Virtuosity, finesse, expression, imagination, nothing is
missing from Sinkovsky.
The voice is our first instrument, so it’s not uncommon for violinists and conductors to find inspiration in a vocalist’s turn of phrase. Likewise, many vocalists harness a certain instrumental virtuosity in their performances. But to find a musician who can seamlessly blend all three together? That is unheard of — unless you’ve heard of Dmitry Sinkovsky.
The charismatic and atypical musician Dmitry Sinkovsky expresses his art through a rare combination of three different aspects: as a violinist, as a conductor and as a countertenor. In his many musical appearances, Sinkovsky effectively reflects one of the main ideas of the Baroque period: using the instrument as if it were the voice of a singer and using the voice as if it were a perfect instrument.
Dmitry Sinkovsky was groomed for an international career by the Moscow Conservatory, where he studied violin with Alexander Kirov, and at the Zagreb Music Academy in Croatia where he studied conducting with Tomislav Facini. While a student in Moscow, Sinkovsky’s curiosity led him to earlier repertoire. As a member of the chamber ensemble Musica Petropolitana, he met Baroque violinist and Early Music pioneer Maria Leonhardt, who convinced him to change his course and concentrate on historical performance practice.
He has since taken innumerable prizes in major competitions from the Premio Bonporti in Italy (2005) to the Bach Competition in Leipzig (2006), the Musica Antiqua Competition in Bruges (first prize, audience prize and critics’ prize, 2008) to the Romanus Weichlein prize at the Biber competition in Austria in 2009 for his ‘extraordinary interpretation of Biber’s Rosary Sonatas’ and first prize at the Telemann Competition in Magdeburg (2011). As a laureate of the Jumpstart Jr. Competition in the Netherlands, Dmitry Sinkovsky has been loaned a superb violin by Francesco Ruggeri (1675).
Critics and audiences alike praise his ability to “play from the heart” while interpreting with ease music of dazzling difficulty. Though he spends much time with Baroque repertoire and emphasizes it in his career Dmitry maintains his profile as a classical violinist performing a large range of music written for this instrument and breaking boarders between the Baroque and Modern worlds. Among his partners are Alexei Lubimov, Alexander Rudin, Theodor Currentzis, Martina Filjak, Andreas Scholl, Christoph Coin, Luca Pianca, Aapo Häkkinen and Skip Sempe.
It is hard to find more multi-tasking conductor than Dmitry Sinkovsky. His vision and concept of music making is based on deep study as both a professional instrumentalist and a singer. Musicians love to work with him as they understand each other. Dmitry has the ability to clearly show and explain every tiny detail, to either a singer or to a player, as he fully understands both subjects due to his activity in both fields. “I love to conduct both orchestra and a choir, as singing and playing are like yin and yang, bringing harmony through making music together,” says Dmitry.
During the 2012-13 season Dmitry served as guest conductor of Il Complesso Barocco, accompanying distinguished mezzo-soprano Joyce DiDonato in her ‘Drama Queens’ concert tour with 30 performances in major concert halls throughout Europe, the USA and Asia. That was the first time Dmitry was introduced as a conductor to the large audience, following the example of his teacher and colleague the great musicologist Alan Curtis.
Dmitry Sinkovsky continues to be much in demand as a conductor, performing extensively in Europe, Russia, Canada, Asia, Australia and the USA. He heads the ensemble La Voce Strumentale, which he founded in Moscow in 2011.
In 2017-18, Dmitry is a resident Baroque conductor at Seattle Symphony Orchestra, as well as the Helsinki Baroque Orchestra, Dubrovnik Symphony, Il Pomod`oro and Brock Orchestra. In addition, he is collaborating with the National Spanish Orchestra, Kremerata Baltica, Il Giardino armonico Sinfonietta Riga, musicAeterna orchestra, Klaipeda chamber orchestra and Musica Viva orchestra.
In 2007, after having already begun a notable career as a violinist, Dmitry Sinkovsky decided to seriously pursue his talent as a countertenor as well. To this end he worked with vocal coaches Michael Chance, Marie Daveluy and finally Jana Ivanilova with whom he studied for seven years in Moscow. His vocal repertoire currently includes roles from Handel operas (Rinaldo, Giulio Cesare, Silla, Arsace, Disinganno, Bertarido, Polinesso), as well as Handel’s solo cantatas and oratorios, to Gluck’s Orfeo, J.S. Bach’s Passions and cantatas and serenatas and the cantatas of Vivaldi, Leo and Scarlatti. Mr. Sinkovsky’s countertenor voice is distinguished by its wide range of timbral colors, lightness, rich overtones and agility. He has an exceptionally natural high voice with a magical sound quality. In 2014 and 2017 he was invited to Australia with the Brandenburg Orchestra, from that country, performing ten highly acclaimed recitals in Sydney, Melbourne and Brisbane. Since 2014 he has been an invited soloist of the Bolshoi theatre in Moscow. He often performs as a duo with Russian soprano Julia Lezhneva. This year, Dmitry will sing the title role in "Lucio Silla" at Ludwigsburg festival accompanied by Ensemble 1700 and conducted by Dorothee Oberlinger.
Dmitry has an exclusive contract with French label Naïve. His recording of “Per Pisendel,” together with "Il Pomod`oro orchestra,” on which he is both soloist and conductor, was released in 2013 in Naive’s Vivaldi Edition series and was awarded a Diapason d’Or.