Posts in Alexander Sitkovetsky

“The most beautiful moments happened in the slow movement, in which the Russian (Alexander Sitkovetsky) seemed to make time stand still without over-stretching it. Together with the effervescent woodwinds he allowed (the music) to radiate with brilliance. It was music, that was almost on a higher plane.”

Mitteldeutsche Zeitung (Johannes Killyen), October 2018

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“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, Sitkovetskyʼs power and projection were striking – I donʼt think Iʼve ever heard the harmonics in the first movement cadenza ring so loud, full and true.”

Seen & Heard (Claire Seymour), March 2017
Mendelssohn Violin Concerto Op.64 with the Vienna Tonkünstler Orchestra

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“Sitkovetsky harks back to an older tradition of violin playing not often heard these days.”

-The Washington Post (Patrick Rucker), December 2016
Recital at the Phillips Collection

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“..and thatʼs 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.”

Süddeutsche Zeitung (Rita Argauer), March 2016

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“An incredible performance of Brahms C minor piano quartet closed the programme; the instruments kept a perfect balance with all artists notching up the volume at the right moments to bring alive Brahms' oscillating piece.”

–Papiruszportal.hu (Szabo Ildiko), 2015

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Alexander SitkovetskyWRB

“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

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Alexander SitkovetskyWRB

“(..) Halvorsen's virtuoso reworking of a Handel Passacaglia (..) was brilliantly played, Sitkovetsky and Rysanov both completly on fire as they imbued this Paganini-esque showpiece with split-second timing, quirky spontaneity, and raw, rustic humour.”

–The Scotsman (Ken Walton), 2015

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Alexander SitkovetskyWRB

“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

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Alexander SitkovetskyWRB

“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

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Alexander SitkovetskyWRB

“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

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Alexander SitkovetskyWRB

“...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

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Alexander SitkovetskyWRB

“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

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Alexander SitkovetskyWRB

“[Sitkovetsky's] tone in the second movement was a wonder, with finely shaded dynamic levels.”

–New York Classical Review (Bruce Hodges), 2016

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Alexander SitkovetskyWRB

“Sitkovetsky brought great control of dynamics, a fine rubato and a powerful edge to his lovely tone with some wonderfully fleet passages as well as a beautifully shaped cadenza with moments of fine purity.”

–The Classical Reviewer (Bruce Reader), 2016

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Alexander SitkovetskyWRB

“Alexander Sitkovetsky was sublime, coaxing note after awe-inspiring note from his violin and proving his very real talent.”

–365Bristol (Sarah-Jane Howard), 2016

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Alexander SitkovetskyWRB