Financial Times
London, UK
The music of different cultures has always been part of her life. Drawing these strands together leads to Yankovskaya’s commitment to new music.
Read More
Nashville Scene
Nashville, TN
In the male-dominated world of classical music, conductor Lidiya Yankovskaya often garners attention as the only woman in the room. It’s not a distinction she ever sought out, or even gave much thought to. Her focus has always been on the music.
Read More
Music City Review
Nashville, TN
Conductor Lidiya Yankovskaya recently met with MCR journalist Daniel Krenz to talk about concert halls, music, and her approaching program with the Nashville Symphony.
Read More
Classical Music Magazine
London, UK
With funding for new work an ever-shrinking resource, conductor Lidiya Yankovskaya tailors her approach to the budget available and – along with her peers – makes the case for experimentation in opera.
Read More
Australian Broadcasting Corporation, The Music Show
Sydney, Australia
Russian-American conductor Lidiya Yankovskaya comes to Opera Australia to conduct Puccini’s Il trittico, a rare triptych of operas which span tragedy, farce, and religious fervour. Lidiya is at home with the operatic canon but she’s also conducted a swathe of new opera world premieres. She joins Andy to talk about finding the same passion for the music through new and old works.
Read More
Opera Now
London, UK
Few musicians can claim to have conducted more than 40 world premieres by the age of 38. Step forward Lidiya Yankovskaya, the outgoing music director of Chicago Opera Theater and named Chicagoan of the Year for 2020. It seems startling to relinquish such a post, but Yankovskaya feels ready for the challenges ahead.
Read More
The Sunday Times
London, UK
English National Opera needed a new conductor to jump into a production of a tricky and disturbing 20th-century masterpiece. Luckily there was an obvious candidate: why not get the conductor who had led another challenging 20th-century masterpiece at ENO — and had a triumph? So the Russian-American conductor Lidiya Yankovskaya, the conductor of last year’s acclaimed ENO production of Gorecki’s Symphony of Sorrowful Songs, stepped in.
Read More
BBC Music Magazine
London, UK
The number of female conductors on the world’s orchestral podiums might be rising, but there is still some distance to cover, writes Jessica Duchen. Fast-rising star Lidiya Yankovskaya doesn’t mince her words about the challenges she has faced. “There’s a misconception that we’ve changed things more than we have. That’s because we started in a place that was so bad.”
Read More
Musical America
Chicago, IL
As music director of the Chicago Opera Theater for the past seven years, Lidiya Yankovskaya has brought well-earned attention to the company with her commitment to presenting compelling interpretations of a varied repertoire. Now she has said she will step down at the conclusion of the 2023-24 season, with her final production as The Nose, Shostakovich's absurdist political satire.
Read More
Chicago Tribune
Chicago, IL
Yankovskaya has raised the profile of COT immensely, her interpretations bracing and repertoire head-spinningly varied: She led 25 new-to-Chicago works, 11 of which were world premieres. She’s also fashioned COT as a primo stop for artists growing their careers by formalizing COT’s Young Artist Program and founding its Vanguard Initiative, which pairs first-time opera composers with accomplished librettists to trial-run a new work.
Read More
The Reklama
Chicago, IL
On December 8 and 10, the Chicago premiere of the opera “The Nose” by D. Shostakovich will take place at the Chicago Opera Theater. The conductor is the musical director of the theater Lydia Yankovskaya. About the future performance, reasons for leaving COT and immediate plans - in an exclusive interview with the conductor.
Read More
The Reklama
Chicago, IL
The central event of the fiftieth anniversary season of the Chicago Opera Theater is the Chicago premiere of D. Shostakovich’s opera “The Nose”. The conductor is the musical director of the theater Lydia Yankovskaya.
Read More
San Francisco Chronicle
San Francisco, CA
Symphony San Jose opens its season by exploring this theme with a program of music from various stories and legends. Under the baton of the dynamic Chicago conductor Lidiya Yankovskaya, the orchestra casts a spotlight on music with a mythic undercurrent.
Read More
Bay Area News Group
San Jose, CA
Conductor Lidiya Yankovskaya believes in exploring music from a full spectrum — beloved classics of the repertoire, as well as ink-still-wet new works. With a strong commitment to innovation, Yankovskaya has become one of classical music’s essential artists.
Read More
Pasatiempo
Santa Fe, NM
“The wonderful thing about Rusalka, like many great operas, is that the drama and the music are so woven together. So for me, the most important thing is finding that overall arc of the storytelling, and finding how each individual moment fits into the arc.”
Read More
BBC Music Magazine
London, UK
Conductor Lidiya Yankovskaya tells us why she thinks Anton Rubinstein deserves to be a more celebrated figure.
Read More
Michigan Avenue Magazine
Chicago, IL
Music Director Lidiya Yankovskaya shares her favorite local spots in Chicago with Michigan Avenue Magazine writer J.P. Anderson.
Read More
NPR
Richmond, VA
“Mike Goldberg talks with Lidiya on ‘An Hour with the Richmond Symphony,’ discussing her musical background, the impact of Russian and American cultures on her career, and the repertoire for this weekend's program featuring Modest Mussorgsky's Pictures at an Exhibition, as well as works by American composers John Adams, Florence Price and James Lee III.”
Read More
Opera Now
London, UK
“‘I can’t think of many companies that would do this work. To stage the Symphony of Sorrowful Songs is a big risk and a really out of the box idea. Most organisations would not have the confidence, even if they believed in it.’ The 37-year-old conductor debuts tonight at the English National Opera. She reflects on grief, balancing art with emotion and the importance of companies like the ENO.’”
Read More
The Jewish Chronicle
London, UK
“My job is to bring people together to inspire them and help guide a unified interpretation. I think it would be healthy if all leadership were approached more like that, and less from a standpoint of beating people into submission, forcing something, or proving something. Great music-making isn’t about that and never can be.”
Read More