Featured
![The Life and Death[s] of Alan Turing](https://images.squarespace-cdn.com/content/v1/5bb8eb058dfc8c9f41df99bf/1680789857863-O25G54XSRJVPC81KFA71/DSC_4509.jpg)
“The production itself soars on the strength of the Washington National Opera Orchestra, whose performance of Mason’s innovative score was crisply guest conducted by Yankovskaya.”
“Yankovskaya displays a light touch. She balances her baton so gently in her right hand that it seems to take on its own life. This was the best outing from a visiting conductor in recent memory.”
“A transcendent fusion of cultures. Rahman’s music was brought to life with passion and precision by the LPO under the baton Yankovskaya, who was energetic and exciting to watch. “
“Yankovskaya proved a commanding presence, inspiring tight ensemble and high precision.”
“Yankovskaya led the San Diego Symphony in a performance of the score that was both lively and serene.”
“An afternoon of interesting programming and beautiful music making…Yankovskaya crafted an incredible journey.”
“Making a splendid OA debut, Yankovskaya was tremendously responsive to the mood and drama of each piece. At every moment the music illuminated the story."
“The piece’s atmospheric qualities register strongly, aided in every single bar by the remarkable musicians of ENO’s vast orchestra and conductor Lidiya Yankovskaya, who shapes Bartók’s 65-minute structure with complete conviction.”
“Yankovskaya gave a dynamic reading of Tchaikovsky’s Second that captured the character of each of the four movements. Her interpretation underscored the often subtle shifts in mood, and she kept the orchestra in check for the fortissimo sections. In the opening movement, she underscored the ebullience of the music with carefully constructed climaxes and finely crafted contrasts. She managed to get the orchestra to play with a light touch and never let any section overpower the others.”
“A conductor very much on the way up, Yankovskaya will be missed. The Russian-American was very much at home in Shostakovich’s score, adroitly capturing both its idiomatic flavor and its harder edges, propelling the action forward and holding all the varied, sometimes competing forces together.”
“Yankovskaya, in her pre-show remarks, reminded [the audience] to listen to the hopefulness in Lysenko’s music, to discern the multiple themes, ideas, and emotions, and to find the better parts of humanity that we all share. Dariescu owned the work in partnership with the ISO under Yankovskaya’s deft conducting. Of course, it’s huge, and the playing is beautiful, and Yankovskaya’s command on the podium is amazing.”
"Prokofiev is Yankovskaya’s wheelhouse, as are Slavic masterpieces more generally. The orchestra played deftly and attentively under Yankovskaya. She conducted with a broad but clear beat, shaping phrases with practiced swoops of her arms and quick zips of her baton."
“Yankovskaya was a skillful guide in Little’s often-raucous score, balancing the soloist, amplified players and electronics and keeping a firm through-line across Little’s twelve continuous sections.”
“The star of the show was Yankovskaya, who led the orchestra with such a lively vigor and power, clearly showing great affinity and respect to Dvorák’s score and musical idioms.”
“The music seems less austere and calculated; in fact, it feels freighted with far more emotion and impact, with the Russian-American conductor Lidiya Yankovskaya drawing wonderfully shimmering sounds from the ENO orchestra in the pit…”
“Lidiya Yankovskaya conducts an orchestra of over three dozen musicians with panache. She knows when to let the sound simmer and sizzle with quiet tension and when to bring the level of excitement to a rolling boil.”
“The Hamburg Philharmonic State Orchestra played fabulously under the direction of Lidiya Yankovskaya, again and again intensively measuring the emotional world of this opera.”
“Beautiful ensemble playing from the orchestra under the careful precision of Yankovskaya. [She] opened the second half of the concert with bold brushstrokes of sound, addictive textures, and careful attention to balance.”
“The sound from the pit was enrapturing. Yankovskaya presided over the orchestra with authority, carefully drawing out the vast detail and intricate rhythmic elements… The 70-member orchestra created powerful and evocative sound that made the evening memorable…”
“From the first measures of the premiere at Minnesota Opera, conducted with impressive cohesion by Lidiya Yankovskaya, the swarming strings and piercing winds affirm that there will be no coddling, [instead] portraying those messy emotions in music of candid vulnerability.”
“Yankovskaya was a fine fit for this program, balancing her ever-present tight control and her often thrilling capability for wild abandon…”
“Yankovskaya brought a unified blend between the orchestra and the singers…drawing the musicians into her interpretation of the music…”
“In Wagner’s The Flying Dutchman, Yankovskaya seemed in her element, bringing theatrical fervor to the storm-tossed main theme, poise to Senta’s hymn in the winds and jaunty swagger to the antic sailors’ tune…”
“The orchestra is in many ways the star…led with attention to nuance, color and atmosphere by Lidiya Yankovskaya…”
“Yankovskaya helped pull the focus back toward Bizet. The orchestra brought out the zest and slinkiness of the dances, the smoothness of the lyrical flights, and the flashiness of the choral scenes…”
“If you were lucky enough to be in the audience at the Harris Theater for this, you won’t forget it…”
“Was it the guest conductor's palpable energy? Was it the audience's obvious excitement about taking in a rare in-person performance? Whatever it was, the Rhode Island Philharmonic Orchestra's chamber ensemble sure had a spring in its step…”
“This immaculate performance was done in a single unbroken take with multiple cameras. Music director Lidiya Yankovskaya conducted with characteristic skill—sure pacing and keen dramatic focus…”
“A testament to the company’s refusal to surrender to today’s difficult circumstances. Russian music dominated the program…Yankovskaya produced dark tones and unyielding martial rhythms at the piano.”
“Yankovskaya drew a wide range of color from a chamber ensemble and kept the music pressing ever forward, surely the best way to present an opera when the score alone must carry the story…”