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BIOGRAPHY

Alexei Volodin works with orchestras such as the New York Philharmonic and the NHK, Mariinsky Theatre, and London Symphony orchestras. Conductor collaborations include Valery Gergiev, Vladimir Fedoseyev, Marc Albrecht, and Semyon Bychkov.

Recent highlights have included appearances with the Radio-Sinfonieorchester Stuttgart des SWR, the Symphonieorchester des Bayerischen Rundfunks, Bamberger Symphoniker, and the Netherlands and Royal Philharmonic orchestras. Engagements in 2013/14 season and beyond include his debut with Rotterdam Philharmonic Orchestra, and Mariinsky Theatre Orchestra at the Baltic Sea Festival (both with Valery Gergiev); the Danish National, Swedish Radio and BBC Symphony orchestras; the Orchestra Sinfonica Nazionale RAI of Turin, and Musikkollegium Winterthur.

Recitals are a prominent part of Volodin’s engagements and following his critically acclaimed debut at London's International Piano Series in 11/12 season, last season he performed at the Vienna Konzerthaus, the Alte Oper Frankfurt, Lisbon’s Gulbenkian Foundation, Munich's Herkulessaal, and the Concertgebouw Amsterdam. Next season, he will perform recitals at venues including the Great Hall of the Moscow Conservatoire, BOZAR, Wigmore Hall, Madrid’s Auditorio Nacional, Paris’ Salle Pleyel and Rome’s Teatro Olimpico. Chamber music collaborations include concerts with the Borodin Quartet.

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REVIEWS

“Ravel’s Miroirs [were] vividly characterised – sweet languor for ‘Oiseaux tristes’, crackling energy for ‘Alborada del gracioso’. And his Chopin encores glittered.” (Michael Church, The Independent, January 2014)

"Since Alexei Volodin won the Géza Anda Competition in Zurich in 2003, he has become part of the world elite. He shows an impressive sensitivity of touch, and a dynamic and dramatic breadth of expression… it's difficult to remember when we heard these pieces better played. Alexei Volodin demonstrates that he is one of the great pianists of our time." (Carsten Dürer, PIANONews, May/June 2013)

“Alexei Volodin was the sensational soloist in the Prokofiev – a hard-hitting, edgy performance in which he played with staggering technique and furious accuracy”. (Tim Ashley, The Guardian, March 2013)

“Volodin offered the thrilling performance that this work required; a total success”. (Xavier Pujol, El Paìs, May 2012)

 “...the outer movements crackled with energy, while the minuet had the sweetest cantabile… Stravinsky’s Petrushka allowed this coolly relaxed young player to push virtuosity to the limits, delivering perfectly controlled explosions of notes, and turning raucous discords into wild beauty. Each of Volodin’s four encores, including a brilliant jazz number, was a winner, with a late Chopin Nocturne setting the exquisite final seal.” (The Independent, June 2012)

“ …working on a large scale, with natural phrasing and thoughtful rubato, he showed his persuasive pianism.” (Ongaku No Tomo, March 2012)

"The Russian Alexei Volodin and the SWR Symphony Orchestra under Kirill Karabits performed Liszt's first piano concerto and his "Totentanz".  Volodin brought not just technical brilliance but other qualities, heard also in the encore, a Chopin nocturne, in which he made each note ring out like bells...a small miracle." (Neue Luzerner Zeitung, November 2011)

"He has terrific technique, and proved a consummate interpreter of Prokofiev's bruising concerto with its pounding octaves and triplet rhythms and swelling gales of orchestral accompaniment...The audience found itself holding its breath as the opening andante-allegro reached a thrilling crescendo, and smiling at the whirligig of fairground sound in the second movement and the epic swell of the final allegro "(Liverpool Echo, September 2011)

"Master pianist Alexei Volodin is a virtuoso. Impressive, and not purely for effect in Prokofiev's Piano Concerto No. 3. Constantly jumping solos, chord progressions, lightning fast runs and cross over figures are demanded. This was no problem for Volodin; who was percussive and precise where needed, individually or with orchestra, reliably and with demonstrative love of the music, the witty, the grotesque. After the final gallop, the conductor clasped his hand...testifying his respect for the pianist." (Daily Gazette, June 2011)