"Under the baton of Yankovskaya, Tchaikovsky’s score became transcendent. She lovingly guided the singers and orchestra through every ebb and flow of the music, shifting from tenderness to passion." - Opera Wire
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Leos Janacek-Jenufa-Conductor
Vlaamse Opera / Cancelled
Lidiya Yankovskaya, Conductor
Leos Janacek-Jenufa-Conductor
Vlaamse Opera / Cancelled
Lidiya Yankovskaya, Conductor
Leos Janacek-Jenufa-Conductor
Vlaamse Opera / Cancelled
Lidiya Yankovskaya, Conductor
Leos Janacek-Jenufa-Conductor
Vlaamse Opera / Cancelled
Lidiya Yankovskaya, Conductor
Leos Janacek-Jenufa-Conductor
Vlaamse Opera / Cancelled
Lidiya Yankovskaya, Conductor
Don Giovanni - Conductor
Glimmerglass Festival / Cancelled
Brenda Corner, Stage Director
Edward Tulane at Minnesota Opera, Shining Brow at Arizona Opera, Aleko/Everest and Freedom Ride at Chicago Opera Theatre and Don Giovanni at the Glimmerglass Festival New York.
Jenufa at Vlaamse Opera and Teatro de la Maestranza in Seville, Don Giovanni at Seattle Opera.
World premiere of Taking Up Serpents at Washington National Opera, Iolanta, Moby Dick at Chicago Opera Theater, Pique Dame, Lakmé and A Midsummer Night’s Dream at Lowell House Opera, Gluck’s Le Cadi Dupé at New York Lyric Opera, Glass’s The Juniper Tree at Wolftrap Opera. Concerts with the Nashville Symphony Orchestra, the Stamford Symphony, the Chicago Philharmonic, the Symphony New Hampshire and as assistant conductor to Lorin Maazel at the Castleton Festival.
But the ultimate star here was the production itself, a tour de force for Chicago Opera Theater with many moving parts. Conductor and COT music director Lidiya Yankovskaya brought forth brilliantly colored accompaniment from the orchestra, where the most exciting musical action takes place. The chorus, too, proved resplendent, onstage and off.
…An ideal cast who can act their roles with impressive style, as well as sing them with authority and exemplary diction. Lidiya Yankovskaya, COT’s young and exceptionally talented music director, elicits all the feverish beauty of the score from her superb orchestra, and from the male chorus that is more than three dozen strong.
By any measure, Chicago Opera Theater's staging of Jake Heggie's “Moby-Dick” is a defining success in the history of the company... Perhaps most memorable is a gentle, affecting meditation on the sea as night slowly changes to morning. This section and the rest of the score are handsomely realized by the Chicago Opera Theater’s pit orchestra, masterfully led by music director Lidiya Yankovskaya, who never allows the momentum to flag.
Russian conductor Lidiya Yankovskaya made a strong WNO debut at the podium, skillfully bringing together the disparate sounds in the pit.
The most interesting parts were Sankaram’s atmospheric orchestrations, brought out by Lidiya Yankovskaya in the pit.
Conductor Lidiya Yankovskaya ably shaped the score: Its spare orchestration is built on string drones and slithering glissandos and colored with punchy special effects, such as the whirly tubes that make a soft, creepy hooting sound, associated with Kayla’s memories, and the glockenspiel that plays as her father brands her as a sinful daughter of Eve and that later accompanies her triumphant assertion, ‘I am the light.
Yankovskaya…led a flexible and richly idiomatic account of this score. She showed clear sympathy with her compatriot’s music—keeping the music flowing through the unbroken 90 minutes, balancing deftly to bring out Tchaikovsky’s woodwind accents, and building lyric climaxes to resplendent payoffs.
Maestra Yankovskaya’s debut in the pit was promising and gratifying. She brought out all the pathos and grandness in the lush score, without ever overpowering the singers, quite an accomplishment in an intimate theater with such an exposed orchestra pit.
Under the baton of Lidiya Yankovskaya, Tchaikovsky’s score became transcendent. With the thorough preparation of the score and empathy with the composer (both having Russian roots and then Western influences), she lovingly guided the singers and orchestra through every ebb and flow of the music, shifting from tenderness to passion, while keeping the pace of the opera moving ahead.
