Conductor Aleksandar Markovic has received great critical acclaim for his debut at the Seattle Opera, where he led the new production of Eugene Onegin.
“The music was broadcasting (the color) like a prism in direct sunlight! All of the score’s sweeping romance, elegant grandeur, and intimate melancholy was masterfully brought to life by conductor Aleksandar Markovic, making his Seattle Opera debut. Under his leadership, the orchestra, made up of members of Seattle Symphony Orchestra, swelled into plush cascades of sound. The famous musical motifs emerged out of the score with power and clarity, but organically and without overt quotations around them. The more serene moments of isolated instrumental lines were movingly etched…On the whole, this night was a testament to the vocal prowess of its fine leads and terrific conductor.”
- John Carrol, Opera Wire
“Conductor Aleksandar Markovic skillfully molded the corresponding shifts, from the melancholy to the delirious – the dance numbers came to life with palpable excitement.”
- Thomas May, Bachtrack
“Drama achieves tragicomic grandeur in the hands of conductor Aleksandar Markovic. He takes his time setting a scene of seemingly placid country life, then minutely paces the soprano through the many musical beats of the her exalted “letter scene” to a beautiful climax. From that point onward, every scene, crowded or intimate, festive or solitary, moves the story relentlessly forward.
The musicians of the Seattle Symphony have long been a mighty asset in the pit at McCaw Hall; this time, under Markovic’s shaping hand, they excelled themselves, particularly the solo winds so important to Tchaikovsky’s sound palette. This is Maestro Markovics’ US debut. I hope the Opera’s general director Christina Scheppelmann nails him down for future projects before word gets out.”
- Roger Downey, Post Alley Seattle
“Making his debut with the Seattle Opera, conductor Aleksandar Markovic led a sharp reading of the score… the crisp clarity came through in illuminating this all-too-human drama.”
- Zach Carstensen, Seen and Heard International
“Aleksandar Markovic, on the podium, leads the orchestra with rigor, skillfully highlighting the strong narrative impact inherent in the score, while the excellent performance of the choir, directly involved in the dances, gives the work grace and unity.”
- Viviana Coppo, Opera Click
“Austrian Maestro Aleksandar Markovic, in his Seattle Opera debut, conducted a vibrant performance of the Seattle Opera Orchestra and Chorus.”
- William Burnett, Opera Warhorses
“Tchaikovsky’s composition is dramatic, robust, and many-layered, and the orchestra carries it masterfully: big, loud, exciting, but tight. Conductor Aleksandar Markovic pops up at several points to greet the crowd amicably, gleefully, before getting back to business. It’s a score I could listen to all day.”
- Chase D. Anderson, NW Theatre
“This archangel - the orchestra and its instrumental soloists - was conducted with heartfelt precision by Serbian conductor Aleksandar Markovic”
- Sharon Cumberland, SGN
Since its first premiere n 1879 in Moscow, the story, intimate but powerful drama, was played thousands of times and became globally popular. Eugene Onegin is conceidered to be a prominent example of Russian Lyric Opera.