“Right from the start, Mr Sitkovetsky was inspired. His playing soared above the orchestra with a skill and clarity that was truly beautiful, and his total engagement with the music and the performance shone out. (..) He received a well-deserved standing ovation. I look forward to his next visit.”
–On the Wight (Jonathan Dodd), 2015
“Mr. Sitkovetsky and Ms. Qian brought out all of the folksy dance-like rhythms. It is always a good sign when everyone in the audience seems to be tapping their feet or bobbing their head. The back and forth between the instruments was lovely, as was watching their shadows move on the back of the hall. They brought Grieg's colors to life, making every phrase ring. To hear such lush music in a small space was a treat.”
–Scoresby – Oberon's Grove, 2017
“Sitkovetsky was at his best in the faster passages, producing plenty of attack and retaining perfect control and articulation. The harmonics in the cadenza were exceptional, as was the acceleration towards the end of the movement and then the fast, light touch phrases in the finale. … Sitkovetsky treated us to all the grace and spaciousness that I could have wished for.”
–Bachtrack (David Karlin), 2017
“Violinist Alexander Sitkovetsky, like his accompanists, displayed an admirable technical facility and to this he added an incredibly clear sound blessed with a lovely silky sheen. Once more like the Tonkünstler, Sitkovetsky’s power and projection were striking – I don’t think I’ve ever heard the harmonics in the first movement cadenza ring so loud, full and true.”
–Seen & Heard (Claire Seymour), 2017
“...and that’s just exactly where a mischief breaks though, the same way that Liebreich had previously hinted at in the miniatures "Arbor Cosmica". The Russian-British soloist Alexander Sitkovetsky picks that up with a heightened and always keenly direct sound, especially in the third movement where the wild position changes of the solo part soar above the jocular hurricane of pizzicato of the orchestra – a final clear chord sounding the end of the storm. Liebreich beams, the orchestra smiles, and the audience is rapturous.”
–Suddeutsche Zeitung (Rita Argauer), 2016
“Alexander Sitkovetsky soloist made an unimpeachable case for the full concerto’s integrity. He handled the solo part with dashing brilliance as well as warmth. It’s always impressive to see a soloist who is really involved in the orchestral role as well his own – an earnest musician committed to the total work he was performing.”
–Isthmus (John W Barker), 2016
Alexander Sitkovetsky was born in Moscow into a family with a well-established musical tradition. His concerto debut came at the age of eight, and in the same year he moved to the UK to study at the Menuhin School. Lord Menuhin was his inspiration throughout his school years and they performed together on several occasions, including the Bach Double Concerto, Bartók Duos at St James’ Palace, and performing the Mendelssohn concerto under Menuhin’s baton.
Highlights include performances with the Yomiuri Nippon Symphony Orchestra, London Philharmonic Orchestra, Royal Philharmonic Orchestra, Tonkünstler Orchestra, Munich Chamber Orchestra, Konzerthaus Orchester Berlin, Norwegian Chamber Orchestra, Royal Northern Sinfonia, New York Chamber Players, BBC Scottish Symphony Orchestra, Sinfonietta Riga, Lithuanian Chamber Orchestra, Lithuanian National Symphony Orchestra, Poznan Philharmonic...