Immediately following, the fierce artist that is Dmitry Sinkovsky appeared onstage to perform, this time as countertenor, two Handel arias, “Dolce nume de’ mortali,” from the opera Silla, and “Furibondo spira il vento,” from Partenope. The two pieces, clearly contrasting, demonstrate Sinkovsky’s distinct vocal abilities. The first showed us delicate phrasing with a sweet and delicate timbre, while the second, a bravura aria, revealed Sinkovsky’s effortless and agile passagework as well as his powerful sound and an overwhelming connection and rapport with the audience…and Dmitry Sinkovsky, who demonstrated his formidable virtuosity on the violin, realizing a thousand and one feats with the bow, like a dizzying spiccato in the purest style of Pablo Sarasate, double stops and extravagant ornaments, impossible glissandos, dizzying agility, audacious improvisations…disregarding the strict cannons of historical practice, but delighting an enthusiastic audience with this overabundance of talent and ability.
Frankfurter Allgemeine Zeitung
The Sugar-Sweet Dreams of Beasts
The opera “Lucio Cornelio Silla” in Ludwigsburg
As Silla, the Russian countertenor Dmitry Sinkowski gives the most complex colloratures crystal-clear contours and dreams with sugar-sweet pianissimo tones of happiness with his beloved ones, in order to arrange immediately after the awakening the most cruel massacres.
To the guest of the summer lounge was even offered a special voice: just heard the singing of countertenor Dmitry Sinkovsky, people ecstatically looked towards the river Spree. An helicopter was flying over Kreuzberg, on the Oberbaum bridge a train was noisily running, and a siren was annnouncing the passage of a emergency vehicle, but they were not able to disturb the experience of this concert: the audience's attention was steadily aimed to the swinging stage, a sort of island of creativity in the middle of the town.
Dmitry Sinkovsky is a musician with quite many qualities, he can express himself in different ways. He conducts his orchestra, and is an excellent violinist, qualities which can be well heard in his soloist performance of the Violin Concerto in D, RV 208, by Antonio Vivaldi, mostly known with his mysterious nickname “Grosso Mogul”. This is not just beautiful music simply aiming to be expressed in an elegant and beautiful sound, but a work based on technical and percussive effects, and on metastructures, which drag the musician to his music performing borders. However, in the meanwhile Sinkovsky was very able to communicate a sort of rough beauty. Sinkovsky is also a very good countertenor - with a just a little light voice -, perhaps even more cautious than Julia Lezhneva, in any case always flexible and precise. Among other pieces, he sang in an excellent way the Cantata “Widerstehe doch der Sünde”, a virtuoso Cantata composed by the Leipzig Cantor Bach, exposing complicated harmonic contortions, the ones which accompany the soul. In the Duett by Antonio Vivaldi “Laudamus Te”, from the “Gloria”, it was possible to observe the perfect blending of the two voices. And in the Vivaldi's “Zeffiretti che sussurrate”, he sang the echos from the garderobe with a perfect timing. Sinkovsky had to share the applauses with the three roles he has chosen: conductor, violinist and countertenor.
In the pleasure of the moment
How the soprano Julia Lezhneva and the violinist Dmitry Sinkovsky turn the "Rendezvous in the Baroque Pleasure Garden" into an outstanding evening.
Musically, the evening was outstanding. The period instrument ensemble "La Voce Strumentale", consisting of string and keyboard instruments and led by conductor Dmitry Sinkovsky, performed with admirable harmony and enthralled the audience also in the second "Pisendel Concerto", this time by Vivaldi, which started with an unusually serious tone. For the solo violin it offered a lot of technical challenges and opportunities to shine. Sinkovsky played on his Baroque violin with great virtuosity, clarity and purity even in the fairly fast-paced Final Allegro, but also with intimate beauty in the high-pitched middle movement.
The New York Times
“[Dmitry Sinkovsky] Electrifying virtuoso... This is how to perform baroque music.”
BBC Music Magazine
Stylish and most importantly, heartfelt.
Music with all-encompassing theatricality.
Frankfurter Allgemeine Zeitung
Pure splendour and bliss.
B'Rock and Sinkovsky seem ideally suited - both enthusiastic and fearless. The players attacked their strings with relish, filling Cadogan Hall with a thrilling body of sound, weighty but flexible, with a satisfying depth. I wish B'Rock a speedy return.
Nick Breckenfield Read more
The ensemble [La Voce Strumentale] led by Dmitry Sinkovsky accompanies with the light and clear sound of period instruments and shines even without Lezhneva: In Telemann's Violin Concerto B major "per il Sign. Pisendel" , in Vivaldi's Lute concert (soloist: Luca Pianca) or in the eleventh concerto grosso of Corelli’s op. 6. In the aria of Hippolyte from Vivaldi's opera Ercole sul Termodonte Sinkovsky surprised the audience with his second qualification: As a countertenor he sends echoes into the far round of the hall. Pure baroque happiness.
While a thrilling violin of Sinkovsky emphasizes an expression of the first part of Teleman's Concerto in B-Flat Major by the musician's splendid playing and virtuosity and, first of all, by his compelling rhetoric that he and Il Pomo d'Oro orchestra convey to the listeners through the fugue. Read more
One would...have to travel very far indeed to find another musician as outrageously gifted as Russian violinist and countertenor Dmitry Sinkovsky .... this is something very different, and quite possibly one of the most brilliantly conceived and executed versions of this old warhorse to date ... Sinkovsky the violinist thinks like Sinkovsky the singer, and so every phrase, every embellishment the ornamentation is lavish, profuse and largely improvised every change in colour, tempo (warning: strap your seatbelts on!) or volume is guided by the words of Vivaldi s accompanying sonnets. The result is both electrifying and profound.
New York Times
The violinist Dmitry Sinkovsky gyrated like a rock guitarist during his gorgeous rendition of Vivaldi’s Concerto, his virtuosity seeming as effortless as Ms. DiDonato’s, and his soulful, aching rendition of the Adagio holding the audience spellbound.
The 4 seasons: The couriosities of tempos, colors and improvised flourishes that may make your jaw drop...
The Seattle Times
Dmitry Sinkovsky, a musical phenomenon who plays virtuoso violin, sings as a countertenor and conducts, visits the Seattle Symphony throughout this season for a collaborative project anchored around the music of Antonio Vivaldi. His vocal passagework was impressive and accurate, displaying solid technical finesse. Sinkovsky’s performance of Handel’s “Furibondo spira il vento” (from “Partenope”) was appropriately fiery and agile. Read more
Codalario.com - La Revista de Música
It is, probably, one of the five most important and talented baroque violinists of today. Read more
The Daily Telegraph
Playing his 1675 Ruggeri violin, Sinkovsky is doing his boyish best to get through O’Hara’s facade of professional detachment.
He plays directly to her with an exaggeratedly romantic air. He even engages her in a little dance as she crosses the floor.
This is the charm and self confidence for which Sinkovsky is famous. He is also famous for being both a virtuoso violinist and an operatic countertenor — a combination of talents which might just make him unique in the world today. Read more
For opening night Sinkovsky delighted with Locatelli's Capriccio from Concerto in D Major which is a playful short piece displaying a stuttering speed which he delivers with glee. Whilst billed as an orchestral concert with promotion focusing on Sinkovsky's violin performance, those that stayed for the encore were delighted with the Russian's vocal talents with two works by Handel which showcased an ethereal tender sound. Read more
The Daily Telegraph
His priceless 1675 Ruggiero violin, engaged and engaging stage manner and the fact that he can also sing like an angel did the trick.
As a violinist Sinkovsky has amazing skills. There appears to be no technical hurdle to exist for him, he takes the most difficult passages with the greatest agility, irritates the dynamic scale from gossamer pianissimo made until almost overdriven Fortissimo and takes every improvisational freedom.
Sinkovsky has one vote at least the rank of Andreas Scholl. His countertenor speaks effortlessly and relaxed on swirls with ease through the octaves, sounding pure and brilliant, intonation and crystal clear.
Above all, however Sinkovsky is multitalented: He plays not only dazzling violin and viola, but is also a ravishing conductor and a countertenor of the first rank.
The Cultureconcept circle Australia
Dmitry Sinkovsky is uniquely blessed; his ability to sing with a voice of such purity that both resonated and soared with ‘crystal-clear intonation’ was outstanding enough; his virtuoso violin playing went way beyond magic.
I don’t think I’ve heard an audience go off so loudly over a concert of Vivaldi’s music since Nigel Kennedy set the Sydney Opera House concert hall alight in 2008.
In the Cantata RV 684 Cessate, omai cessate, he displayed firm-voiced clarity, superb dynamic control and a seamlessly fluid line. However, what made his account so compelling was its dramatic variety of colour and impassioned immediacy.
Sydney arts guide
After interval we saw another side to Sinkovsky, who became a wild, passionate Byronic counter tenor hero for Vivaldi’s astonishing ‘Cessai , Omai Cessate ‘, cantata RV 684 for alto strings where his fabulous voice and impassioned performance (he also played the violin for a short dazzling solo for one verse !) brought the house down.
Sydney morning Herald
Sinkovsky-the-singer gave a splendid performance of Cessate, omai cessate, doubling on violin for one verse. His strong, sure alto voice and fiery stage presence were just as compelling as his violin playing.
Codalario.com - La Revista de Música
The sound of La Voce Strumentale was very polished, well balanced, with a really splendid string section - any of them could act as concertino - and a great ability to sound like one, which at times made a huge impact on the public.
«Jimi Hendrix of the baroque violin»
"A phenomenal musician, giving himself entirely to the music, with a fascinating voice and crystal-clear intonation"