Stanislav Kochanovsky
© Marco Borggreve
Acerca de
Stanislav Kochanovsky was born in and studied at St. Petersburg Conservatoire and is now considered one of the brightest and most promising young conductors heralding from Russia today. With an in-depth knowledge and experience of a wide range of symphonic and operatic repertoire gleaned during his formative years conducting at the Mikhailovsky Theatre and as a Chief Conductor of the State Safonov Philharmonic Orchestra, Kochanovsky is now receiving attention from orchestras and opera houses around the world.
Regular guest of the Orchestre de Paris, the Accademia Nazionale di Santa Cecilia Orchestra, the Rotterdam Philharmonic, the Netherlands Radio Philharmonic, the Philharmonia Orchestra of London, the Orchestre Philharmonique de Strasbourg, the Oslo Philharmonic, the Netherlands Philharmonic, the Dresden Philharmonie, the Malaysian Philharmonic and of the main Russian orchestras such as the St. Petersburg Philharmonic, Mariinsky Orchestra, Russian National Orchestra, National Philharmonic of Russia and the Moscow Philharmonic Orchestra, during the 2020/21 season, Stanislav also makes his debut with the Wiener Symphoniker, the HR-Sinfonieorchester of Frankfurt, the Orchestre Philharmonique de Monte-Carlo.
Stanislav has had also recent successful debuts with the Royal Concertgebouw Orchestra, the City of Birmingham Symphony Orchestra, the Royal Stockholm Philharmonic and the Israel Philharmonic.
Following the great success of his debut at the Verbier Festival in 2017 with the Verbier Festival Academy, he is now a regular guest conducting an opera in concert every year: Eugene Onegin (2017), Rigoletto (2018) plus a symphonic program with soloists Lucas Debargue and Mikhail Pletnev, and Die Zauberflöte (2019). Stanislav is a regular guest of Stars of the White Nights (St.Petersburg), Klarafestival (Brussels) and MITO SettembreMusica.
Recent opera engagements have included Pique Dame and Eugene Onegin (Opernhaus Zürich), Iolanta (Maggio Musicale Fiorentino), Prince Igor (Dutch National Opera Amsterdam) and Boris Godunov (Korean National Opera), working with directors such as Dmitri Tcherniakov and Barrie Kosky.
As a guest conductor, Stanislav regularly performs at the Mariinsky Theatre (Tosca, Madama Butterfly, Evgenij Onegin, Iolanta, Boris Godunov, Samson et Dalilah, Khovanschina), and has more than thirty operas in his repertoire.
In addition to his dedication conducting the pillars of the classical repertoire, Stanislav has a strong interest in conducting rarely performed works. Over the last few seasons, Stanislav has conducted special repertoire such as Ligeti’s Requiem, Scriabin-Nemtin’s Prefatory Action "Mysterium" and Kodály Psalmus Hungaricus with Belgian National Orchestra, Shostakovich’s unfinished opera The Gambler in St.Petersburg Chamber Opera; Myaskovsky Silence and Mieczyslaw Weinberg Symphony No. 21 "Kaddish" with National Philharmonic Orchestra of Russia in Moscow; cantatas by Jan van Gilse "Sulamith" and Sergei Taneev "John of Damascus" with the Netherlands Radio Philharmonic Orchestra.
Stanislav is also committed to bringing works by living composers to the stage such as Dean, Fedele, Broström, Visman, Campogrande, Martinsson, Golijov, Thorvaldsdottir, Tarnopolski, Rääts amongst others.
Stanislav Kochanovsky attended the Glinka Choir School in his home town of St Petersburg before going on to graduate with honours at the Rimsky-Korsakov Conservatoire, where he studied choral conducting with Prof. Tatiana Khitrova (2004), organ with Prof. Nina Oksentyan (2004) and opera-symphonic conducting with Prof. Alexander Titov (2008). His collaboration with the Mikhailovsky Theatre in St.Petersburg began in 2007 where, from the age of 25, he was given the invaluable opportunity to conduct over 60 opera and ballet performances.
"[Kochanovsky] has confirmed his place among the great conductors of our day"
— Diapason Magazine (Orchestre de Paris)
"Every aspect of this supercharged work thrived under his direction"
— Classical Source (Philharmonia Orchestra)
"This performance of the Pathétique, lucid, well-paced and detailed, left no doubt he has plenty to say."
— Bachtrack (Rotterdam Philharmonic Orchestra)