Andrey Boreyko
Conductor

“'Revelatory' is not too strong a word for his conducting. He knows precisely what he wants and how to elicit it, and the players seemed to enjoy providing it.” (St. Louis Post-Dispatch)

Contacts

Janet Marsden +44 (0)20 3725 9140
Nadja Saborova +49 (0)89 6797 104 82

Biography

Music Director: Orchestre National de Belgique
Music Director: Naples Philharmonic
Principal Guest Conductor: Orquesta Sinfónica de Euskadi

 

Andrey Boreyko has been Music Director of Orchestre National de Belgique since September 2012, expanding its activities nationally and internationally and balancing traditional repertoire with innovative, diverse programming which includes a number of commissions from around the world. In the 2015/16 season, new works come from Georgia (Gia Kancheli), Turkey (Fazil Say) and Belgium (Frederik Neyrinck). Additionally he is Principal Guest Conductor of Orquesta Sinfónica de Euskadi.

Music Director: Orchestre National de Belgique
Music Director: Naples Philharmonic
Principal Guest Conductor: Orquesta Sinfónica de Euskadi

 

Andrey Boreyko has been Music Director of Orchestre National de Belgique since September 2012, expanding its activities nationally and internationally and balancing traditional repertoire with innovative, diverse programming which includes a number of commissions from around the world. In the 2015/16 season, new works come from Georgia (Gia Kancheli), Turkey (Fazil Say) and Belgium (Frederik Neyrinck). Additionally he is Principal Guest Conductor of Orquesta Sinfónica de Euskadi.

Last season Boreyko began his tenure as Music Director of the Naples Philharmonic in Florida. Also much sought-after as a guest conductor in North America, he has worked with the New York Philharmonic, The Cleveland and Philadelphia orchestras; and the Chicago, Boston, Pittsburgh and Montreal symphony orchestras. 2015/16 features Boreyko’s debut with the San Francisco Symphony and concerts with the Baltimore, Indianapolis and Toronto symphony orchestras. A prolific conductor of the great symphonic repertoire and a passionate advocate for less widely known works, Boreyko conducted one of the most anticipated US premieres of last season when he led the Los Angeles Philharmonic in their first performance of Górecki’s Symphony No.4 to considerable acclaim. 

In Europe, highlights of the 2015/16 season include appearances with Konzerthausorchester Berlin, WDR Sinfonieorchester Köln, Netherlands Radio and Helsinki philharmonic orchestras and an extensive tour of Germany with Orchestre National de Belgique, featuring composer and soloist Fazil Say. Boreyko will also perform with his long-standing partners, Düsseldorfer Symphoniker and Radio-Sinfonieorchester Stuttgart des SWR, joining the latter for their 70th anniversary concerts. Previously he has conducted orchestras such as Berliner Philharmoniker, Deutsches Symphonie-Orchester Berlin, Münchner Philharmoniker, Staatskapelle Dresden, Gewandhausorchester Leipzig, Wiener Symphoniker, Filharmonica della Scala, Orchestre de Paris, Tonhalle-Orchester Zürich, Royal Concertgebouw, London Symphony, Philharmonia and Rotterdam Philharmonic.

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Contacts

Janet Marsden +44 (0)20 3725 9140
Nadja Saborova +49 (0)89 6797 104 82

Reviews

“[…] 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.” (Musical Toronto, May 2016)

“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.” (Frankfurter Rundschau, April 2016)           

“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)

“[…] 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.” (Musical Toronto, May 2016)

“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.” (Frankfurter Rundschau, April 2016)           

“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)