One of the brightest representatives of the Russian violin school, Sergei Dogadin is establishing a career as soloist and chamber musician that takes him across Russia and the world.
Dogadin has won some of the most prestigious violin competitions, including IX Joseph Joachim International Violin Competition in Hannover (2015), Singapore International Violin Competition (2018), and most recently the XVI Tchaikovsky International Competition in Moscow, where he was awarded first prize and the Gold Medal. This major success led to invitations from Valery Gergiev to perform with him and The Mariinsky Orchestra at the European summer festivals in Mikkeli and Grafenegg, as well as Moscow’s First Zaryadye International Festival in autumn 2020. He also took part in the Tchaikovsky Competition Winners’ tour of Japan, combining concerto performances with the Tokyo Symphony Orchestra conducted by Norichika Iimori, and recitals in various chamber music formations.
His profile rapidly rising, Dogadin will soon make his debuts with Chicago Symphony Orchestra and Edo de Waart, Royal Philharmonic Orchestra and Vasily Petrenko, and Orchestre de la Suisse Romande and Jonathan Nott, with whom he returns to Grafenegg Festival. Previously, he has worked with Shanghai Symphony Orchestra and Manfred Honeck, NDR Radiophilharmonie Hannover with both Andrew Manze and Robert Trevino, and West Australian Symphony Orchestra with Nicholas Carter.
In Russia, Dogadin has performed with all the major orchestras, and in addition to his growing association with 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 he returns to work with the orchestra for a number of projects, including the opening of the Rostropovich Festival in Moscow and a tour of Asia in spring 2020. Later in the year, he appears at prestigious German festivals Kissinger Sommer and Rheingau Musik with the State Symphony Orchestra of the Republic of Tatarstan and Alexander Sladkovsky.
An active and passionate chamber musician, in 2019/20 Dogadin appears at the Philharmonie in Munich as part of MPHIL360° Festival, Sociedad Filarmónica de Bilbao and Arts Square Festival in St Petersburg, to mention a few highlights. He regularly performs with internationally renowned musicians such as Daniil Trifonov, Narek Hakhnazaryan, Denis Matsuev, David Geringas, Elisabeth Leonskaja, Alexander Knyazev, Maxim Rysanov and Alexei Ogrintchouk.
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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