«Under Ivan Kostyakhin's baton, the orchestra (strings especially) played with wonderful warmth, and the cast was on level you'd feel pleased to find anywhere in the world». John Allison / «Opera», February 2017
- More than 30 opera and ballet performances as well as numerous concert performances, scenas, accompaniments, instrumental concerts and symphonic compositions are in the conductor’s repertoire.
- The conductor possesses such theatrical "know-how" as orchestra editions for chamber ensembles (9-20 musicians) of opera scores by Mozart, Salieri, Moniuszko, Donizetti; construction and creation of atmosphere of musical action in various acoustic conditions of different concert halls.
- Having a vocal training and being a qualified conductor-choirmaster, possessing skills of ensemble and solo singing, the conductor works expertly as a coach to vocal soloists by assisting them with creation of scene and vocal image as well as in being of top of form.
- He is one of the creators and a permanent participant of a unique Grand New Year Ball project in the Belarus’ National Academic Bolshoi Opera and Ballet Theatre.
- Mr. Kostyakhin is the generator of idea and the author of orchestra editions of a unique Evening of Lyrical Songs project accompanied by chamber orchestra on the main stage of National Belarusian Academic Opera and Ballet Theater.
- He is a permanent participant of opera and ballet productions on the main and small stages of the National Academic Bolshoi Opera and Ballet Theatre of the Republic of Belarus, theatrical concert programs.
- He has experience of co-operation with such directors as Vladimir Vasiliev, Nikita Dolgushin, Plamen Kartalov, and Mikhail Pandjavidze.
- Mr. Kostyakhin is the conductor and an active participant of the Russian-Belarusian Youth Symphonic Orcherstra (YSO), a creative project of the Belarus-Russia Union State.
Republican Lyceum (College) of Belarusian State Academy of Music
Belarusian State Academy of Music
(class of senior lecturer L.A.Shimanovitch)
(class of professor, peop.art.of USSR V.V.Rovdo)
Master of Arts with honours
opera and Symphony conducting
(class of professor, peop.art.of Russian Federation G.P.Provatorov)
Creative Path and Experience:
1995 – 1997
Chamber Orchestra of the Republican Lyceum (artistic director and conductor – honored artist of Bealrus V.P.Perlin)
1997 – 2001
Choirmaster and conductor of various student choir and orchestra projects
2000 – 2003
Student chamber orchestra «Sonante»
In 2000-2003 the orchestra had several concerts within Belarus and abroad.
Inspirer of the project, artistic director and conductor
2001 – 2003
Belarusian State Academic Symphony Orchestra
2005 – 2012
Department of opera training of BSAoM (student opera studio)
2002 – 2005
Minsk State Wind Orchestra «Niemigha»
Appeared as the first director of a number of works by Belarusian composers.
In 2002 the orchestra was awarded at the festival “Yaroslavian Fanfares” (Yaroslavl, Russian Federation)
2001 – at present
Co-operation and collaborate projects with:
Belarusian State Academic Symphony Orchestra, State Chamber Orchestra, Symphony orchestra of BTR Company, «Minsk Orchestra», Symphony Orchestra «Young Belarus» of BSAoM, Academic Symphony Orchestra of Ulyanovsk Philharmonic Hall, Orchestra NATOB of the Republic of Tajikistan, MusicDom Orchestra (Minsk).
2003 – at present
Belarusian National Academic Opera and Ballet Theater
(N.Rimsky-Korsakov Mozart and Salieri, Kastchej l'Immortel, S.Monyushko Verbum Nobile, G. Donizetti Rita, W.A.Mozart Theater Director, A. Salieri Prima la musica e poi le parole, J.S.Bach Metamorphosis)
Active participant in creation and performance of concert programs
2004 – at present
Chamber orchestra of I. Akhremchyk State Gymnasia-College of Arts
Chamber Musical Theatre “Gallery” project
2012 – at present
Author of orchestral editions of operas for chamber compositions
(finished editions: Rita by G.Donizetti, Theater Director by W.A.Mozart, Prima la musica e poi le parole by A.Salieri, Verbum Nobile by S.Monyushko)
2014 – at present
Youth Symphonic Orchestra of Russia and Belarus
J. D. Holland
Another’s Wealth Serves No Good
The Queen of Spades
King Stakh's Wild Hunt
The Magic Flute
The Marriage of Figaro
Dido and Aeneas
Mozart and Salieri
Prima la musica e poi le parole
The Fountain Of Bakhchisarai
H. S. Løvenskiold
Six German Dances
of student opera studio
The Queen of Spades
Dido and Aeneas
1. "All three old operas (Rita by Donizetti, Der Schauspieldirektor (The Impresario) by Mozart,Prima la musica e poi le parole (First the music and then the words) by Salieri) did exceptionally well in terms of music: young maestro Ivan Kostyakhin succeeded in bringing to life his facile style as well as in catching the joviality of the unfolding play’s spirit; the opera voices of the soloists who were accustomed to the complicated big scene repertoire (the very same soloists took part in the performances who had been also singing in Der fliegende Holländer (The Flying Dutchman) and Turandot) gained effortlessness and charm. At the same time, the conductor did not make anybody hide or diminish their voice – the spirit of the musical context constructed by the conductor comforted the soloists by counting on easy and delicate singing.
Minsk can’t be called the capital of authentism, but one can rightfully say that the old comic opera sounded authentically at the forum— not in terms of old instruments or singers’ special vocal technique, but in terms of the artistic understanding of the style of the musical pieces, their genre, and hence— the appropriateness of a particular style of performing. "
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2. "Interpretation of the opera ideas in their purity - that is a noble task set and brilliantly performed by the authors of the show. In terms of music, "Koschei", certainly, was a success. The elaborated musical score was perfectly performed by the orchestra under the direction of maestro Ivan Kostyakhin; it was obvious that the conductor felt close connection with the music, understood it, and knew exactly how to dish it up and what to say in it. The level of orchestral playing was pleasantly surprising, not because there had been any doubts in qualification of the Minsk musicians, but because the material itself was highly non-trivial and demanded careful, profound, meticulous work and analysis. The performers from Minsk admirably succeeded in their work.”
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