[…]Within itself, the Philharmonic Orchestra performs with great cohesion and unfolds a wide musical spectrum, ranging from dance-like lightness to precisely etched drama. Lonhinov does not allow the contrasts to collide, but instead mediates between the extremes.[…]

[…]The Verdi sound of the Philharmonic Orchestra, meanwhile, is fabulous. The music sparkles and springs; it does justice both to the score’s harshness and to its lyrical flow—with refined solos, for instance from the violin and the cello.

Lonhinov’s tempi are very ambitious in their forward drive; on the other hand, the First Kapellmeister is not dazzled by a rush of speed: “La donna è mobile” is perfect, an Allegretto in 3/8 time with its feet firmly on the ground.[…]

[…] The nearly three-hour evening, celebrated with standing ovations in a sold-out Freiburg Concert Hall, offered—under the direction of the new First Kapellmeister Artem Lonhinov—a wealth of Eastern European music from the Czech Republic and Ukraine, while Viennese waltzes and operetta sounds also sweetened the start of the year. […]

[…] The evening launches from zero to one hundred with the virtuosic overture to Bedřich Smetana’s opera The Bartered Bride. Despite the brisk tempo, the strings never lose control, passing the racing theme from voice to voice with featherlight ease. And when the winds join in with gusto, the energy is amplified even further. Unfortunately, the musical flow is then bogged down by the long-winded reflections of dramaturg Tatjana Beyer. At least Valentyn Sylvestrov’s Silent Music takes up the sudden gravity that has arisen, providing quiet, calm moments in a small string ensemble that only gradually return to motion. Inga Schäfer sings a touching “Song to the Moon” from Dvořák’s opera Rusalka, while Roberto Gionfriddo lends Tassilo’s song from Kálmán’s operetta Countess Mariza the necessary tenor warmth. Apart from a few inaccuracies—such as in the Blue Danube Waltz, whose tricky transitions do not always quite succeed—the Freiburg Philharmonic Orchestra shows itself in top form under the precise direction of Artem Lonhinov. Dvořák’s Slavonic Dance No. 2 breathes melancholy and elegance; Smetana’s The Moldau flows between calm woodwind rippling and dramatic brass in channels carefully shaped by the Ukrainian conductor. And Brahms’s Hungarian Dances Nos. 5, 6, and 7 strike exactly the right balance between power and lightness. A real discovery is the Ukrainian music that Artem Lonhinov introduces in an engaging conversation with Tatjana Beyer. Lev Kolodub’s Three Musicians displays humor and folkloristic colors; Bohdana Frolyak’s Let There Be Light is an expressive, emotional echo of the current war; the delicately performed Dream of the Gondolier by Fyodor Akimenko has a dance-like lightness. In the end there are flowers—and no “Radetzky March.” As an encore, Artem Lonhinov chooses the folkloristically colored Arkan by his compatriot Anatoliy Kos-Anatolskyi. With this kind of power, the new year gets off to a fine start. […]

[…]Artem Lonhinov, the theatre’s new 1st Kapellmeister, born in Ukraine in 1995, mastered the “Scottish” Symphony with elegance and sensitivity: those rapid shifts of mood so characteristic of the work, almost from one chord to the next—as if the composer were leafing through his sketchbook. The soft, dark tone, the elastic dynamics of the woodwinds—classical clarity and great expressive flexibility defined this interpretation of Mendelssohn. The pathos-free, perfectly balanced crescendos had brilliance, right up to the sea storm with its high swell. In the folk-like scherzo, Sonja Villforth let her clarinet strike up light-footed dances; even the final battle tableau had a sense of dance. Like bards singing of old times, the cellos appeared in the lyrical movement, where the Songs Without Words came into bloom.[…]

[…]A feast of orchestral colors![…]

[…]Under the musical direction of Artem Lonhinov, the Freiburg Philharmonic Orchestra masterfully navigates the varied rhythms and emotionally charged dissonances of Leoš Janáček. At the same time, the plaintive, accusatory, longingly stirring, and highly present entries of the strings reveal a rich melodic diversity.[…]

[…]At the podium of the Bern Symphony Orchestra, Artem Lonhinov shapes Verdi’s seamless transitions between arias, recitatives, and ensembles with a unified flow, confidently highlighting the characters’ respective moods with their distinctive tonal colors in both the bel canto and dramatic vocal lines.[…]

[…]The drama, atmosphere, and emotional intensity of the events on stage find a subtle yet powerful partner in Artem Lonhinov at the conductor’s podium and the orchestra.[…]

[…]The young Ukrainian conductor Artem Lonhinov, First Kapellmeister of the house, ensures the musical dominance of the performance with verve, brass timbres, metallic force, and timpani across a broad dynamic spectrum.

He does not shy away from provocation and, without smoothing things over, allows space for the free lyrical flow.[…]

[…]Gaudy costumes, a teenage girl, and a playful Bern Symphony Orchestra: Bühnen Bern presents a scenically unambitious but musically excellent Verdi production.[…]

[…]This works as long as conductor Artem Lonhinov keeps the lively, sparkling, and carefully balanced Bern Symphony Orchestra under control.[…]

[…]The music for the expressive pas de deux at the heart of the evening is provided by Giuseppe Tartini’s violin sonata titled “Didone abbandonata”. It is a clever choice, performed captivatingly by Artem Lonhinov, the young Ukrainian conductor and violinist who impresses with his unpretentious expertise. He skillfully maintains the vibrant, colorful Baroque sound of the Bern Symphony Orchestra, which features string instruments and percussion, perfectly suited to the stage. He also brings the choir to life with finesse.[…]

[…]Then, under the direction of Artem Lonhinov, a native of Ukraine, the Bern Symphony Orchestra showcases Purcell’s enchanting operatic music.

As an additional musical piece, a violin sonata by Giuseppe Tartini, inspired by the theme of Dido, is incorporated. Artem Lonhinov, the conductor, also shines as a brilliant solo violinist. As is often the case in smaller theaters, Bern occasionally provides a stage for multifaceted talents to flourish.[…]

[…]The 15-member ensemble of Bern Ballet is rightly celebrated, just like the Bern Symphony Orchestra. Outstanding among them is conductor Artem Lonhinov, who, in the midst of the action, performs a sonata by Giuseppe Tartini on the solo violin—elegiac, contemplative, and pure. A precious moment of musical introspection.[…]

[…]On this evening, the artistic disciplines appear entirely on equal footing, creating a true powerplay of concentrated ensemble strength. Ina Christel Johannessen weaves ballet and opera into an organic whole, carried musically with exceptional reliability by the Bern Symphony Orchestra. Artem Lonhinov not only conducts the orchestra but also performs as a soloist in the added violin sonata by Giuseppe Tartini.[…]

[…]The stage designs are striking, and the graceful Baroque music from the orchestra pit adds a touch of elegance.[…]

[…]For opera fans, at least, the sounds of the Bern Symphony Orchestra, performing in the elevated pit as is customary for Baroque music, must have been a true delight. Conductor Artem Lonhinov keeps a firm grip on the reins and then goes on to play the violin virtuously in an inserted sonata by Giuseppe Tartini. These are truly sublime musical moments that shine through amidst the bustle.[…]

[…]The smooth, joyful playing of the Bern Symphony Orchestra catches the ear, shining under the beautifully nuanced direction of Artem Lonhinov. He brings Purcell’s marvelous score to life with sensitive warmth while skillfully adding dramatic accents. It’s truly music that one loves to hear. The distinctive sound of the elevated orchestra is crafted from strings, harpsichord, lute, theorbo/Baroque guitar, and minimal percussion. In the inserted violin sonata by Tartini, conductor Artem Lonhinov himself takes up the violin—absolutely breathtaking! […]

[…]The Young Philharmonic Orchestra Munich impresses at its performance in the Florian-Stadl under the direction of Artem Lonhinov – also because the musicians and conductor harmonize perfectly.[…]

[…]For the orchestral part, the Young Philharmonic Orchestra Munich, under the direction of Artem Lonhinov, was enlisted. The young Ukrainian, only 29 years old, has been living in Germany since 2014 and studied at the Munich University of Music. The list of renowned orchestras he has already conducted is astonishingly long and gives him the necessary confidence to act eloquently at the podium. This is not always advisable with young musicians, but the Young Philharmonic Orchestra possesses the discipline, precision, and above all, musicality to communicate closely with the conductor and implement his intentions effectively. Additionally, there is a refreshing enthusiasm that manifests itself here primarily in a zest for music-making, vitality, and freshness, qualities that are sometimes lacking even in more experienced ensembles.[…]

[…]Baudis’ enthusiastic empathy clearly contributed to the homogeneity of the performance. Lonhinov also had the seamless interaction between her and the orchestra well under control, effectively highlighting the piano part of the brilliantly colorful pianist with her bright, sparkling touch.[…]

[…]The vocal soloists are all very good, and the Bern Symphony Orchestra under the direction of Artem Lonhinov is simply embraceable.[…]

[…]The overture begins with the curtain closed. Two measures before the audience has settled, Artem Lonhinov has the Bern Symphony Orchestra start playing. This is a sign that he is already immersed in the action – and so are the musicians. They set a pace together that goes beyond the usual (Presto = 140). Here, the accompanying figures of the middle voices develop an enchanting, shimmering beauty in their forward momentum, with the hard, metallic-sounding percussion adding the highlights. Abruptly, the quiet interludes follow: within them, a matter-of-fact melody develops without a hint of romanticism. After all, Mozart comes from the 18th century, and the Bern interpretation brings this refreshingly to the ear.[…]

[…]The Ukrainian Artem Lonhinov succeeds at the podium of the Bern Symphony Orchestra with a finely tuned conducting style, providing the necessary dynamics in the acts and ensembles. From the pit, one hears — Mozart![…]

[…]The Bern Symphony Orchestra, under the musical direction of Artem Lonhinov, delights with a lively performance and a very direct sound. This freshness, elegance, and passion especially benefit the Janissary music, which feels familiar yet somehow new.[…]

[…]The Bern Symphony Orchestra plays Mozart’s lively music masterfully (musical direction by Artem Lonhinov). Right at the beginning, an instrument stands out that is usually the butt of jokes: never has playing the triangle been more sweat-inducing than in the overture to “The Abduction from the Seraglio.” Mozart wanted to incorporate an element of “Turkish music” with it. Until the very end, the orchestra plays with precision and the necessary verve. […] “What would Mozart say about the new Bern approach? He would certainly have no complaints about the high entertainment value and the high tension.”[…]

[…]A major highlight of the evening is the Bern Symphony Orchestra under the musical direction of Artem Lonhinov. Lonhinov’s keen eye on the score results in a crystal-clear orchestral sound. Freed from the haze of tradition, Puccini can unfold fully, and he does so without the usual, pandering pathos. On the contrary, the sharp focus reveals instrumental details that would otherwise be lost. The Bern Symphony Orchestra supports this perspective with full commitment, both within individual instrument groups and as a whole.[…]

[…]Significantly involved in the success is the Bern Symphony Orchestra, excellently supported by the Ukrainian conductor Artem Lonhinov as they accompany the dancers. It’s astonishing how well this works, considering the choice of works: In addition to movements from symphonies by Beethoven (3, 5, and 7) and Mahler (2 and 5), there are also baroque intermezzos (Gluck, Purcell).[…]

[…]It’s amazing how well the implementation of music selection works with expressive dance language. The Bern Symphony Orchestra (BSO), under the direction of the Ukrainian conductor Artem Lonhinov, supports the dancers excellently. Beethoven joins in the dance, even though he didn’t compose his symphonies for dancing. Lonhinov, the new First Kapellmeister and Assistant to the Chief Conductor of the Bern Opera, fearlessly connects individual movements from Beethoven’s third, fifth, and seventh symphonies, as well as Gustav Mahler’s second and fifth symphonies, with baroque interludes by Gluck and Purcell. And the BSO boldly engages in all registers. The live experience delights with colorful solos and diverse instrumentation in all registers.[…]

[…]Artem Lonhinov conducts the Bern Symphony Orchestra, performing Mozart in a way that is simply addictive. With perfect tempos, the magnificent colors of the brilliant score come to life ideally. Such satisfying opera evenings are very rare and therefore all the more intense a pleasure.[…]

[…] Due to scheduling reasons, the 19-year-old chief conductor Maximilian Haberstock was replaced by Ukrainian conductor Artem Lonhinov in Andechs. Lonhinov, a 28-year-old violinist and conductor who also received his education in Munich, will soon serve as the first Kapellmeister at the State Theater in Bern. Lonhinov demonstrated his qualities with confidence, displaying clear body language, finely-tuned gestures, and an approach that was appropriate for each composer. At the core of his work on the conductor’s podium was a rich sound substance, even in the softer passages. This allowed for powerful crescendos and eruptions to rise convincingly, showcasing the youthful vigor of the musicians. At the same time, it provided a flexible foundation, seamlessly and harmoniously meeting the demands of composers like Beethoven, Mozart, and Chopin. This joyful and sensual approach to making music proved to be enormously inspiring for the soloists, enabling them to convey deep emotional lyricism when needed.[…]

[…]At the podium is Ukrainian Artem Lonhinov, who was a member of the Junge Deutsche Philharmonie as a violinist and is now making his experience as a conductor at the Munich Music Academy. His imagination combines in cool presence. It helps the interaction of the musicians from the two orchestras. They are concerned with the common ground of “Youth for Peace”.

[…]Finally, Dvořák’s Eighth Symphony, the undemonstrative if scrupulous Lonhinov (he’s also a violinist) leading an exuberant and sympathetic account, the opening measures for once not hived-off as a slow introduction, and from there plenty of Slavonic fire, tender lyricism, gracious if flowing dance rhythms and first-past-the-post sprinting not least the electrifying final pages, played with skill and confidence.[…]

[…]The Ukrainian conductor Artem Lonhinov demands an unsentimental, fresh sound from the orchestra, especially from the vitally autonomous wind section. This captivating, quick, sporty farewell to Wagnerian murmurs and folksong whispers suits the voices.[…]

[…]Nevertheless: the playing was amazing. Much of this is due to the short-term commitment of the young Ukrainian conducting student Artem Lonhinov, who held the unusual string formation together and led it with great sovereignty, almost too clear signs and passion. And she played wonderfully: in the romantic pieces, the tones vibrated with enthusiasm, the inexperienced amateur musicians of the IKO let themselves be carried away by the experienced GKO musicians. A differentiated, dynamic, fairly homogeneous way of playing emerged, a soft musical weapon against the strife in Ukraine.[…]

[…]This time it was not Marcus Bosch, but the very young Ukrainian Artem Lonhinov, who was allowed to conduct this performance as the winner of a competition, initiated by Marcus Bosch. Sovereign and skilfully he directed the Stuttgart Philharmonic Orchestra and was an attentive companion to the singers. No doubt, this young conductor has the quality of being a good opera interpreter.[…]

[…]Emotionally it continued with the artistic director of the Opera Festival Marcus Bosch on the piano and his student, Ukrainian Artem Lonhinov, on the violin – they pampered the audience with music at the highest level. […]

[…] Artem Lonhinov opens the evening with Mykola Kolessa’s Suite for String Orchestra, composed in 1972 and nicknamed “In the Mountains”. And immediately there is a lot of activity going on in the concert hall. Fleas and grasshoppers jump colorfully on colorful mountain meadows around. Suddenly, they form a large swarm that rolls like a huge avalanche into the last rows of the room. No, actually beyond. Fortissimo! Maestoso! Lonhinov stands in the middle, directing with the finest movements a mountain of stone rubble, which slowly but inexorably pushes its way towards the valley. What a spectacle for the ears, which offers itself to the listener. […] And Myroslav Skoryk? Someone might even call him the Bob Ross of Ukrainian composers. In wedding dress on balloon ride. This might be corny, but Lonhinov manages an authentic interpretation that conveys an incredible amount of emotion. […]

[…] Oksana Lyniv, born in 1978 in Brody, who had to give the concert because of her commitment as music director of the Graz Opera and currently also with “Greek” at the Bavarian State Opera, to the young Artem Lonhinov, does not name this as clearly as her colleague from the Ukrainian consulate, however, also emphasizes in her welcome speech how border-opening music can and should be. And so Yuri Shevchenko’s subtle paraphrase on the Ukrainian national anthem is played by the 15-member string orchestra of mostly young Ukrainians with as soft as clear emphasis.[…]