra. He makes debuts with the Dresden Philharmonie with Håkan Hardenberger as soloist, Orchestre Philharmonique de Strasbourg with Alexander Toradze as soloist, Malmö Orchestra with Arabella Steinbacher, Swedish Radio Symphony Orchestra, Frankfurt Radio with Lise da la Salle, Orchestra of St. Gallen with Yvgeny Sudbin, and with Avanti!, Finland’s leading chamber ensemble, he directs a programme with Monica Groop. 2009/10 saw Slobodeniouk make impressive debuts resulting in reinvitations as mentioned to l’Orchestre de Paris and also Netherlands Philharmonic in Amsterdam’s Concertgebouw, the Luzerner Symfonieorchester, and the Orchestra Svizzera Italiana in Lugano. He made his USA debut with the Cincinnati Symphony Orchestra and returned to the City of Birmingham Symphony Orchestra, Ochestra of RAI Turin, and Gothenburg Symphony Orchestra. As Principal Conductor of the Oulu Symphony (2005-2008) he led both a season of concerts and opera productions including Les Contes d’Hoffman, Don Giovanni, Gluck’s Orfeo e Eurydice. In May 2010 he returned to the Royal Opera House, Stockholm to conduct Tosca where he had previously made his debut with Prokofiev’s Fiery Angel. Slobodeniouk is becoming widely appreciated for his collaborations with peer composers. As Artistic Director of the 2009 Korsholm Music Festival he featured the works of Sebastian Fagerlund. This young Finnish composer will be presented on a BIS recording conducted by Slobodeniouk with Gothenburg Symphony Orchestra (release: Spring 2011). Also in 2010/11 season he will premiere works of Miriam Tally, Olli Kortegangas and he joins the Stavanger Symphony for a festival featuring the works of Steve Reich. Slobodeniouk, Moscow-born, studied violin at the Central Music School under Zinaida Gilels and J. Chugajev between 1980-1989. He continued at the Conservatory’s Music Institute, Moscow in 1989 and at the Middle Finland’s Conservatory and the Sibelius Academy under Olga Parhomenko. In 1994, Slobodeniouk also started his conductor studies participating in the class of Atso Almila between the years 1996-1998. He continued his studies at the Sibelius Academy under the guidance of Leif Segerstam, Jorma Panula and Atso Almila. He has also studied under Ilja Musinin and Esa-Pekka Salonen.
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- PressPress Quotes ‘’Dima Slobodeniuk conducts this piece as if he wants to prove the critic of the premiere wrong, who was missing the sensual impressions of the sea. He demands firm effects: accents, contrasts and organic swelling. And he gets them. Luscious string sounds, harp, percussion and fabulous woodwinds and french horns.’’ ‘Leipziger Volkszeitung, 29th January 2011 (Gewandhaus Orchester, Debussy; La Mer) ‘’Following the roaring success of his first appearance, [in January 2009] such an achievement could only merit an invitation to return to the podium and take charge of the Orchestre de Paris once again. Petrouchka (1911), performed here in its original version, rarer and calling for a more equipped orchestra than the revised version in 1947. The lack of opulence and shimmers thus appears less marked and, thanks to an orchestra on top form, the room was filled with a wonderful sound. Treating the score more like that of a symphony than that of a ballet, Slobodeniouk does not seem primarily concerned with a picturesque interpretation… but boredom never threatened to make itself felt: dazzling , bright and singing, his interpretation is equally as poetic.’’ www.concertnet.com 3rd December 2010 (Orchestre de Paris) ‘’Slobodeniouk performed perfectly, acting with great precision but strong enough expression to communicate even the subtlest nuances to the orchestra.’’ European Culture News, 23rd November 2010 (Orchestre Philharmonique de Strasbourg) “The young Russian conductor Dima Slobodeniouk… conducted the orchestra for the first time and was very convincing with his engaged and precise conducting.” Sächsische Zeitung, 18th October 2010 (Dresden Philharmonie) ‘’Born in Moscow and trained in Russia and Finland, Slobodeniouk (Slo-bo-den-YOOK) led with ease and conviction, drawing a performance from the CSO that was remarkable for its precision and beauty, especially in such a short time with the orchestra.’’ www.musicincinnati.org, February 2010 (Cincinnati Symphony, USA debut) ‘’Opolais is not quite a household name (she will be one day, make no mistake), and conductor Dmitri Slobodeniouk has yet to establish himself on the UK concert circuit, but both are artists with huge talent and great appeal. His support for Opolais in extracts from Tchaikovsky’s Eugene Onegin and Verdi’s Otello was perfectly judged… The most impressive orchestral item was Tchaikovsky’s Symphony No. 4. By allowing drama to emerge naturally as the music progressed, the climaxes of the first movement and much of the finale had tremendous veracity and power, while the dazzling sectional contrasts in the scherzo demonstrated just how well co-ordinated and disciplined these players are.’’ Birmingham Post, October 2009 (City of Birmingham Symphony Orchestra) ‘’Dmitri Slobodeniouk, born in Moskow, stood on the podium, and one had the impression that the orchestra were enjoying making music with him. The conductor was a sensitive accompanist; he held a good balance between orchestra and soloists, with the result that the soloist could always be heard. Altogether it was a very good performance of this concerto. One could see that the conductor was almost living inside the piece. His precise gestures effortlessly communicated the sound colours he had in mind, and he was always in control of the orchestra. This is by no means so easy with this complicated score, which demands an experienced conductor. He motivated the orchestra, which was in good form and able to deliver a rich palette of sound in which all the parts of the orchestra distinguished themselves. The acclaim was long-lasting and the orchestra themselves rightly applauded the inspired conductor, as they did once again shortly after the performance as he left the concert hall.” Mindener Tageblatt, 5th March 2009 (Nordwestdeutsche Philharmonie Herford, Bartok violin concerto) “The concert began with some rare, late Nielsen, his rhapsodic overture A Fantasy Trip to the Faroe Islands, a mixture of brooding seascape and folksy celebration, with a lingering final fade that Slobodeniouk and the orchestra judged perfectly.” The Guardian, 9th January 2009 (City of Birmingham Symphony Orchestra, Nielsen Symphony No 4) “…it had polish and it underlined the very quirkiness of Nielsen’s vision. Slobodeniouk, a Russian trained in Helsinki, must be congratulated on achieving so much at short notice.” Financial Times, 8th January 2009 (City of Birmingham Symphony Orchestra, Nielsen Symphony No 4) ‘’Slobodeniouk’s signalling is outstanding. The orchestra feels unmistakably sure of itself. In Bela Bartok’s Second Violin Concerto, one is dazzled by his precision, his noblesse, which puts paid to any kind of superfluous waving about, his presence of mind in the occasionally bizarrely rhythmised passages and his feeling for fine sound colours. The soloist Patricia Kopatchinskaja from Moldova could devote herself totally freely to her overwhelming spiritedness without fearing that anything would go wrong… Anton Bruckner’s Third Symphony also sounded masterfully balanced, homogenously and dynamically. To take Bruckner’s giant blocs and melt them together, harmonise them under an arch, a great bow so to speak, is no easy task at all.” Rheinpfalz,16th September 2008 (Staatsphilharmonie Rheinland Pfalz)
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