Yevgeny Kutik is featured in American Jewish World. Read the feature here.
“Without a doubt, the highlight of the concert was an absolutely stunning performance of Max Bruch’s “Scottish Fantasy, Op. 46″ by violinist Yevgeny Kutik.” Read the full review here.
Violinist Kutik dazzles DSSO audience: “Kutik was a big hit with not only the audience but the orchestra. While he embraced conductor Dirk Meyer, a sizeable segment of the string section put down their instruments to applaud with both hands.” Read the full review here.
Playing Where Words Fail: “… a truly memorable afternoon, with commitment, élan, and deep musical understanding.” Read the full review.
“Violinist Yevgeny Kutik seeks to break that cycle. His new album Words Fail features a collection of wordless works, past and present, which speak to the indescribable power of music.” Read the full review.
Yevgeny’s album Words Fail is Album of the Week on San Francisco’s Classical KDFC. View Album of the Week page.
Yevgeny’s album Words Fail is Album of the Week on LA’s Classical KUSC. View Album of the Week page.
Yevgeny spoke to John Pitman for All Classical Portland. Listen and read the review here.
Yevgeny spoke to Julie Amacher for New Classical Tracks on Classical MPR. Listen here.
Yevgeny’s recital at the Phillips Collection in Washington, DC reviewed by The Washington Post!
“He turned in a vivid and captivating performance [of Muhly’s Compare Notes]…That sense of directness and vitality set the tone for the entire concert, which may explain the program’s striking sense of cohesion. Or perhaps it was Kutik’s assured and full-bodied playing, which (supported impeccably by Andres) brought a kind of rough-and-tumble lyricism to two neo-classical works by Stravinsky, the 1932 “Duo Concertante” and the 1933 “Suite Italienne for Violin and Piano” (based on the Pulcinella ballet). Kutik, who was born in Minsk, Belarus, has a clear affinity for Stravinsky’s earthy, rich chamber music, and his reading of the “Duo Concertante” was the most characterful — and maybe most satisfying — you’re ever likely to hear.
But the violinist may have reserved his most insightful playing for the premiere of “Words Fail,” a one-movement “song without words” he commissioned from Andres last year. The work, Andres explained, was an attempt to grapple with his own aversion to vocal music (words are “one thing too many” in music, he said) by exploring the voice-like qualities of the violin. From a descending lament, the work slowly gathers power through overlapping variations, becoming darker, more ambiguous and more complex before building to a soaring climax. Kutik and Andres gave a persuasive, deeply thoughtful reading to this involving new work.”