”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)
‘’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)
“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)