Born in 1984 in Moscow. Graduated from Moscow State Conservatory. P.I. Tchaikovsky in the following specialties: choral conducting (class of Prof. S.S. Kalinin, 2008) and opera and symphony conducting (class people's artist Russian prof. VC. Polyansky, 2010). Laureate of the All-Russian Conducting Competition (Moscow, 2008).

From 2008 to 2011 – artistic director and conductor of the State Choir music college them. Gnesins, teacher specializing in conducting. In 2008 he founded the ensemble Questa Musica, with which he carried out a number of major projects in Russia and abroad.

Since 2011 – teacher at Moscow State Conservatory named after. P.I. Tchaikovsky. Since 2011 - conductor of the State Academic Symphony Chapel of Russia (artistic director Valery Polyansky).

In September 2012, at the Bolshoi Theater under the direction of Philip Chizhevsky, the premiere of Sergei Nevsky's opera "Francis" took place, and in October 2012 - the premiere performance of Michael Nyman's opera "Prologue to Purcell's Dido and Aeneas" with the State Concert Hall of Russia orchestra in Perm. In 2013, with the ensemble Questa Musica, he staged “The Story of a Soldier” by I. Stravinsky (choreography by Oleg Glushkov). Since 2014 he has been conductor of the Bolshoi Theater. In 2014, he staged Mozart’s opera “This is what all women do, or the School of Lovers” at the Buryat State academic theater opera and ballet (director – Hans-Joachim Frei). Is musical director first Baroque Festival at the Bolshoi Theater (season 2014/15).

In June 2015, together with director Boris Yukhananov, he staged the opera series “The Drillers” at the Stanislavsky Electrotheater, which included world premieres of operas by leading Russian composers: Dmitry Kurlyandsky, Boris Filanovsky, Alexey Syumak, Sergei Nevsky, Alexey Sysoev and Vladimir Rannev.

Since 2016, Philip Chizhevsky has been collaborating with Tokio New Sity Orchestra (Japan, Tokyo). In February 2016, with Questa Musica, he took part in the Baroque Music Festival in Linz (Austria). Together with violinist Roman Mints, he recorded the music of Leonid Desyatnikov (“Sketches for Sunset” and “Russian Seasons”). Is artistic director II International Festival Orthodox singing "The Enlightener" (Fr. Valaam). As part of the V festival of contemporary music "Another Space", together with Vladimir Yurovsky and Fuad Ibragimov, he performed the Russian premiere of Stockhausen's work "Groups" for three orchestras and three conductors. In 2013 and 2016 was nominated for a theater award" Golden Mask"in the nomination "Best Conductor's Work".

Member of the jury of the Golden Mask theater award 2017.

Collaborates with leading Russian and foreign orchestras, including: Tokio New City Orchestra, Brno Philharmonic Orchestra (chief conductor - Alexander Markovits), Brandenburgische Staatsorchester (artistic director Howard Griffiths), Lithuanian Chamber Orchestra, Theater Orchestra New Opera"(chief conductor - Jan Latham-Koenig), National Philharmonic Orchestra of Russia (artistic director Vladimir Spivakov), New Russia(artistic director: Yuri Bashmet), Russian Philharmonic (artistic director: Dmitry Yurovsky), State Symphony Orchestra named after. E. F. Svetlanova (art director Vladimir Yurovsky), Musica Viva(art director: Alexander Rudin).

Philip Chizhevsky born in 1984.

Born in 1984 in Moscow. Graduated from Moscow State Conservatory. P.I. Tchaikovsky in the following specialties: choral conducting (class of Prof. S.S. Kalinin, 2008) and opera and symphony conducting (class of People's Artist of Russia Prof. V.K. Polyansky, 2010). Laureate of the All-Russian Conducting Competition (Moscow, 2008).

From 2008 to 2011 - Artistic director and conductor of the choir of the State Music College named after. Gnesins, teacher specializing in conducting.

In 2008 he founded the ensemble Questa Musica, with which he carried out a number of

major projects in Russia and abroad.

Since 2011 - teacher at Moscow State Conservatory named after. P.I. Tchaikovsky.

In 2011, he became conductor of the State Academic Symphony Chapel of Russia. Over the years of work, the musician assisted Gennady Rozhdestvensky in preparing the band's subscription concerts. With the Chapel Orchestra, Chizhevsky took part in the First All-Russian music competition and was awarded the gratitude of the Minister of Culture Russian Federation. In 2012, he conducted the premiere of Michael Nyman's opera “Prologue to Purcell's Dido and Aeneas” in Perm.

September evenings
Torzhok 2014

In September 2012, at the Bolshoi Theater under the direction of Philip Chizhevsky, the premiere of Sergei Nevsky’s opera “Francis” took place, and in October 2012 - the premiere performance of Michael Nyman’s opera “Prologue to Purcell’s Dido and Aeneas” with the State Concert Hall of Russia orchestra in Perm. In 2013, with the ensemble Questa Musica, he staged “The Story of a Soldier” by I. Stravinsky (choreography by Oleg Glushkov). Since 2014 he has been conductor of the Bolshoi Theater. In 2014, he staged Mozart’s opera “Così fan tutte” at the Buryat State Academic Opera and Ballet Theater (produced by Hans-Joachim Frei). He is the musical director of the first Baroque Festival at the Bolshoi Theater (season 2014/2015).

In June 2015, together with director Boris Yukhananov, he staged the opera series “The Drillers” at the Stanislavsky Electrotheater, which includes world premieres of operas by leading Russian composers: Dmitry Kurlyandsky, Boris Filanovsky, Alexey Syumak, Sergei Nevsky, Alexey Sysoev and Vladimir Rannev.

Since 2016, Philip Chizhevsky has been collaborating with Tokio New Sity Orchestra (Japan, Tokyo).

In February 2016, with Questa Musica, he took part in the Baroque Music Festival in Linz (Austria). Together with violinist Roman Mints, he recorded the music of Leonid Desyatnikov (“Sketches for Sunset” and “Russian Seasons”). He is the artistic director of the II International Festival of Orthodox singing “Enlightener” (Fr. Valaam). As part of the V festival of contemporary music “Another Space”, together with V. Yurovsky and F. Ibragimov, he performed the Russian premiere of Stockhausen’s work “Groups” for three orchestras and three conductors.

Twice nominated for the Golden Mask theater award for better job conductor (2013 S. Nevsky’s opera “Francis”, Grand Theatre and 2016 opera series “The Drillers”, Stanislavsky Electrotheater)

Member of the jury of the Golden Mask theater award 2017.

MMDM 10/20/2015
Anniversary concert of A. Zhurbin

Collaborates with leading Russian and foreign orchestras, including: Tokio New City Orchestra, Brno Philharmonic Orchestra (chief conductor - Alexander Markovits), Brandenburgische Staatsorchester (artistic director Howard Griffiths), Lithuanian Chamber Orchestra, New Opera Theater Orchestra ( chief conductor Jan Latham-Koenig), National Philharmonic Orchestra of Russia (artistic director Vladimir Spivakov), New Russia (artistic director Yuri Bashmet), Russian Philharmonic (artistic director Dmitry Yurovsky), State Symphony Orchestra. E. F. Svetlanova (art director: Vladimir Yurovsky), Musica Viva (art director: Alexander Rudin).

Philip Chizhevsky, conductor of the Questa Musica ensemble, told the site about what stands between classical and modern music, whether it is worth playing a symphony without a conductor, and what has never happened at the Bolshoi Theater.

KSENIA FEZ: Philip, what are your musical plans for the near future?

PHILIP CHIZHEVSKY: ~ Since this season I have been working at the Bolshoi Theater. And next season, my orchestra Questa Musica and I will give concerts on historical instruments. You have already heard a concert in Moscow with: something similar will begin at the Bolshoi Theater, where, as you know, strange music, for example Handel, has never been performed on the instruments of that historical era, to which this music belongs. We will have several projects with youth artists opera program, which is led by Dmitry Yurievich Vdovin.

I believe that any music should be performed authentically: both historical and modern, that is, in the manner and style of the era in which it was written. Historical musical instruments: gut strings, low tuning and other attributes are not an end in themselves for me. But if it is possible to use such instruments, and if there are musicians who own them, then this adds charm and flavor to the sound.

How are things going with the current classics? Do you work with modern Russian composers?

~ I have to implement big project of five operas contemporary composers. Now we have five names of leading avant-garde composers - quite young, all in their early 40s: Sergei Nevsky, Dmitry Kurlyansky, Boris Filanovsky, Vladimir Rannev and Alexey Simak. This will be five performances with a libretto by Boris Yukhananov, who, in fact, will play the role of director. The program is quite extensive: at first it will consist of 5 separate performances, and then it will narrow down to a marathon program of modern operas.

All living composers with whom I have collaborated write in different styles: everyone is looking for their musical path. The pleasure we get from performing quality music is easy to convey to the public. The forms of modern classical sound can only be found experimentally. We are pioneers in our era. In some decades this music will be looked at as a classical repertoire: some will be forgotten, some will remain.

How do audiences perceive new composers?

~I am happy to work with people who are responsible for the notes they write, and not just create an abstraction, which is a common technique in contemporary art generally.

An interesting fact is that for an audience that is not musically prepared, but inquisitive, the emotion that they receive from what they listen to is important. We convey this emotion by playing a Mozart sonata or an avant-garde piece - it doesn’t matter. The audience needs current.

In modern classical music Even non-musical instruments can be used: from wooden boxes to anvils. But for slim musical composition their parts must be written just as carefully as for strings, for example.

On the one hand, playing modern music is easier: no one has done this before you - you do it as you want. When performing classical music, one should adhere to traditions and canons. But the moment of interpretation and transformation in music is also very important to me. Authentic performance is wonderful, but music is not a vacuum, Mozart's masterpieces carry through the centuries, so, in my opinion, it is important to introduce nuances modern reading, without forgetting the experience of previous generations. Then the music will breathe. Whether we are doing it right or wrong - time will tell, sweeping away everything unnecessary.

Please tell us about your profession as a conductor. In addition to directing the orchestra, does the conductor have the function of communicating with the audience through plasticity?

It doesn’t matter whether the conductor is restrained or expressive, the only thing that matters is how the orchestra plays. If the conductor's plasticity is justified, and the musicians understand him, then this good concert. Now almost any classic you can play without a conductor. At the beginning of the 20th century there was a Persimfans orchestra, in which the conductor was replaced by the first violinist-accompanist: he showed the aftertaste. With a conductor, one symphony takes three rehearsals, without a conductor - much more.

If we talk about classical music, then the conductor’s function is much broader. It lies not only in how he distributes the aftertaste, but in how he gives direction to this music, how he controls the breathing of the orchestra. An orchestra can play rhythmically, ideally in terms of all the nuances and touches, but the music will be absolutely dead - it will be uninteresting to listen to. A conductor is needed to add fire, build phrases, round them off, put accents - control movement.

In communicating with each of my musicians of the Questa Musica ensemble, I insist that every time he perform the part as if no one had performed it before, not even himself.

Official website of the ensemble

Born in 1984 in Moscow. He graduated from the Moscow Conservatory with two specialties: choral conducting (class of Stanislav Kalinin) and opera and symphony conducting (class of Valery Polyansky). In 2008 he became a laureate All-Russian competition conductors in Moscow, and then founded the ensemble Questa Musica, with which he works in Russia and abroad. In 2013, with this group he presented a production of Stravinsky’s “Tale of a Soldier” in Theater Center on Strastnoy (choreography by Oleg Glushkov), and in 2016 took part in the Baroque Music Festival in Linz (Austria). He directed the choir of the Gnessin State Music College, where he also taught conducting.

In 2011, he became the conductor of the State Academic Symphony Chapel of Russia (artistic director – Valery Polyansky). He assisted Gennady Rozhdestvensky in the preparation of the band's subscription concerts, and participated with the Capella Orchestra in the First All-Russian Music Competition, for which he was thanked by the Minister of Culture of the Russian Federation. Conducted the premiere of Michael Nyman's opera "Prologue to Purcell's Dido and Aeneas" in Perm. In 2012, he directed the premiere performance of Sergei Nevsky's opera Francis at the Bolshoi Theater of Russia. For this work he was nominated for the National Theater Award “Golden Mask”. In 2014 - full-time conductor of the Bolshoi Theater, since 2015 - guest conductor. Musical director of the First Baroque Festival of the Bolshoi Theater. In 2014, he staged Mozart’s opera “This is what all women do” at the Buryat State Academic Opera and Ballet Theater (produced by Hans-Joachim Frei). In June 2015, together with director Boris Yukhananov, he staged the opera series “The Drillers” at the Stanislavsky Electrotheater, for which he was again nominated for the “Golden Mask”.

As part of the V festival “Another Space”, together with Vladimir Yurovsky and Fuad Ibragimov, he performed the Russian premiere of Stockhausen’s “Groups” (2016). Member of the jury of the Golden Mask Award (2017). Musical director of the production of the oratorio “The Triumph of Time and Insensibility” by Handel in Musical theater named after Stanislavsky and Nemirovich-Danchenko (2018). Collaborates with Russian and foreign orchestras, including the State Orchestra of Russia named after E. F. Svetlanov, the National Philharmonic Orchestra of Russia, "New Russia", "Russian Philharmonic", the orchestra of the Moscow Theater "New Opera", Moscow chamber orchestra Musica Viva, Philharmonic Orchestra Brno, Brandenburg State Symphony Orchestra, Lithuanian Chamber Orchestra and New Tokyo City Orchestra. Together with violinist Roman Mints, he recorded works by Leonid Desyatnikov “Sketches for Sunset” and “Russian Seasons”. Since 2011 he has been teaching at the Moscow Conservatory.

Born in 1984 in Moscow. Graduated from Moscow State Conservatory. P.I. Tchaikovsky in the following specialties: choral conducting (class of Prof. S.S. Kalinin, 2008) and opera and symphony conducting (class of People's Artist of Russia Prof. V.K. Polyansky, 2010). Laureate of the All-Russian Conducting Competition (Moscow, 2008).

From 2008 to 2011 - Artistic director and conductor of the choir of the State Music College named after. Gnesins, teacher specializing in conducting. In 2008 he founded the ensemble Questa Musica, with which he carried out a number of major projects in Russia and abroad.

Since 2011 - teacher at Moscow State Conservatory named after. P.I. Tchaikovsky. Since 2011 - conductor of the State Academic Symphony Chapel of Russia (artistic director Valery Polyansky).

In September 2012, at the Bolshoi Theater under the direction of Philip Chizhevsky, the premiere of Sergei Nevsky's opera "Francis" took place, and in October 2012 - the premiere performance of Michael Nyman's opera "Prologue to Purcell's Dido and Aeneas" with the State Concert Hall of Russia orchestra in Perm. In 2013, with the ensemble Questa Musica, he staged “The Story of a Soldier” by I. Stravinsky (choreography by Oleg Glushkov). Since 2014 he has been conductor of the Bolshoi Theater. In 2014, he staged Mozart’s opera “Così fan tutte” at the Buryat State Academic Opera and Ballet Theater (produced by Hans-Joachim Frei). He is the musical director of the first Baroque Festival at the Bolshoi Theater (season 2014/2015).

In June 2015, together with director Boris Yukhananov, he staged the opera series “The Drillers” at the Stanislavsky Electrotheater, which includes world premieres of operas by leading Russian composers: Dmitry Kurlyandsky, Boris Filanovsky, Alexey Syumak, Sergei Nevsky, Alexey Sysoev and Vladimir Rannev.

Since 2016, Philip Chizhevsky has been collaborating with Tokio New Sity Orchestra (Japan, Tokyo). In February 2016, with Questa Musica, he took part in the Baroque Music Festival in Linz (Austria). Together with violinist Roman Mints, he recorded the music of Leonid Desyatnikov (“Sketches for Sunset” and “Russian Seasons”). He is the artistic director of the II International Festival of Orthodox singing “Enlightener” (Fr. Valaam). As part of the V festival of contemporary music “Another Space”, together with V. Yurovsky and F. Ibragimov, he performed the Russian premiere of Stockhausen’s work “Groups” for three orchestras and three conductors. Twice nominated for the Golden Mask theater award for the best work of a conductor (2013 S. Nevsky’s opera “Francis”, Bolshoi Theater and 2016 opera series “Sverliytsy”, Stanislavsky Electrotheatre)

Member of the jury of the Golden Mask theater award 2017.

Collaborates with leading Russian and foreign orchestras, including: Tokio New City Orchestra, Brno Philharmonic Orchestra (chief conductor - Alexander Markovits), Brandenburgische Staatsorchester (artistic director Howard Griffiths), Lithuanian Chamber Orchestra, New Opera Theater Orchestra ( chief conductor Jan Latham-Koenig), National Philharmonic Orchestra of Russia (artistic director Vladimir Spivakov), New Russia (artistic director Yuri Bashmet), Russian Philharmonic (artistic director Dmitry Yurovsky), State Symphony Orchestra. E. F. Svetlanova (art director: Vladimir Yurovsky), Musica Viva (art director: Alexander Rudin).