{"id":14,"date":"2019-01-23T10:10:38","date_gmt":"2019-01-23T10:10:38","guid":{"rendered":"http:\/\/www.artemlonhinov.com\/?page_id=14"},"modified":"2026-07-31T15:03:10","modified_gmt":"2026-07-31T15:03:10","slug":"presse","status":"publish","type":"page","link":"https:\/\/www.artemlonhinov.com\/en\/presse\/","title":{"rendered":"REVIEWS"},"content":{"rendered":"[vc_row full_width=”stretch_row” content_placement=”middle” css=”.vc_custom_1759234626151{margin-top: -54px !important;padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(https:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2025\/09\/23.jpg?id=3182) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_column_text css_animation=”appear”]\n

REVIEWS<\/span><\/h1>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text][…]The soloists of the Philharmonic Orchestra perform with wonderfully intimate chamber-music sensitivity. Indeed, the orchestral performance as a whole is an event in itself. Conductor Artem Lonhinov and the orchestra, positioned on stage behind the screen, achieve the ideal balance and the rich, velvety Massenet sound\u2014characterized by the cello section, horns, and alto saxophone\u2014while also delivering the precise, razor-sharp chords that are equally essential to the score. The singers are given ample space for vocal expression, an opportunity they make full use of.[…]<\/em><\/p>\n
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ALEXANDER DICK<\/h4>\n

Badische Zeitung<\/p>\n

Werther, 2026<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text][…]As the evening unfolds, however, the orchestral sound becomes increasingly present and vividly sculpted, particularly in the dramatic outbursts, where the brass plays with striking brilliance and the strings dig in with real force. Conductor Artem Lonhinov allows the music to breathe, shaping magical transitions and creating atmospherically rich, deeply evocative soundscapes together with the orchestra.[…]<\/em><\/p>\n

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GEORG RUDIGER<\/h4>\n

Kulturjoker<\/p>\n

Werther, 2026<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text][\u2026]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.[\u2026]<\/em><\/p>\n

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GEORG RUDIGER<\/h4>\n

S\u00fcdkurier<\/p>\n

Rigoletto, 2026<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text][…]The Verdi sound of the Philharmonic Orchestra, meanwhile, is fabulous. The music sparkles and springs; it does justice both to the score\u2019s harshness and to its lyrical flow\u2014with refined solos, for instance from the violin and the cello.<\/em><\/p>\n

Lonhinov\u2019s tempi are very ambitious in their forward drive; on the other hand, the First Kapellmeister is not dazzled by a rush of speed: \u201cLa donna \u00e8 mobile\u201d is perfect, an Allegretto in 3\/8 time with its feet firmly on the ground.[…]<\/em><\/p>\n

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ALEXANDER DICK<\/h4>\n

Badische Zeitung<\/p>\n

Rigoletto, 2026<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text][\u2026] The nearly three-hour evening, celebrated with standing ovations in a sold-out Freiburg Concert Hall, offered\u2014under the direction of the new First Kapellmeister Artem Lonhinov\u2014a wealth of Eastern European music from the Czech Republic and Ukraine, while Viennese waltzes and operetta sounds also sweetened the start of the year. [\u2026]<\/em><\/p>\n

[\u2026] The evening launches from zero to one hundred with the virtuosic overture to Bed\u0159ich Smetana\u2019s 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\u2019s 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 Sch\u00e4fer sings a touching \u201cSong to the Moon\u201d from Dvo\u0159\u00e1k\u2019s opera Rusalka, while Roberto Gionfriddo lends Tassilo\u2019s song from K\u00e1lm\u00e1n\u2019s operetta Countess Mariza the necessary tenor warmth. Apart from a few inaccuracies\u2014such as in the Blue Danube Waltz, whose tricky transitions do not always quite succeed\u2014the Freiburg Philharmonic Orchestra shows itself in top form under the precise direction of Artem Lonhinov. Dvo\u0159\u00e1k\u2019s Slavonic Dance No. 2 breathes melancholy and elegance; Smetana\u2019s The Moldau flows between calm woodwind rippling and dramatic brass in channels carefully shaped by the Ukrainian conductor. And Brahms\u2019s 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\u2019s Three Musicians displays humor and folkloristic colors; Bohdana Frolyak\u2019s 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\u2014and no \u201cRadetzky March.\u201d 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. [\u2026]<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

GEORG RUDIGER<\/h4>\n

Badische Zeitung<\/p>\n

New Year’s concert, 2026<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text][\u2026]Artem Lonhinov, the theatre\u2019s new 1st Kapellmeister, born in Ukraine in 1995, mastered the \u201cScottish\u201d Symphony with elegance and sensitivity: those rapid shifts of mood so characteristic of the work, almost from one chord to the next\u2014as if the composer were leafing through his sketchbook. The soft, dark tone, the elastic dynamics of the woodwinds\u2014classical 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.[\u2026]<\/em><\/p>\n

[\u2026]A feast of orchestral colors![\u2026]<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

CHRISTINE ADAM<\/h4>\n

Badische Zeitung<\/p>\n

2nd Symphony concert<\/span>, 2025<\/span><\/strong><\/p>\n

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[\u2026]Under the musical direction of Artem Lonhinov, the Freiburg Philharmonic Orchestra masterfully navigates the varied rhythms and emotionally charged dissonances of Leo\u0161 Jan\u00e1\u010dek. At the same time, the plaintive, accusatory, longingly stirring, and highly present entries of the strings reveal a rich melodic diversity.[\u2026]<\/em><\/p>\n

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ELISA ENGLER<\/h4>\n

Das Opernglas<\/p>\n

Jenufa, 2025<\/span><\/strong><\/p>\n

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[\u2026]At the podium of the Bern Symphony Orchestra, Artem Lonhinov shapes Verdi\u2019s seamless transitions between arias, recitatives, and ensembles with a unified flow, confidently highlighting the characters\u2019 respective moods with their distinctive tonal colors in both the bel canto and dramatic vocal lines.[\u2026]<\/em><\/p>\n

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PETER W\u00c4CH<\/h4>\n

Plattform J<\/p>\n

Rigoletto, 2025<\/span><\/strong><\/p>\n

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[\u2026]The drama, atmosphere, and emotional intensity of the events on stage find a subtle yet powerful partner in Artem Lonhinov at the conductor\u2019s podium and the orchestra.[\u2026]<\/em><\/p>\n

[\u2026]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.<\/em><\/p>\n

He does not shy away from provocation and, without smoothing things over, allows space for the free lyrical flow.[\u2026]<\/em><\/p>\n

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HERBERT B\u00dcTTIKER<\/h4>\n

OPER! Das Magazin<\/p>\n

Rigoletto, 2025<\/span><\/strong><\/p>\n

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[\u2026]Gaudy costumes, a teenage girl, and a playful Bern Symphony Orchestra: B\u00fchnen Bern presents a scenically unambitious but musically excellent Verdi production.[\u2026]<\/em><\/p>\n

[\u2026]This works as long as conductor Artem Lonhinov keeps the lively, sparkling, and carefully balanced Bern Symphony Orchestra under control.[\u2026]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

PETER K\u00d6NIG<\/h4>\n

Der Bund<\/p>\n

Rigoletto, 2025<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text][…]The music for the expressive pas de deux at the heart of the evening is provided by Giuseppe Tartini\u2019s violin sonata titled \u201cDidone abbandonata\u201d. 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.[…]<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

HERBERT B\u00dcTTIKER<\/h4>\n

OPER! Das Magazin<\/p>\n

Dido & Aeneas, 2024<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text][…]Then, under the direction of Artem Lonhinov, a native of Ukraine, the Bern Symphony Orchestra showcases Purcell\u2019s enchanting operatic music.<\/em><\/p>\n

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.[…]<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

MARLIES STRECH<\/h4>\n

Tanznetz<\/p>\n

Dido & Aeneas, 2024<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text][…]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\u2014elegiac, contemplative, and pure. A precious moment of musical introspection.<\/em>[…]<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

MICHEL SCHAER<\/h4>\n

Stimme der Kritik<\/p>\n

Dido & Aeneas, 2024<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text][…]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.<\/em>[…]<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

REGULA FUCHS<\/h4>\n

Der Bund<\/p>\n

Dido & Aeneas, 2024<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text][…]<\/em>The stage designs are striking, and the graceful Baroque music from the orchestra pit adds a touch of elegance.[…]<\/em><\/p>\n

[…]<\/em>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.<\/em>[…]<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

PETER W\u00c4CH<\/h4>\n

Plattform J<\/p>\n

Dido & Aeneas, 2024<\/span><\/strong><\/p>\n

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[…]The smooth, joyful playing of the Bern Symphony Orchestra catches the ear, shining under the beautifully nuanced direction of Artem Lonhinov. He brings Purcell\u2019s marvelous score to life with sensitive warmth while skillfully adding dramatic accents. It\u2019s 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\u2014absolutely breathtaking! <\/em>[…]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

KASPAR SANNEMANN<\/h4>\n

Oper aktuell<\/p>\n

Dido & Aeneas, 2024<\/span><\/strong><\/p>\n

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[…]The Young Philharmonic Orchestra Munich impresses at its performance in the Florian-Stadl under the direction of Artem Lonhinov \u2013 also because the musicians and conductor harmonize perfectly.[…] <\/em><\/p>\n

[…]<\/em>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.[…]<\/em><\/p>\n

[…]Baudis\u2019 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.[…]<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

REINHARD PALMER<\/h4>\n

sueddeutsche.de<\/p>\n

Junges Philharmonisches Orchester M\u00fcnchen, 2024<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]\n

[…]The vocal soloists are all very good, and the Bern Symphony Orchestra under the direction of Artem Lonhinov is simply embraceable.[…]<\/em><\/p>\n

[…]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 \u2013 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.<\/em>[…]<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

MICHAEL SCHAER<\/em><\/h4>\n

Die Stimme der Kritik<\/p>\n

Die Entf\u00fchrung aus dem Serail, 2024<\/span><\/strong><\/p>\n

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[…]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 \u2014 Mozart![…]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

PETER W\u00c4CH<\/em><\/h4>\n

plattformj.ch<\/p>\n

Die Entf\u00fchrung aus dem Serail, 2024<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]\n

[…]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.[…]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

JAN KROBOT<\/em><\/h4>\n

onlinemerker.com<\/p>\n

Die Entf\u00fchrung aus dem Serail, 2024<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]\n

[…]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.”[…]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

MICHAEL FELLER<\/em><\/h4>\n

derbund.ch<\/p>\n

Die Entf\u00fchrung aus dem Serail, 2024<\/span><\/strong><\/p>\n

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[…]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.[…]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

JAN KROBOT<\/em><\/h4>\n

onlinemerker.com<\/p>\n

Tosca, 2023<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]\n

[…]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).[…]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

Der Theaterverlag<\/p>\n

\u00a0\u201eAnatomy of emotions\u201c, 2023<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]\n

[…]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.[…]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

MARIANNE M\u00dcHLEMANN<\/em><\/h4>\n

derbund.ch<\/p>\n

\u00a0\u201eAnatomy of emotions\u201c, 2023<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]\n

[…]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.[…]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

JAN KROBOT<\/em><\/h4>\n

onlinemerker.com<\/p>\n

The Magic Flute, 2023<\/span><\/strong><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1549460432224{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]\n

[…] 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.[…]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

REINHARD PALMER<\/h4>\n

sueddeutsche.de<\/p>\n

Junges Philharmonisches Orchester M\u00fcnchen, 2023<\/span><\/strong><\/p>\n

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[…]At the podium is Ukrainian Artem Lonhinov, who was a member of the Junge Deutsche Philharmonie as a violinist and is now\u00a0making 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”.<\/i><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

SYBILL MAHLKE<\/h4>\n

tagesspiegel.de<\/p>\n

BJO\/YSOU at Berliner Philharmonie, 2022<\/strong><\/span><\/p>\n

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[…]Finally, Dvo\u0159\u00e1k\u2019s Eighth Symphony, the undemonstrative if scrupulous Lonhinov (he\u2019s 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.[…]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

COLIN ANDERSON<\/h4>\n

colinscolumn.com<\/p>\n

BJO\/YSOU at Digital Concert Hall, 2022<\/strong><\/span><\/p>\n

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[…]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.[…]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

ROLAND H. DIPPEL<\/h4>\n

Neue Musikzeitung<\/p>\n

HANSEL AND GRETEL, 2022<\/strong><\/span><\/p>\n

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[…]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.[…]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

JESKO SCHULZE-REIMPELL<\/h4>\n

Donaukurier<\/p>\n

SOLIDARITY CONCERT, 2022<\/strong><\/span><\/p>\n

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[…]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.[…]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

ALAIN STEFFEN<\/h4>\n

pizzicato.lu<\/p>\n

PIQUE DAME, OH 2019<\/strong><\/span><\/p>\n

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[…]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. […]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

TINA LISCHKA<\/h4>\n

Heidenheimer Zeitung<\/p>\n

BLAUER ABEND, OH 2018<\/strong><\/span><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1548503839935{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]\n

[…] 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. […]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

RAPHAEL ECKARDT<\/h4>\n

klassik-begeistert.de<\/p>\n

CONCERT OF CHAMBER ORCHESTRA “UKRAINA M\u00dcNCHEN”, JUNE 2017<\/strong><\/span><\/p>\n

Source<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1548503946391{padding-top: 30px !important;padding-bottom: 30px !important;background-image: url(http:\/\/www.artemlonhinov.com\/wp-content\/uploads\/2019\/01\/Gruppa-15-2.jpg?id=73) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]\n

[…] 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.[…]<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

KLAUS KALCHSCHMID<\/h4>\n

S\u00fcddeutsche Zeitung<\/p>\n

CONCERT OF CHAMBER ORCHESTRA “UKRAINA M\u00dcNCHEN”, JUNE 2017<\/strong><\/span><\/p>\n

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ARTEM LONHINOV<\/span><\/h2>\n

Conductor<\/span><\/strong><\/p>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1605701444897{padding-right: 25px !important;}”]\n

Follow me:\u00a0<\/i><\/a>\u00a0 \u00a0<\/i><\/a>\u00a0 \u00a0<\/i><\/a><\/span><\/h5>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1548503873124{margin-bottom: -54px !important;padding-top: 60px !important;padding-bottom: 60px !important;background-color: #ececed !important;}”][vc_column][vc_row_inner][vc_column_inner][vc_column_text css=”.vc_custom_1549459512581{border-left-width: 7px !important;border-left-color: #ffd54f !important;border-left-style: solid !important;}”]\n

\u00a0 \u00a0 CALENDAR<\/h2>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner]