“Animated and enthusiastic, Sitkovetsky danced around the stage throughout the performance of Vivaldi’s concerti, digging into his solo lines and playing along with the orchestra when the solo line was tacet. His impressive ability to play the quickest passages cleanly and smoothly was second only to his delicate and thoughtful treatment of the slower passages.”
The Capital Times (Matt Ambrosio), January 2023 (Concert Review of ‘The Four Seasons’ with Wisconsin Chamber Orchestra)
Read More“During the cadenza of the “Otoño” (“Autumn”) movement, the soloist made ample use of the violin’s full range and, for an extended moment, rendered sweet the very highest register of the instrument. Then in the “Invierno” (“Winter”) movement, Sitkovetsky charged the nearly romantic melody with penetrating energy that cut through the concert hall. Displaying a unique mastery of extended techniques and a keen sense of rhythm, Sitkovetsky’s performance was extraordinary.”
The Capital Times (Matt Ambrosio), January 2023 (Concert Review of ‘The Four Seasons’ with Wisconsin Chamber Orchestra)
Read More“Although the Finale, with its virtuosic double-stopping and the taut springiness of the rhythms added to the scampering sense of fun, it was the central Romance which impressed me most of all. The solo line was always well integrated in the overall orchestral sound, never drawing unnecessary attention to itself, and in the many high-lying passages Sitkovetsky seemed to be floating into the stratosphere, his intensely singing quality recalling the composer’s assertion that this work was contemplated for a Caruso of the violin rather than for a Paganini.”
Bachtrack (Alexander Hall), October 2022 (Concert Review for ‘From Moravia with love’: the Brno Philharmonic at Cadogan Hall)
Read More“The most beautiful moments happened in the slow movement, in which the Russian (Alexander Sitkovetsky) seemed to make time stand still without over-stretching it. Together with the effervescent woodwinds he allowed (the music) to radiate with brilliance. It was music, that was almost on a higher plane.”
Mitteldeutsche Zeitung (Johannes Killyen), October 2018
Read More“Violinist Alexander Sitkovetsky, like his accompanists, displayed an admirable technical facility and to this he added an incredibly clear sound blessed with a lovely silky sheen. Once more like the Tonkünstler, Sitkovetskyʼs power and projection were striking – I donʼt think Iʼve ever heard the harmonics in the first movement cadenza ring so loud, full and true.”
Seen & Heard (Claire Seymour), March 2017
Mendelssohn Violin Concerto Op.64 with the Vienna Tonkünstler Orchestra
“Sitkovetsky harks back to an older tradition of violin playing not often heard these days.”
-The Washington Post (Patrick Rucker), December 2016
Recital at the Phillips Collection
“..and thatʼs just exactly where a mischief breaks though, the same way that Liebreich had previously hinted at in the miniatures "Arbor Cosmica". The Russian-British soloist Alexander Sitkovetsky picks that up with a heightened and always keenly direct sound, especially in the third movement where the wild position changes of the solo part soar above the jocular hurricane of pizzicato of the orchestra –a final clear chord sounding the end of the storm. Liebreich beams, the orchestra smiles, and the audience is rapturous.”
Süddeutsche Zeitung (Rita Argauer), March 2016
Read More“An incredible performance of Brahms C minor piano quartet closed the programme; the instruments kept a perfect balance with all artists notching up the volume at the right moments to bring alive Brahms' oscillating piece.”
–Papiruszportal.hu (Szabo Ildiko), 2015
Read More“Sitkovetsky astonishes with his dazzling playing in the duos.”
–Fanfare (Jerry Dubins), 2015
Read More“Right from the start, Mr Sitkovetsky was inspired. His playing soared above the orchestra with a skill and clarity that was truly beautiful, and his total engagement with the music and the performance shone out. (..) He received a well-deserved standing ovation. I look forward to his next visit.”
–On the Wight (Jonathan Dodd), 2015
Read More“(..) Halvorsen's virtuoso reworking of a Handel Passacaglia (..) was brilliantly played, Sitkovetsky and Rysanov both completly on fire as they imbued this Paganini-esque showpiece with split-second timing, quirky spontaneity, and raw, rustic humour.”
–The Scotsman (Ken Walton), 2015
Read More“Mr. Sitkovetsky and Ms. Qian brought out all of the folksy dance-like rhythms. It is always a good sign when everyone in the audience seems to be tapping their feet or bobbing their head. The back and forth between the instruments was lovely, as was watching their shadows move on the back of the hall. They brought Grieg's colors to life, making every phrase ring. To hear such lush music in a small space was a treat.”
–Scoresby – Oberon's Grove, 2017
Read More“Sitkovetsky was at his best in the faster passages, producing plenty of attack and retaining perfect control and articulation. The harmonics in the cadenza were exceptional, as was the acceleration towards the end of the movement and then the fast, light touch phrases in the finale. … Sitkovetsky treated us to all the grace and spaciousness that I could have wished for.”
–Bachtrack (David Karlin), 2017
Read More“Violinist Alexander Sitkovetsky, like his accompanists, displayed an admirable technical facility and to this he added an incredibly clear sound blessed with a lovely silky sheen. Once more like the Tonkünstler, Sitkovetsky’s power and projection were striking – I don’t think I’ve ever heard the harmonics in the first movement cadenza ring so loud, full and true.”
–Seen & Heard (Claire Seymour), 2017
Read More“...and that’s just exactly where a mischief breaks though, the same way that Liebreich had previously hinted at in the miniatures "Arbor Cosmica". The Russian-British soloist Alexander Sitkovetsky picks that up with a heightened and always keenly direct sound, especially in the third movement where the wild position changes of the solo part soar above the jocular hurricane of pizzicato of the orchestra – a final clear chord sounding the end of the storm. Liebreich beams, the orchestra smiles, and the audience is rapturous.”
–Suddeutsche Zeitung (Rita Argauer), 2016
Read More“Alexander Sitkovetsky soloist made an unimpeachable case for the full concerto’s integrity. He handled the solo part with dashing brilliance as well as warmth. It’s always impressive to see a soloist who is really involved in the orchestral role as well his own – an earnest musician committed to the total work he was performing.”
–Isthmus (John W Barker), 2016
Read More“[Sitkovetsky's] tone in the second movement was a wonder, with finely shaded dynamic levels.”
–New York Classical Review (Bruce Hodges), 2016
Read More“Sitkovetsky brought great control of dynamics, a fine rubato and a powerful edge to his lovely tone with some wonderfully fleet passages as well as a beautifully shaped cadenza with moments of fine purity.”
–The Classical Reviewer (Bruce Reader), 2016
Read More“Alexander Sitkovetsky was sublime, coaxing note after awe-inspiring note from his violin and proving his very real talent.”
–365Bristol (Sarah-Jane Howard), 2016
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