Ivan ANGUELOV  Conductor
 
 
  BIOGRAPHY  

 

Guest performances take – quoting from a press release “ Europe-wide successful expert in Italian repertoire “ – to such opera houses as the Bavarian State Opera Munich, the Deutsche Oper Berlin, the Semperoper Dresden, the Hamburg State Opera, the Leipzig Opera House with the Gewandhausorchester, the Stuttgart State Opera, the Cologne Opera, the Opera House in Bonn, to Tokyo, Santiago de Chile, Mexico, Vienna, Paris, Marseille, Toulouse, Toulon, Catania , Verona, Helsinki, Copenhagen… He performs in Spain, Turkey, the Netherlands, …and everywhere his “ keen sense of music with Italianità” , his “truly ‘Italian’ Verdi-understanding” and his “sense of dynamic, accompaniment and independent sound language” are highly valued.

Anguélov performs at International Festivals and is much sought-after conductor for gala-concerts – with audio and TV broadcasting – with well-known soloists on the major concert stages in Europe and overseas.
The conductor, who was born in Kavala, Greece began his musical studies at the National Academy of Music in his hometown Sofia, and finished them in Moscow and Germany (with Igor Markewitch, Carlos Kleiber and Wolfgang Sawallisch). Of all the prizes he won in national and international contests the SPECIAL PRIZE with the PRINCE RAINIER III SCHOLARSHIP, in MONTE CARLO is especially worth mentioning. His various positions as Chief Conductor took Ivan Anguélov from the National Opera of Plovdiv, to Bienne and Lausanne in Switzerland, on to Bonn, and finally as GMD to the National Opera Bratislava, with whom he won the 1995 Furtwängler-Prize for particularly outstanding artistic achievements. He worked with directors such as Robert Carsen, Johannes Schaaf, Pier Luigi Pizzi, Richard Jones, Uwe Laufenberg, and many others. The artist conducts symphony concerts with the Tokyo-City- Philharmonic Orchestra, the Symphony Orchestras of Moscow, Munich, Stockholm,… the Orchestre de la Suisse Romande in Geneva, the Philharmonic Orchestra of Monte Carlo, with which he recorded numerous CDs, the Orchestra della RTS Italiana (at the Lucerne Festival), the Radio Orchestras of Munich, Berlin, Bratislava, Brussels, Copenhagen, Stockholm, Sofia,… as well as with the Stuttgart Philharmonic Orchestra, the Robert Schumann Philharmonic Orchestra, the Rheinische Philharmonie just to name a few. Ivan Anguélov has a vast discography.
Apart from a series of recordings with symphonic music, under his musical direction the only complete recording of Hans Werner Henze’s “Boulevard Solitude” and a complete version of Verdi´s “Il Trovatore” were released, a CD with ‘Famous Opera Choruses’ and numerous singer recitals a.o. with John Treleaven, Torsten Kerl, Susan Anthony, Lado Ataneli, Hui He were released.

With Robert Dean Smith and Linda Watson he recorded in 2004 the CD ‘Scenes from Tristan und Isolde’. Already in 2002 his recording with Robert Dean Smith (Wagners Portrait) was rewarded in France with the ‘Orphée d’Or’ - Richard Wagner Prize for the best Wagner recording of the year. Since 2005 his total recording of all symphonies from Antonin Dvorak is on the market.

2007 the conductor Ivan Anguélov was awarded in Sofia with the Honor Prize THE GOLDEN FEATHER for his contribution to Bulgarian culture. 2014 he was honoured with the medal “Boris Christoff” in recognition of his career and his productions at the Ancient Theatre Plovdiv. Among those, we highlight the successful “FLYING DUTCHMAN” with Elisabet Strid, AIDA with Hui He or a concert with PAATA BURCHULADZE.

He has been the founder and promoter in 2016/2017 of the first Opera Studio in Bulgaria. He has conducted its first production, Donizetti’s Don Pasquale. In 2017 he was appointed honorary conductor of the Philharmonie Pleven. Anguélov has recently released a new CD for Ohms Classics together with the Soprano Elisabet Strid, and is currently involved in another series of recordings.

 

 
 
 
REVIEWS
 
Plovdiv Amphitheatre - Der Fliegende Holländer
A memorable premiere of Wagner's early opera, with the entire Plovdiv Opera ensemble and a bunch of wordl class soloists under the inspired and fascinating musical direction of Ivan Aguélov... The Plovdiv State Opera Orchestra is a flexible collective with beautiful sounds and a continuous homogeneity. Already before the great virtuous ouverture with its increasing drama unto the pioneering accumulation begins, one could notice the orchestra's magnificence. Outstanding, vivid strings, beautiful woods and illustrious brass. And then the noteworthy conduction of Ivan Anguélov. He perfectly knows the opera and with his clear dradramaturgical line he souvereignly supports the dictorial concept. Flexibly and precisely he accompagnies the soloists. The performance ends with a great finale, giving you goose bumps.
www.der-neue-merker.eu
Stuttgart State Opera – Madama Butterfly
Sensitively, the conductor Ivan Anguélov with the Stuttgart State Orchestra works out the subtle transparency of this exotic score.The singers, formost Alexia Voulgaridou, perfectly emphasize the air at the endings of each phrase. Time and again Butterfly's melody has a very organic effect. And in this interpretation the harmonious progression in the bass line and the chord substance clearly refer to the common ground of the whole tone scale and the excessive chords. By doing so , the adapted characters are musically much better outlined as in the scenic presentation, where some of the details seem to blur. Conductor Ivan Anguélov very precisely emphasises the harmonic base of the "Butterfly" theme.
Der neue Merker
www.der-neue-merker.eu
Stuttgart State Opera – Norma
With a lot of love Ivan Anguélov leaded the Stuttgart State Orchestra to a tonally warm development , savouring the heavenly Bellini inspirations and with spirited highlights. At the delicate crossing points he chrerished the singers showing perfect breath-technical consideration.
Der neue Merker
www.der-neue-merker.eu
TOSCA - Royal Opera Copenhagen
With eyes wide open, we follow this revival of ' Tosca', -we are captured, not always happily, but consistently.
Of course also with the ears tuned in, and there are fine qualities to retrieve from the orchestra under the direction of conductor Ivan Anguélov.
Operaen
The two choirs are excellent and conductor Ivan Anguélov takes very good care of the rich score, with its musical drama and all its sound nuances.
Skanska Dagbladet
www.skanskan.se
The revival of Jossi Wieler’s and Segio Morabito’s production ended with standing ovations. For the first time, the state orchestra is directed by the conductor Ivan Anguélov. With fine tuned instinct he succeeds in balancing Puccini’s score between the orchestra and the singers. The orchestra is a perfect sound bed fore the singers, in which they can live out their belcanto skills. The choir was as always in top form, both scenically and musically. Especially Catherine Naglestad enjoys the huge freedom, Anguélov gives her.
8ung Kulturmagazin - Dorle Knapp-Klatsch
CD Recording: Dvořák – The 9 symphonies
Ivan Anguélov is a Bulgarian conductor who bills himself as a Dvorak "specialist", and with good reason: These are superb performances. Indeed, as a cycle, this set belongs right up there with the very best (Rowicki, Kubelik), and may be the most consistently well-realized of them all. There are no outstanding weaknesses. Anguélov has the Slovak Radio forces sounding much better than they previously have in this music, and indeed his versions of Symphonies 1-4 probably are the best available. Lively tempos, transparent textures, special care with the wind parts, and good, sharp rhythms pay huge dividends. Highlights include a stunning first movement of the Second, Anguélov's incomparable slow movement of the Third; and great scherzos everywhere

In the big "final three", there's too much competition for me to say that these performances rank with the very best, but they are totally at one with the cycle as a whole. The first movement of the Seventh builds to a wonderfully tragic climax, and the scherzo is again outstanding. Only the finale strikes me as a touch stiff, though the ending is terrific. The Eighth falls squarely in the Czech tradition of Talich and Neumann (that is, with a steady tempo in the finale), and the "New World" seldom has been more powerfully shaped, with a gorgeous Largo and a finale that represents virtually the last word incogency, with the timpani finally getting their due. So from an interpretive point of view, and taken has a whole, Dvorak fans will need to hear this

Now for some housekeeping. Anguélov omits all exposition repeats, which doesn't bother me, and makes quite a few cuts in the First Symphony's first movement, which I find gratuitous and unnecessary, even though almost everyone does it. The Czech Suite (here called "Bohemian Suite") also is excellently done. The sonics are very good, with plenty of impact and body, and they present the rustic timbres of the orchestra in a very flattering light. I would love to hear this conductor take on some of the overtures --his identification with the idiom is absolute. A very pleasant, first-class surprise!
David Hurwitz - Classics Today
'The discography of total recordings is continually increasing and the wider the choice the greater the trouble to pick out the real golden coins from the output, which is gradually becoming rather complex. One of these golden coins is certainly the total recording of Ivan Anguélov with the Slovak Radio Symphony Orchestra Bratislava. Although Anguélov doesn’t offer a revolutionary, newly thought out version, he develops a perfectly interesting and conclusive study of Dvořák’s symphonies.'

Old-fashioned is history The native Bulgarian Ivan Anguélov studied in Sofia, Moscow, France and Germany, worked at the Opera of Lausanne, the Opera House Bonn, he conducted also the Monte Carlo Philharmonic Orchestra and was the chief conductor of the National Opera Bratislava. Since 1999 he is a regular guest of the Slovak Radio Orchestra, with whom he went in search for an up-to-date Dvořák- sound.
These recordings prove that their search wasn’t fruitless. Anguélov is a conductor with editorial ambitions. Where Dvořák’s score shows some so-called long drawn-out passages and formal weakness, Anguélov editing begins. In the interview and the booklet he constantly reinsures the benevolent authority of the great Dvořák interpreter, Vaclav Neumann, who would have done it the same way, and he entitles his editing of the material. Be that he made some abridgements and minimal retouch here and there. For the well- disposed listener , who doesn’t really has the opportunity to do some editorial researches and to study the autograph, it would have been useful to learn where Anguélov’s editorial work is effective

However, on the other side of any musical discussion, Anguélov’s interpretation of Dvořák’s symphonies is a musical experience. The conductor wants to avoid an old-fashioned Dvořák-sound and exempts the symphonies from the waste products of viscous Bohemian dumpling-bliss. Until now the expectations were pretty often characterized by a standardized Dvořák-sound: light and sweet, indulging in traditional idiomatic cantilenas, dense orchestra. sound – the synonym for romance. Of course there were already some initial stages to indulge Dvořák’s symphonies from this romantic superstructure. It was wrong to dissect the musical material in individual episodes and to leave the romantic element out of consideration by a sharp phrasing. Anguélov chooses an other approach. He doesn’t leave the romantic out of consideration, on the contrary! He exactly accentuates this element, by simply transposing the note text into music. Accents create rhythmic – dynamic pulsing and automatically challenge a great phrasing curve. Dvořák’s orchestral facture basically avoids a too big density and is mostly transparently textured. With Anguélov, the slender sound, which structures the separate orchestra groups, gets the better and I don not exaggerate when I say that in that way, the symphonies receive a nearly classical striking profile

Anguélov’s direction mostly demands stringent tempi. He makes the strings play with very little vibrato and in this way, he achieves a wonderful balanced transparency. In these recordings it are indeed the strings that score with precise rhythm and accurate intonation… informative texts on the genesis of the opera complete these excellent recordings. Dvořák’s symphonies – listened to with a modern ear.
David Hurwitz - Classics Today
Already the cover shows the advantages of this new total recording of the entire Dvorak-symphonies: it needs only 5 cd’s. Moreover not a single symphony is spread on several cd’s . And as an extra you get also the ‘Bohemian Suite’ Opus 39. So, there is much to be said for this recording, especially as there really don’t exist plenty of total recordings Is there also anything to be said against it? Maybe the sound pattern, but then again this is a matter of individual taste. The recordings of the Slovak Radio convince without exception by their relatively rich but at the same time lightly dark sound pattern… The Slovak Radio Symphony Orchestra under the conductor Ivan Anguélov plays with youthful freshness and presents sounding, spontaneous and distinctive interpretations. Particularly convincing is the 6th symphony, which makes you listen attentively because of some delicately worked-out details. Some occasional hoarseness and roughness of the brass is not concealed and . tonal exaggerations and massiveness are successfully avoided Fono Forum

Born in Greece but raised in Bulgaria, Ivan Anguélov ( a pupil of Markevitch, Sawallisvh and Carlos Kleiber) has been forging a solid career for himself on the continent, most notably at the National Opera Bratislava, where his work won him the Furtwängler Prize in 1995. In the booklet Anguélov speaks of a special affinity with the music of Dvorak, a statement certainly borne out by this symphony cycle recorded in the Slovak capital between 2001 and 2004 I began with the Sixth ( my favourite of the rine) and was much taken by the pleasing polish and eagerness shown by the RSO, the bright, lean and transparent corporate sonority admirably captured with the microphones. Anguélov steers a confident, yet never hasty course through the exhilarating opening Allegro ma non tanto (here, as elsewhere, he shuns the exposition repeat); the slow movement too has an easy, songful flow about it ( enjoyably, tangy, rustic winds). The furiant cross-rhythms in the Scherzo are idiomatically negotiated ( infectiously, springy violas) and Anguélov allows himself plenty of time in the heaven-sent Trio. By happy chance, the Sixth can be viewed as something of the interpretative template for the whole. Anguélov’s accounts of the last three symphonies (the Eight taped live) are, broadly speaking, spontaneous, rhythmically alert and big-hearted. The New World in particular has a soulful temperament and homespun familiarity that genuinely engage. Of the early symphonies, Nos 2 and 3 come off especially well; I’d place the fervent Anguélov just behind the incomparable Rowocki and Suitner’s bright-eyed Staatskapelle Berlin readings. Both the Fourth and Fifth also strike me as agreeably characterful and thoroughly invigorating. As seems customary these days, No 1’s first movement is subjected to some pruning. As a fetching bonus, Anguélov presicies over a deft, unaffected Czech Suite So, a refreshing, communicative set overall which jaded collectors might like to give a try .
Gramophone
SAINT- SAENS - Symphony N° 1
BIZET – Symphony Roma
‚With his natural sensitivity for any kind of composition, Ivan Anguélov is again a guarantee for bustling, musical theatre. The fact that he can transmit this to the orchestra, is indicative of the ideal contact between the conductor and the musicians.’
Udo Klebes, Der neue Merker
IL TROVATORE – total recording
‘Ivan Anguélov provokes burning "Verdi-flames" in a new production of 'Il Trovatore' at ARTE NOVA with his exceedingly speedy but yet rhythmically accentuated and never rushed musical conduction, he leads the Slovak Radio-Symphony-Orchestra to dazzling heights. The conductor possesses an unwavering feeling for the thrilling dramatic suspense of the opus and he produces a burning atmosphere just by his narrative orchestral sound. It’s gratifying that ARTE NOVA was able togain this conductor for its low-budget- recording. The artistic quality of this recording matches any high price production.’
Orpheus
'At the desk, we find Ivan ANGUÉLOV, a conductor, who never confounds dramatic art and passionate fire with pompous emphasis and cheap effects. Above all, he keeps the music flowing constantly with quick tempi and he builds natural tensions allowing the strings to blossom warmly.'
Der Neue Merker
‘Although this is something of a curate’s egg of a performance as regards the singing, it gains points for the invigorating direction of Anguëlov, whose slim line, direct way brings out the score’s raw energy while never inflating it out of proportion. In that sense it’s an authentic, 19th-century account. Also-important this-he secures precise and sensitive playing from his orchestra. Attention, amid the convoluted drama, is held throughout.’
Grammophone
ROBERT DEAN SMITH * LINDA WATSON - Scenes from Tristan und Isolde
' with scenes from "Tristan und Isolde", Ivan Anguélov prudently conducts the Slovak Radio Symphony Orchestra with a true sense for dynamism and restraint, accompaniment and an independent musical language.'
Klassik.com
' and the present Slovak Radio Symphony Orchestra under Ivan Anguélov is very convincing.’
Orpheus
JOHN TRELEAVEN – Wagner’s Heroes
‘Ivan Anguélov conducts the Slovak Symphony Orchestra Bratislava with sympathetic understanding, concerned about the utmost beauty of the sound and silence.’
Opernglas
‘The Slovak musicians under the baton of Ivan Anguélov give the orchestral show-piece its entire brilliance. Furthermore they accompanied the whole singer-concert in a most satisfying way.’
Klassik heute
SUSAN ANTHONY Portrait
‘In Ivan Anguélov, Susan Anthony has found a tremendous musical conductor, who draws a lot of chamber musical sound from the precisely and delightful transparently acting SLOVAKIAN RADIO- SYMPHONY-ORCHESTRA BRATISLAVA. Not always musical parts, which are separated from their total context, are so intuitively realised and raised to independence, as it is in this case. The soloist and the conductor seem to have found a homogeneous line to make natural lively music, in which sufficient controlling protects from over- excitement.’
Der Neue Merker
TORSTEN KERL Portrait
‘The Slovak Radio-Symphony-Orchestra Bratislava under the musical direction of Ivan Anguélov accompanied marvellously, adapting to the prevailing composing style.’
Der Neue Merker
ROBERTO SACCÀ Portrait
‘Ivan Anguélov with the Radio Symphony Orchestra Bratislava accompanies in a very gentle and, in the moving rhythms of Donizetti and Verdi, vivacious way.’
Der Neue Merker
JANICE BAIRD Portrait
‘Surprisingly well is the Slovak Symphony Orchestra under Ivan Anguélov’
Orpheus
SERGEJ LARIN Portrait
‘ Also Ivan Anguélov and the Slovak Radio Orchestra perfectly go along in Turridu’s aria from Cacalleria Rusticana and especially this part, which was brilliantly mastered with emphatic attitude…’
Opernglas
ZORAN TODOROVICH Portrait
‘Experienced and competent, Ivan Anguélov accompanies the young tenor with the Symphony Orchestra Bratislava.’
Orpheus
GRACIELA ALPERYN Arias
‘Not least, the recital achieves a certain tension by the variation of the orchestral episodes. Ivan Anguélov with the Slovak Radio- Symphony-Orchestra evokes real opera fireworks. Recently his TURANDOT impressed Berlin’s opera visitors by the emotional sweeps and power of his conducting. In the aria program, he also proves to be a sensitive, supportive conductor.’
Orpheus
OPERNGALA with Edita Gruberova and Neil Shicoff– Casino Basle
‚At the desk we could see IVAN ANGUÉLOV, who has the reputation of an expert for opera gala performances of this kind, because he knows how to move brilliantly among the most different musical styles. With sympathetic understanding he accompanied and carried the singers and inspired the Basle Sinfonietta Orchestra, which normally plays concerts with contemporary music. In this case, however, the orchestra followed the conductor into the unknown territories of sparkling Rossini, dramatic Verismo or Slavic Pastoso.’
Orpheus
GALA-CONCERT with Lucia Alberti – Prinzregenttheater Munich
‘At the desk once again Ivan Anguélov, who shows great empathy for the special needs of the stars, that outsiders often think of as quirks. And under his precise and engaged direction the Munich Symphonic Orchestra proved to be highly qualified.’
Opernspiegel
RUSALKA -Teatro de Bellas Artes Mexico
Ivan Anguélov lead the Orquesta del Teatro de Bellas Artes with gusto, never covering the singers and making a perfect balance between the dramatic and the subtle moments.
Operaclick - Ingrid Haas
RUSALKA - Finnish National Opera Helsinki
'The Bulgarian guest conductor IVAN ANGUÉLOV succeeded in brightening up the rather opaque and Wagner-like instrumentation, so the singers couldalways be heard, even in the orchestra's forte passages. In closing one's eyes, one could really feel the magical touch of the score - pure romance.
Sune Manninen - Der Neue Merker
'With a real Dvorak expert in the pit (Ivan Anguélov has recorded all nine symphonies by Dvorak) there was Slavonic glow in the playing and the chorus lived up to the standard we have become used to.
Göran Forsling – musicweb-international
DON CARLO - International Chiemgau Festival
Event and sounds, Singing and voices Actually it were the sounds that made this a great evening, they made the audience shout with joy after each scene and each aria, especially at the end. At the desk of the Philharmonic State Orchestra Baku from Asabaidschan, playing powerfully and than again very sensitively stands Ivan Anguélov. Prudently he bows but he also demands. The sound carries the singers, Anguélov knows when the orchestra “talks” and when restraint is advisable. The musical tension never decreases. On the contrary in the second part - even in these tropical temperatures – beginning with Phillip’s monologue up to Elisabeth’s renouncing aria and the mortal final scene without help from the next world, the music once again puts up a stringency and a intensity, which leaves us breathless time and again. Aside from the international and young ensemble, all role debuts by the way, the Immling festival choir made a truly magnificent performance. Powerful, pleading, disconcerted or euphorizing passages stay in good memory.
klassik.com
LA TRAVIATA - Bavarian State Opera Munich
'Ivan Anguélov is known among others from excellent Verdi productions at the Leipzig Opera, and performances at the Berlin German Opera Berlin and the Hamburg State Opera. In Munich the conductor prooved once again his feel for this music with its Italenità. He knows how to transmit effectively a composition in its lyricism and drama – with fantastic culminations and great pictures. The State Orchestra and the choir followed him attentively and presently – more than just a repertoire performance!
Orpheus
For the first time IVAN ANGUÉLOV stood at the conductor's desk of the State Orchestra . He made them play a both lively and subtle Verdi and with true creative power he challenged the orchestra and the singers. It is amazing how many different nuances he can elicit from these well-known melodies. From thrilling pianissimo till exciting and dramatic moments, such as the encounter between Violetta and Alfredo in the final scene of the third act. The choir followed him precisely. This evening the orchestra played with great intensity. Let's hope we will see Anguélov again in Munich. Well-deserved applause for all participants.
Der Neue Merker - May 2007
LA TRAVIATA - International Chiemgau Festival
'The Munich Symphonic Orchestra under the inspiring direction of Ivan Anguélov, played flexible Tutti and revealed brilliant string notes and fine sound combinations.
Opernwelt
RIGOLETTO - Stuttgart State Opera
‚What a difference to the Stuttgart's Rigoletto four days later... the German performance showed an exciting "italienità" which was largely missing in Munich. Mainly thanks to the inspiring guest conductor Ivan Anguélov. All singers experienced a new freedom in making music.’
E.D. Echols
‚The guarantor for success was Ivan Anguélov at the desk, a conductor with a true "Italian" Verdi-comprehension. He structured excellently, he conducted with extremely precise rhythm and in the final Vendetta and he inspired the orchestra to some wonderful dynamic enhancements.’
Der neue Merker
MADAMA BUTTERFLY - Teatro de Bellas Artes Mexico
'...this is one of the best Butterflys I ever have seen. Its success is the result of an excellent collaboration between Juliana Faesler's stage direction and stage design and Ivan Anguélov's musical direction. Ivan Anguélov, who is known and admired in Mexico, mainly because of his brilliant performance of 'La Damnation de Faust' at the Nezahualcóyotl Hall, presented an interpretation of the opera, which was both intense and striking. The orchestra followed him with discipline, power and musicality. He is just the kind of conductor, this orchestra needs.
Operaclick
TURANDOT - Komische Oper Berlin
His Turandot impressed Berlin's opera visitors by the international sweeps and power of his conducting.'
Orpheus
TOSCA -Semperoper Dresden
'Under the direction of Ivan Anguélov the State Orchestra shone with Italian brilliance, illuminating the entire spectrum of this magnificent score, from sweltering heat to dark, ominous notes.'
Der Opernfreund - Alexander Hauer
'...the "Vissi d'arte" full of blazing expressiveness, sensitively accompanied by IVAN ANGUELOV with the Saxon State Orchestra. The Bulgarian conductor made his debut at the Dresden Semper Opera House, convincing by his thrilling, differentiated interpretation of the score. He constantly keeps the tension and the orchestra follows him with great musical culture and engagement.
Orpheus
'Excellent performance of the Saxon State Orchestra under Ivan Anguélov, lyrically playing in the emotional phases, vivaciously in the gaudy scenes, disposing a diabolical interpretation of Scarpia's motive and a melancholic one of Tosca's, consistently accompanying of the singers in a sensitive way.
Der Neue Merker - Dr. Rüdiger Ehlert
Just like the singers, Ivan Anguélov had assumed the musical direction on relatively short term. Anguélov makes his successful debut at the desk of the Dresden State Orchestra. Everyone seemed to notice that the State Orchestra with their particularly sensitive accompaniment formed a secure musical mainstay for the singers. Strikingly great ovations for the protagonists and the musicians. More often than usual, the conductor asked the musicians to rise to receive the applause. Appropriate gestures, which met with approval. Besides, the State Orchestra makes Puccini sound very elegant and emotions clearly emerge, always keeping an agreeable distance, meaning it never gets too sentimental. One doesn't have to renounce drama and mighty boasting, as long as one stays within the framework of the Puccinian dramaturgy, in which the melody clearly has precedence.
Klassik.com
CAVALLERIA RUSTICANA /I PAGLIACCI - International Music Festival Chiemgau
'The musical carpet was rolled out for the singers by the Munich Symphonics under the direction of Ivan Anguélov... The acoustics proved to be phenomenal, the sound experience was tremendous... In the world-famous Intermezzo sinfonico, the sensitive interpretation guaranteed goose-flesh for the listeners and took them to Italy and its flair.
Klassik.com
'Ivan Anguélov conducts the Munich Symphonic Orchestra. With the force and the inavoidability of an antique tragedy he passes the events to the audience. Under his conduction the fine spun intermezzo turns into a moment without a chance to avert the tragedy of a human sacrifice on this Sicilian Eastern Morning. Also in the following comedian tragedy Anguélov firmly holds the reins. He perfectly succeeds in arranging the popular and melodic choir- and mass scenes as well as the delicately shaped interconnections of the motives in the confusion of the relationships between the acting characters up to the deceptive, playful ease of a theatre in a theatre.
Orpheus
LES CONTES D’HOFFMANN - Istanbul State Opera, Festival of Aspendos
‚At the desk of the Istanbul State Orchestra stood the conductor Ivan Anguélov, who is in Germany well known. He preferred tempo and a wide curve so that the performance was never lost in the wide Aspendos Arena. ’
Opernwelt
DER FLIEGENDE HOLLÄNDER -- Opera Zuid
‚The musical quality of the performance is of a very high level. The Limburg Symphonic Orchestra under the conduction of Ivan Anguélov plays Wagner, as if they had never played anything else.’
Der Neue Merker, Dirk Altenaer
 
 
 
CD
     

 

 
 
INTERVIEWS - PORTRAITS
Orpheus May 2009 (deutsch)
DER NEUE MERKER July 1997 (deutsch)
Orpheus April 2000 (deutsch)
PNP, 27. July 2005 (deutsch)
Applaus, July / August 2005 (deutsch)