One of the brightest representatives of the Russian violin school, Sergei Dogadin is establishing a strong international career as soloist and chamber musician with his captivating performances.
Dogadin has won a number of the most prestigious violin competitions including the XVI Tchaikovsky International Competition in Moscow, where he was awarded first prize and the Gold Medal (2019). This accolade led to invitations from Valery Gergiev to perform with him and The Mariinsky Orchestra at the European summer festivals. In addition, he took part in the Tchaikovsky Competition Winners’ tour of Japan, combining concerto performances with the Tokyo Symphony Orchestra conducted by Norichika Iimori, and chamber recitals. During the 2020/21 season Dogadin will make his debuts with Westdeutscher Rundfunk Sinfonie Orchester under Macelaru, Orchestre National du Capitole de Toulouse/Ibrahimov, appear at the Philharmonie in Paris and Philharmonie Luxembourg with Russian National Orchestra/Gergiev, L’Orquestre Symphonique de L’Opera de Toulon/Eivind Gullberg Jensen, Ljubljana Winter Festival and the Estonian National Symphony Orchestra/Nikolay Alexeev.
He has recently worked with Tonkunstler-Orchester/Fabien Gabel at the 2020 Grafenegg Festival, Shanghai Symphony Orchestra/Manfred Honeck, NDR Radiophilharmonie Hannover with both Andrew Manze and Robert Trevino, and the West Australian Symphony Orchestra under Nicholas Carter. In Russia, Dogadin has performed with all the major orchestras, and in addition to performances The Mariinsky Orchestra and Valery Gergiev, he continues to develop his relationship with St Petersburg Philharmonic Orchestra and Yuri Temirkanov. He toured the UK with them in 2019 under the baton of Vassily Sinaisky, and in 2019/20 worked with the Orchestra for a number of projects, including the opening of the Rostropovich Festival in Moscow.
An active and passionate chamber musician, in 2020/21 Dogadin appears, amongst others, at the Theatre de Champs Elysees in Paris and at the St Petersburg Philharmonic Hall with Evgeny Sinaisky and regularly performs with internationally renowned musicians such as Daniil Trifonov, Narek Hakhnazaryan, Denis Matsuev, David Geringas, Elisabeth Leonskaya, Alexander Knyazev, Maxim Rysanov and Alexei Ogrintchouk. Other competition successes include the Singapore International Violin Competition (2018), IX Joseph Joachim International Violin Competition in Hannover (2015).
Dogadin is currently continuing his studies under Boris Kuschnir at the University of Music and Performing Arts in Vienna, having previously studied with him in Graz. He has also studied at St Petersburg Conservatory with Vladimir Ovcharek, International Menuhin Music Academy in Gstaad with Maxim Vengerov, and Hochschule für Musik und Tanz in Cologne with Mihaela Martin. He plays a 1721 Domenico Montagnana violin on loan from the Rin Collection in Singapore and has had the opportunity to perform on various rare instruments including legendary Paganini’s “Sivori” violin by Jean-Baptiste Vuillaume and an Amati once owned by Johann Strauss.
“In Mozart’s K216 he […] showed a winning lightness of touch: he floated; he had a nice way with sotto voce. There were exquisite sections in the second movement, and the finale was poised and charming.”
(The Strad, October 2019)
Dogadin does not make pure virtuoso food out of this, [Paganini Violin Concerto No.1], but seeks for the substance, [and] the beauty in this violin concerto. And he is looking for the virtuoso, […] who masters the flawless, radiant perfection that is necessary here, as well as the richly romantic violin stroke of Tchaikovsky. The tempi are slowed down, the tune has the sharpness and precision of a Japanese knife.
(Neue Presse, October 2018)
“[…]a most extroverted reading of the Tchaikovsky [Violin Concerto], no less from a full-blooded Russian. Grand in movement and gesture, his playing rose to meet that outward extravagance, and the 1st movement’s cadenza sparked, crackled and caught fire, setting the passionate concerto alight. A master of nuance, he was also capable of much subtlety, as in the muted central Canzonetta. However, one suspects this was just the much-needed respite before being let off the leash into the most rip-roaring of finales.”
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