conductor

Born in 1984 in Moscow. Graduated from Moscow State Conservatory. P. I. Tchaikovsky in the following specialties: choral conducting (class of Prof. S. S. Kalinin, 2008) and opera and symphony conducting (class people's artist Russian prof. V.K. Polyansky, 2010). Laureate of the All-Russian Conducting Competition (Moscow, 2008).

From 2008 to 2011 - Artistic director and conductor of the State Choir music college them. Gnesins, teacher specializing in conducting.

In 2008 he founded the ensemble Questa Musica, with whom he carried out a series

major projects in Russia and abroad.

Since 2011 - teacher at Moscow State Conservatory named after. P.I. Tchaikovsky.

Since 2011 - conductor of the State Academic Symphony Chapel of Russia (artistic director Valery Polyansky).

In September 2012 in Bolshoi Theater under the direction of Philip Chizhevsky, the premiere of Sergei Nevsky’s opera “Francis” took place, and in October 2012 - the premiere performance of Michael Nyman’s opera “Prologue to Purcell’s Dido and Aeneas” with the State Concert Hall of Russia orchestra in Perm. In 2013, with the ensemble Questa Musica, he staged “The Story of a Soldier” by I. Stravinsky (choreography by Oleg Glushkov). Since 2014 he has been conductor of the Bolshoi Theater. In 2014, he staged Mozart’s opera “Così fan tutte” at the Buryat State academic theater opera and ballet (produced by Hans-Joachim Frei). Is musical director first Baroque Festival at the Bolshoi Theater (season 2014/2015).

In June 2015, together with director Boris Yukhananov, he staged the opera series “The Drillers” at the Stanislavsky Electrotheater, which includes world premieres of operas by leading Russian composers: Dmitry Kurlyandsky, Boris Filanovsky, Alexey Syumak, Sergei Nevsky, Alexey Sysoev and Vladimir Rannev.

Since 2016, Philip Chizhevsky has been collaborating with Tokio New Sity Orchestra (Japan, Tokyo).

In February 2016, with Questa Musica, he took part in the Baroque Music Festival in Linz (Austria). Together with violinist Roman Mints, he recorded the music of Leonid Desyatnikov (“Sketches for Sunset” and “Russian Seasons”). Is artistic director II International Festival Orthodox singing “The Enlightener” (Fr. Valaam). As part of the V festival of contemporary music “Another Space”, together with V. Yurovsky and F. Ibragimov, he performed the Russian premiere of Stockhausen’s work “Groups” for three orchestras and three conductors.

Twice nominated for theater award“Golden Mask” for the best work of a conductor (2013 S. Nevsky’s opera “Francis”, Bolshoi Theater and 2016 opera series “Sverliytsy”, Stanislavsky Electrotheatre)

Member of the theater award jury Golden Mask» 2017

Collaborates with leading Russian and foreign orchestras, including: Tokio New City Orchestra, Brno Philharmonic Orchestra (chief conductor - Alexander Markovits), Brandenburgische Staatsorchester (artistic director Howard Griffiths), Lithuanian Chamber Orchestra, Theater Orchestra New Opera"(chief conductor Jan Latham-Koenig), National Philharmonic Orchestra of Russia (artistic director Vladimir Spivakov), New Russia(artistic director: Yuri Bashmet), Russian Philharmonic (artistic director: Dmitry Yurovsky), State Symphony Orchestra named after. E. F. Svetlanova (art director: Vladimir Yurovsky), Musica Viva (art director: Alexander Rudin).

Elena Musayelyan

The young conductor and his wife talk about their ensemble Questa Musica - one of the most pleasant new products in Moscow musical life

Philip Chizhevsky is a name that has finally extended the list of conductors who are “the right ones to follow” in Moscow, and has moved Teodor Currentzis and Vladimir Yurovsky from the category of “young” to the category of “mature”. Chizhevsky received a diploma from the Moscow Conservatory in 2008 choral conductor, in 2010 - opera and symphony. Since January 2011, he has been working in the State Academic Symphony Chapel of Russia (directed by Valery Polyansky). But back in 2008, together with his wife Maria Griliches, he founded the ensemble Questa Musica, whose popularity Lately grows like a snowball. The ensemble specializes in works of the Renaissance and Baroque, as well as compositions modern composers. Among the large-scale projects are the production of Purcell’s opera “Dido and Aeneas”, the performance of Stravinsky’s “Les Noces” together with the Mark Pekarsky percussion ensemble, an opera by Sergei NevskyOutlandat "Platform" and "Francis" at the Bolshoi Theater, Dmitry Kurlyandsky's opera "The Drillers". Very soon there will be another premiere on the Platform - “Passion” by Alexander Manotskov. ELENA MUSAELYAN spoke with the creators of the ensemble.

- Who came up with the idea of ​​creating the ensemble? Questa Musica?

Maria Griliches: The idea belonged to the composer Sasha Matveeva, who studied at the same time as us at the composition department of the Moscow Conservatory, and, one might say, initially this was her production project.

Philip Chizhevsky: We invited my friends from the Academy of Choral Art and immediately recorded a demo disc, which included compositions that had little connection with each other, it was such a medley: both Russian sacred music and folk songs, and classics, and even spirituals.

Griliches: Soon we went on our first tour to Venice and gave a concert of Russian sacred music there. And the second season started with solo concert at the House of Music. This was the birth of the ensemble Questa Musica- the core of the guys who were with us then still remain in our main lineup. Soon after this concert, Sasha separated from us, and Philip and I began to pull this burden together.

The posters indicate that the artistic director of the ensemble is Maria, and the conductor is Philip. So you divided creative and administrative responsibilities within your family tandem?

Griliches: We do not have a clear division that I am only the organizer, and Philip is the creator. We do everything together - for example, there was a rehearsal, and then we talk everything through together, discuss some creative moments. There were several projects that I conducted, but, naturally, chief conductor- Philip. And, of course, he helps me in terms of organization. On some poster they wrote that Philip Chizhevsky was both artistic director and conductor, on some they didn’t write, and at first we were jealous of this - which of us was which. And now I don’t care at all, it doesn’t matter to me at all.

- Ensemble Questa Musica unusual for its versatility. As a rule, there are either instrumental chamber ensembles, or vocal-choral, and Questa Musica includes both vocal and instrumental parts.

Griliches: Initially Questa Musica was a vocal ensemble, but later instrumentalists began to join us - first for individual projects. And then they somehow grew very close to us.

When the conductor opens the score, and nothing is clear there at all, one will immediately close it, and the other, on the contrary, will say “wow.”

Chizhevsky: You know, Questa Musica in Masha’s and my understanding, these are two people, she and me. Because we had projects with completely different compositions, where I did not act as a conductor, but, for example, sang. There was a performance of Gesualdo's madrigals, when I read the text and even played the percussion instruments. Let’s take projects such as Sergei Nevsky’s “Francis” at the Bolshoi Theater, when we had both a choir and enough big orchestra. When we performed Stravinsky’s “Le Noces,” the choir and soloists were ours, we invited drummers from Pekarsky’s ensemble, and the pianists were conservatory teachers: Yuri Martynov, Ivan Sokolov, Mikhail Dubov, Vyacheslav Poprugin...

Griliches: Of course, now there is a permanent core in both the vocal and instrumental parts of the ensemble. This is about eight singers and about fifteen instrumentalists who constantly collaborate with us. When the same composition is maintained, the ensemble grows from time to time. And I, as an artistic director, always fight to ensure that this backbone is preserved as much as possible. Ideally, of course, we would like not to have to select one composition for modern music, and another for ancient music. There are some versatile guys who are equally proficient with both live and modern tools, and that is, of course, amazing.

Chizhevsky: When we do projects with early music, there are some nuances, for example, with brass players. There are only a few trumpeters playing natural trumpets in Russia, which is why they migrate from group to group. It's the same with horns. By the way, we do not believe that all music, say, of the classical era must be played on gut strings and in 30th tuning. It's certainly interesting, and if you have enough time, why not? But this is not an end in itself. After all, you can pay more attention to articulation, composition, stroke, and everything will sound very good and close to authentic. After all, we live in the 21st century, and you can vary all this in terms of sound, make some kind of mixes, syntheses, which at first glance are not very digestible.

One gets the feeling that you have not lost your enthusiasm, which usually happens only at the very beginning. It is clear that when everything starts, everyone works only for the idea. How are you coping with finances now?

Griliches: This is our main problem, because all the guys who play with us are forced to work in parallel at other jobs. Everyone has their own work schedule, you have to look for windows for rehearsals, and it’s always a hassle. It’s not like people came, worked and left. As for free concerts, I try to keep them to a minimum. We already have musicians of the wrong level working for us, and if I call and say: “Hey, we’re going to have such and such a concert, we need help,” this is humanly not good, because the work must be paid. And I feel awkward, I don’t want to position our ensemble as “oh, this is Masha and Philip, they always have everything for free.” We were invited to the Bolshoi Theater by the “Operational Group”; accordingly, we calculated how many rehearsals we should have and how they should be paid for. And through negotiations with the producer we came to a common denominator. In December I conducted Dmitry Kurlyandsky’s opera “The Drillers,” written for our vocal ensemble a cappella. We were invited by the Individual Directing Workshop, Boris Yukhananov, who was in charge of the production. And everything was paid for.

But we have concerts at the Moscow Conservatory, which we absolutely love, we love the Rachmaninov Hall and are always happy to perform there. However, everything there is free, the conservatory does not pay for anything.

Chizhevsky: It turned out very well that we were given a grant for Stravinsky’s Les Noces.

Griliches: It turned out like this. All last season I shouted at all the windows and doors that there was such a young team, at the Department of Culture, at the Philharmonic - wherever I went. And I realized that, in principle, no one needs us. But the Department of Culture advised me to apply to Open Stage for a grant. And we wrote an application for “The Story of a Soldier” and “The Wedding,” which we did together with Alisher Khasanov - this is a director-choreographer, with whom we previously did “Dido.” I went to the Open Stage a certain number of times and submitted documents. And at the end of 2012, they called us from there and said that we had been given a grant for “Wedding.” But in any case, even if we had not received the grant, we already had the “Wedding” planned, it would just be free. I love all our guys very much, I appreciate their work, and for their sake I am ready to go further, ask, prove that our ensemble exists, that the public needs us and we are not doing all this in vain.

- Have you tried to find your sponsor?

Griliches: Yes, but I don't know how to find it. At one time they sent out a bunch of disks and letters. Then somehow they stopped.

- Did you cheat?

Griliches: Certainly. I won’t even lie and say that hack work is not for us. The only thing I always set a condition for myself and all our participants is that this is not a hack, but the same concert, for which we have the same rehearsals as usual. But we have strict limits, there are proposals that I immediately refuse. Naturally, we don’t play in restaurants when people are eating and drinking, as background music... Or if they ask us to play music from a cabaret... We had one corporate event - our vocal ensemble was invited, it was a concert classical music in the Pashkov House, which the company arranged for its clients. We performed in the first part, and Spivakov and the Moscow Virtuosi performed in the second part. In fact, it was a concert in good company. If there were more corporate events like this, we would live better!

On the issue of the ensemble's repertoire. On the one hand, it is quite wide - from Renaissance music to the most modern. In the programs of your subscription to the Moscow Philharmonic, Gesualdo and Sciarrino, Charpentier and Messiaen coexist. But at the same time, you get the feeling that you are deliberately avoiding the romantic “middle” that is familiar to the average listener. There is a moment of challenge here - we will sing and play what we want and we don’t care that only a very narrow circle perceives it?

Chizhevsky: You know, we didn’t even think about this topic. As the program takes shape, we hope that it will be interesting for other people to hear. Now there is an increasing number of audiences who can perceive this music, and, by the way, among non-musicians. There are a lot of intellectual young people who have nothing to do with music: actors, artists. Music is emotions, and if it is presented well, showing how much we ourselves enjoy performing it, then it will not go unanswered.

Our ensemble does not have a clear orientation towards any particular era. We only do what interests us this moment. My deep conviction is that we have no right to play old music, if we don’t know the one that is being written now. What if we play modern music, we begin to look at the ancient one in a completely different way. It’s very close, and it’s always good when a concert program puts old and new music side by side.

Perform a symphony by Haydn, Mozart, Beethoven, any romantic essay, in principle, it is possible without a conductor. But if nothing changes in his presence, then the question arises - why is he needed?

Paradoxically, your ensemble becomes famous thanks to projects in modern music, although many believe that it scares away the listener...

Griliches: This is largely due to Philip's courage as a conductor. When the conductor opens the score, and nothing is clear there at all, one will immediately close it, and the other, on the contrary, will say: wow, what a score, I’ll do everything now. In the notes Outland Nevsky (this was written for our vocal ensemble and a Dutch group), for example, at first I didn’t understand anything at all. What should you do here - sing, whistle? And this experience gives a very powerful charge. We are very interested in overcoming difficulties and learning new things. Each composer has his own technique, and I wonder if we can cope with this, and with this... And I want to do it in such a way that it turns out great and hooks not only us, but also the listeners. It seems to me that Philip, like no one else, perfectly interprets modern music, and in his conductor’s presentation it really comes to life. When we sang Outland, Mitya Kurlyandsky heard us and composed “Sverliytsev” with us in mind.

Chizhevsky: And Nevsky met us at a concert in the Rachmaninov Hall, when we performed Gesualdo a cappella and Purcell’s “Dido” on historical instruments. It’s interesting that he heard us specifically as performers early music. Although, of course, Gesualdo’s madrigals are comparable to the most sophisticated vocal exercises that modern composers can imagine.

- Philip, your personal conducting career is developing quite successfully. You have performed with the orchestra several times Musica V iva , National Philharmonic, you work in the Polyansky Chapel. How do you prioritize if you choose between your career and the development of your brainchild - Questa Musica?

Chizhevsky: Hard to tell. For me, the priority is always what I am doing at the moment. When I am preparing a concert, I am completely occupied only with it. I love you very much Questa Musica, for me this is home. But I feel comfortable everywhere, there has not been a single case when there were any conflicts with other orchestras. Now I want to propose to the director of “New Russia” to do a concert by Morton Feldman and combine it in the program with Myaskovsky’s Tenth Symphony. There is another project - to play works by Sciarrino and Monteverdi. Monteverdi to perform on historical instruments with our ensemble, and from Sciarrino to play Story di altre story for accordion and orchestra, using music by Mozart and Scarlatti. But this is still in the plans.

- Who is the conductor in your understanding?

Chizhevsky: The conductor is an instrument for the orchestra. He, of course, must have the qualities of both a teacher and a leader. He must offer something and do so that they believe him, must be able to distribute energy and direct it to the right direction. He must be a psychologist, maybe say something, but to a greater extent, of course, he must show with his hands, as if touching sounds, weighing them...

- Do you speak in words about what you want from the performers?

Chizhevsky: I try to talk as little as possible and show everything with my hands. If something doesn't work out, I take it personally - it means I didn't show it well enough. I demand that the musicians respond to my gesture.

- Can I show everything?

Chizhevsky: I think so. The conductor's task is to make everyone feel the same way as I do, but at the same time one cannot impose one's will. Every musician should feel comfortable. And in the end, if everyone perceives this music as I do, then it will be a single organism that doesn’t really need a conductor. Then the conductor can step aside and enjoy the performance. But before that he has to do a lot of work.

The task is to do with the orchestra what it cannot do without the participation of the conductor. In principle, it is possible to perform a symphony by Haydn, Mozart, Beethoven, or any romantic composition without a conductor. But if nothing changes due to his presence, then the question arises - why is he needed? Then, I like to change some things at the final performance, even the dynamics. When everything is learned, why not do something sudden. Of course, within reasonable limits. But I will never demand at rehearsals the same things that I will do at a concert.

The ensemble is now in its fifth year. The period is sufficient to look back and evaluate what has been done. To sum it up, what does your ensemble have that others don’t?

Griliches: In our ensemble there is a living and genuine love for music, we have a soul, internal energy and expression that unites us all. We have already earned a name for ourselves, and when they say Questa Musica- That means certain quality. And, I think, we already have an established style, our own sound.

Chizhevsky: And also faith in what we do, which helps us live, play, create, and gather musicians.

- What goals would you set for your 10th anniversary? Questa Musica?

Chizhevsky: Play the opera "Parsifal".

- This is what composition it should grow to Questa Musica! As I understand it, Philip is preparing a mini-version of the Polyansky Chapel?

Griliches: Chizhevsky Chapels. And if we put aside the creative aspects, of course, I would like financial stability so that I can calmly look our musicians in the eyes. They all have families, not only Philip and I have children, many in the ensemble have children, and I am offended when I understand that they are forced to work ten jobs, because they love music and our ensemble, believe in us and want be with us.

Born in 1984 in Moscow. He graduated from the Moscow Conservatory with two specialties: choral conducting (class of Stanislav Kalinin) and opera and symphony conducting (class of Valery Polyansky). In 2008 he became a laureate All-Russian competition conductors in Moscow, and then founded the ensemble Questa Musica, with which he works in Russia and abroad. In 2013, with this group he presented a production of Stravinsky’s “Tale of a Soldier” in Theater Center on Strastnoy (choreography by Oleg Glushkov), and in 2016 took part in the Baroque Music Festival in Linz (Austria). He directed the choir of the Gnessin State Music College, where he also taught conducting.

In 2011 he became conductor of the State Academic Academic symphonic chapel Russia (artistic director – Valery Polyansky). Assisted Gennady Rozhdestvensky in the preparation of the band's subscription concerts, participated together with the Capella Orchestra in holding the First All-Russian music competition, for which he was thanked by the Minister of Culture Russian Federation. Conducted the premiere of Michael Nyman's opera "Prologue to Purcell's Dido and Aeneas" in Perm. In 2012, he directed the premiere performance of Sergei Nevsky's opera Francis at the Bolshoi Theater of Russia. For this work he was nominated for the National Theater Award “Golden Mask”. In 2014 - full-time conductor of the Bolshoi Theater, since 2015 - guest conductor. Musical director of the First Baroque Festival of the Bolshoi Theater. In 2014, he staged Mozart’s opera “This is what all women do” at the Buryat State Academic Opera and Ballet Theater (produced by Hans-Joachim Frei). In June 2015, together with director Boris Yukhananov, he staged the opera series “The Drillers” at the Stanislavsky Electrotheater, for which he was again nominated for the “Golden Mask”.

As part of the V festival “Another Space”, together with Vladimir Yurovsky and Fuad Ibragimov, he performed the Russian premiere of Stockhausen’s “Groups” (2016). Member of the jury of the Golden Mask Award (2017). Musical director of the production of the oratorio “The Triumph of Time and Insensibility” by Handel in Musical theater named after Stanislavsky and Nemirovich-Danchenko (2018). Collaborates with Russian and foreign orchestras, including the State Orchestra of Russia named after E. F. Svetlanov, the National Philharmonic Orchestra of Russia, "New Russia", "Russian Philharmonic", the orchestra of the Moscow Theater "New Opera", Moscow chamber orchestra Musica Viva, Philharmonic Orchestra Brno, Brandenburg State Symphony Orchestra, Lithuanian Chamber Orchestra and New Tokyo City Orchestra. Together with violinist Roman Mints, he recorded works by Leonid Desyatnikov “Sketches for Sunset” and “Russian Seasons”. Since 2011 he has been teaching at the Moscow Conservatory.

Born in 1984 in Moscow. Graduated from Moscow State Conservatory. P.I. Tchaikovsky in the following specialties: choral conducting (class of Prof. S.S. Kalinin, 2008) and opera and symphony conducting (class of People's Artist of Russia Prof. V.K. Polyansky, 2010). Laureate of the All-Russian Conducting Competition (Moscow, 2008).

From 2008 to 2011 - Artistic director and conductor of the choir of the State Music College named after. Gnesins, teacher specializing in conducting. In 2008 he founded the ensemble Questa Musica, with which he carried out a number of major projects in Russia and abroad.

Since 2011 - teacher at Moscow State Conservatory named after. P.I. Tchaikovsky. Since 2011 - conductor of the State Academic Symphony Chapel of Russia (artistic director Valery Polyansky).

In September 2012, at the Bolshoi Theater under the direction of Philip Chizhevsky, the premiere of Sergei Nevsky's opera "Francis" took place, and in October 2012 - the premiere performance of Michael Nyman's opera "Prologue to Purcell's Dido and Aeneas" with the State Concert Hall of Russia orchestra in Perm. In 2013, with the ensemble Questa Musica, he staged “The Story of a Soldier” by I. Stravinsky (choreography by Oleg Glushkov). Since 2014 he has been conductor of the Bolshoi Theater. In 2014, he staged Mozart’s opera “Così fan tutte” at the Buryat State Academic Opera and Ballet Theater (produced by Hans-Joachim Frei). He is the musical director of the first Baroque Festival at the Bolshoi Theater (season 2014/2015).

In June 2015, together with director Boris Yukhananov, he staged the opera series “The Drillers” at the Stanislavsky Electrotheater, which includes world premieres of operas by leading Russian composers: Dmitry Kurlyandsky, Boris Filanovsky, Alexey Syumak, Sergei Nevsky, Alexey Sysoev and Vladimir Rannev.

Since 2016, Philip Chizhevsky has been collaborating with Tokio New Sity Orchestra (Japan, Tokyo). In February 2016, with Questa Musica, he took part in the Baroque Music Festival in Linz (Austria). Together with violinist Roman Mints, he recorded the music of Leonid Desyatnikov (“Sketches for Sunset” and “Russian Seasons”). He is the artistic director of the II International Festival of Orthodox singing “Enlightener” (Fr. Valaam). As part of the V festival of contemporary music “Another Space”, together with V. Yurovsky and F. Ibragimov, he performed the Russian premiere of Stockhausen’s work “Groups” for three orchestras and three conductors. Twice nominated for the Golden Mask theater award for the best work of a conductor (2013 S. Nevsky’s opera “Francis”, Bolshoi Theater and 2016 opera series “Sverliytsy”, Stanislavsky Electrotheatre)

Member of the jury of the Golden Mask theater award 2017.

Collaborates with leading Russian and foreign orchestras, including: Tokio New City Orchestra, Brno Philharmonic Orchestra (chief conductor - Alexander Markovits), Brandenburgische Staatsorchester (artistic director Howard Griffiths), Lithuanian Chamber Orchestra, New Opera Theater Orchestra ( chief conductor Jan Latham-Konig), National Philharmonic Orchestra of Russia (artistic director Vladimir Spivakov), New Russia (artistic director Yuri Bashmet), Russian Philharmonic (artistic director Dmitry Yurovsky), State Symphony Orchestra. E. F. Svetlanova (art director: Vladimir Yurovsky), Musica Viva (art director: Alexander Rudin).

Born in 1984 in Moscow. Graduated from Moscow State Conservatory. P.I. Tchaikovsky in the following specialties: choral conducting (class of Prof. S.S. Kalinin, 2008) and opera and symphony conducting (class of People's Artist of Russia Prof. V.K. Polyansky, 2010). Laureate of the All-Russian Conducting Competition (Moscow, 2008).

From 2008 to 2011 - artistic director and conductor of the choir of the State Music College named after. Gnesins, teacher specializing in conducting. In 2008 he founded the ensemble Questa Musica, with which he carried out a number of major projects in Russia and abroad.

Since 2011 – teacher at Moscow State Conservatory named after. P.I. Tchaikovsky. Since 2011 - conductor of the State Academic Symphony Chapel of Russia (artistic director Valery Polyansky).

In September 2012, at the Bolshoi Theater under the direction of Philip Chizhevsky, the premiere of Sergei Nevsky's opera "Francis" took place, and in October 2012 - the premiere performance of Michael Nyman's opera "Prologue to Purcell's Dido and Aeneas" with the State Concert Hall of Russia orchestra in Perm. In 2013, with the ensemble Questa Musica, he staged “The Story of a Soldier” by I. Stravinsky (choreography by Oleg Glushkov). Since 2014 he has been conductor of the Bolshoi Theater. In 2014, he staged Mozart’s opera “This is what all women do, or the School of Lovers” at the Buryat State Academic Opera and Ballet Theater (directed by Hans-Joachim Frei). He is the musical director of the first Baroque Festival at the Bolshoi Theater (season 2014/15).

In June 2015, together with director Boris Yukhananov, he staged the opera series “The Drillers” at the Stanislavsky Electrotheater, which included world premieres of operas by leading Russian composers: Dmitry Kurlyandsky, Boris Filanovsky, Alexey Syumak, Sergei Nevsky, Alexey Sysoev and Vladimir Rannev.

Since 2016, Philip Chizhevsky has been collaborating with Tokio New Sity Orchestra (Japan, Tokyo). In February 2016, with Questa Musica, he took part in the Baroque Music Festival in Linz (Austria). Together with violinist Roman Mints, he recorded the music of Leonid Desyatnikov (“Sketches for Sunset” and “Russian Seasons”). He is the artistic director of the II International Festival of Orthodox singing "Enlightener" (Fr. Valaam). As part of the V festival of contemporary music "Another Space", together with Vladimir Yurovsky and Fuad Ibragimov, he performed the Russian premiere of Stockhausen's work "Groups" for three orchestras and three conductors. In 2013 and 2016 was nominated for the Golden Mask theater award in the category " best job conductor."

Member of the jury of the Golden Mask theater award 2017.

Collaborates with leading Russian and foreign orchestras, including: Tokio New City Orchestra, Brno Philharmonic Orchestra (chief conductor - Alexander Markovits), Brandenburgische Staatsorchester (artistic director Howard Griffiths), Lithuanian Chamber Orchestra, New Opera Theater Orchestra ( chief conductor - Jan Latham-Koenig), National Philharmonic Orchestra of Russia (artistic director: Vladimir Spivakov), New Russia (artistic director: Yuri Bashmet), Russian Philharmonic (artistic director: Dmitry Yurovsky), State Symphony Orchestra. E. F. Svetlanova (art director: Vladimir Yurovsky), Musica Viva (art director: Alexander Rudin).