Vladimir
Stoupel

Piano

Vladimir Stoupel

Piano

Based in Berlin and Baltimore, the pianist Vladimir Stoupel has appeared with orchestras including the Berlin Philharmonic Orchestra, the Konzerthaus Orchestra Berlin, the Gewandhaus Orchestra, and the Symphony Orchestra of the Bavarian Radio, among others. Vladimir Stoupel has also made a name for himself as a conductor. He conducts chamber operas at Konzerthaus Berlin and has guest conducted orchestras including the Berlin Symphony and Mainz State Orchestra. 2022 he was awarded a French Order "Chevalier des Arts et des Lettres".

www.vladimir-stoupel.com

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(He/Him) Based in Berlin and Baltimore, the pianist Vladimir Stoupel has appeared with orchestras including the Berlin Philharmonic Orchestra, the Konzerthaus Orchestra Berlin, the Gewandhaus Orchestra, and the Symphony Orchestra of the Bavarian Radio, among others. Vladimir Stoupel has also made a name for himself as a conductor. He conducts chamber operas at Konzerthaus Berlin and has guest conducted orchestras including the Berlin Symphony and Mainz State Orchestra. 2022 he was awarded a French Order "Chevalier des Arts et des Lettres".

www.vladimir-stoupel.com

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Career Highlights/Education

Moscow Tchaikovsky Conservatory

Master of Music, Master of Music in Piano Performance, Secondary Emphasis in Orchestral Conducting, 1980-1984

HANOVER UNIVERSITY OF MUSIC, DRAMA AND MEDIA (HANOVER, GERMANY)

Artist Diploma - Post Graduate Program (Konzertexamen), Piano Performance, 1985-1990

Management

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Schedule

Schedule

Recent Highlights

Duo Ingolfsson-Stoupel

Pianist with the Duo Ingolfsson-Stoupel

Bargemusic

Duo Ingolfsson-Stoupel

Pianist with the Duo Ingolfsson-Stoupel

Institut Français Berlin

Musica Reanimata

Pianist with the Duo Ingolfsson-Stoupel

Konzerthaus Berlin

Chamber Music Concert

Pianist

Ascent International Chamber Music Festival

Duo Ingolfsson-Stoupel at the Ascent Festival

Pianist

Ascent International Chamber Music Festival

Chamber recital

Pianist

Ascent International Chamber Music Festival

ERÖFFNUNGSKONZERT / IRISCHER TAG

Artistic Director

The Last Rose of Summer Berlin

Familienkonzert

Pianist

The Last Rose of Summer Berlin

STREICHQUARTETT

Artistic Director

The Last Rose of Summer Berlin

Abschlusskonzert

Pianist

The Last Rose of Summer Berlin

KLAVIER-RECITAL

Artistic Director

The Last Rose of Summer Berlin

Biography

Biography

Vladimir Stoupel is an individualist with an extraordinarily rich tonal and emotional palette. The Washington Post praised his “protean range of expression” and Der Tagesspiegel Berlin described his performance as “enthralling and atmospherically dense.” His extraordinary technical command allows him to explore the outermost limits of expression, mesmerizing audiences with his musical intensity. After a solo recital, the Frankfurter Allgemeine Zeitung granted the pianist a critic’s greatest compliment: “Unforgettable!”

Vladimir Stoupel has been a guest soloist with orchestras including the Berlin Philharmonic Orchestra, the Konzerthaus Orchestra Berlin, the Gewandhaus Orchestra Leipzig, the Symphony Orchestra of the Bavarian Radio, the German Symphony Orchestra and the Radio Symphony Orchestra Berlin, the Bochum Symphony Orchestra, the Staatskapelle Weimar, the Staatskapelle Mainz, and the Staatsphilharmonie Kassel. In the United States, he has been heard with orchestras including the Wheeling Symphony, Lancaster Symphony and Lake Placid Sinfonietta. He has collaborated with conductors such as Christian Thielemann, Michail Jurowski, Leopold Hager, Marek Janowski, Steven Sloane, Stefan Malzew, Patrik Ringborg, and Günther Neuhold.

Vladimir Stoupel has appeared on many of the world’s notable stages, including Berlin’s Philharmonic Hall and Konzerthaus, Avery Fisher Hall in New York, the National Gallery of Art in Washington DC, Hamburg’s Grosse Musikhalle, and Dortmund’s Konzerthaus, to name just a few. Festival appearances include the renowned Schleswig-Holstein Music Festival, Piano en Valois (France),Brandenburgische Sommerkonzerte (Germany), Printemps des Arts in Monte Carlo, the Helsinki Festival, and Festival La Grange de Meslay in Tours (France).

Together with the violinist Judith Ingolfsson he is a co-artistic director and founder of the international festival Aigues-Vives en Musiques(France) as well as co-artistic director of the international festival The Last Rose Of Summer in Berlin.

Stoupel’s interest in breaking up the at times rigid incrustations of the concert business and – in addition to the cultivation of the classics – in dedicating himself to the unjustly forgotten “edges of the repertoire” is also reflected in his CD recordings and diverse chamber music activities. Thus, in 2007, he released a CD on the EDA label, entitled The Life of the Machines, with piano works of the twentieth century by George Antheil, Conlon Nancarrow, Alexander Mossolov, and others. In September 2010, together with Judith Ingolfsson (Violin) and Leonid Gorokhov (Cello), he released a CD En hommage Simon Laks and a double - CD with chamber works by Glinka, Borodin and Shostakovich, with Breuninger Quartet. His extensive discography includes Arnold Schoenberg’s complete piano works (auris subtilis, 2001), the Complete Sonatas of Alexander Scriabin (Audite, 2008) – a highly regarded recording for which he received the Luxemburgian Excellentia Prize, among others – and a recording of the complete works for viola and piano by Henri Vieuxtemps, with violist Thomas Selditz, which was awarded the Preis der deutschen Schallplattenkritik 2002. His recording of the two Fauré Sonatas, together with Judith Ingolfsson (Violin), was nominated for the 2017 International Classical Music Awards (ICMA). In 2017, he released, also together with Judith Ingolfsson (Violin), the CD Blues, Blanc, Rouge on the Accentus Music label, which includes the Sonatas of Ravel, Ferroud and Poulenc. This CD was nominated for the the Preis der deutschen Schallplattenkritik 2018 and ICMA Awards 2019. His CD with the Sonatas of Rathaus and Shostakovich, released in 2020, won the Supersonic Award in Luxembourg and was nominated for the Preis der deutschen Schallplattenkritik 2021 as well as for ICMA Awards 2020. Together with Judith Ingolfsson (Violin), the most recent album with violin sonatas of Rathaus, Tiessen and Arma, was released in August 2021 on OEHMS Classics and nominated for the 2022 ICMA Awards.

Vladimir Stoupel has also made a name for himself as a conductor. He conducts chamber operas at Konzerthaus Berlin on a regular basis, works with the Berlin Symphony Orchestra, Philharmonic State Orchestra Mainz, Czech Chamber Philharmonic, Philharmonie Neubrandenburg, the Polish Chamber Philharmonic, the Berlin Chamber Philharmonic, the Orquesta Sinfonica de Cuidad d'Oviedo, the Mendelssohn Chamber Orchestra Leipzig, the Reykjavik Chamber Orchestra, the Orchestre Philharmonique de Marseille and the Cantabria Youth Symphony Orchestra, among others. Since 2012 he regularly conducts concerts with the Brandenburg State Orchestra Frankfurt. His CD with the Opera by Weinberg Congratulations!, recorded at Konzerthaus Berlin and released in 2020, became finalist of the prestigious ICMA Awards.

A French citizen since 1985, Vladimir Stoupel currently divides his time between Berlin, Germany and Baltimore, USA. In 2022 he was awarded a French Order "Chevalier des Arts et des Lettres".

Press Quotes

"As a pianist, Vladimir Stoupel been widely admired for his work in late 19th- and early 20th-century music, especially for his partnership with violinist Judith Ingolfsson. His fluent Fauré has gotten especially positive reviews. Rathaus, of course, is in most ways the polar opposite of Fauré, yet Stoupel plays this music with similar conviction—conviction and technical confidence as well, despite the enormous challenges of the music. The massive chords don’t faze his fingers, and the metrical games never trip him up. Voicing is often impressive—and the few moments of more or less conventional lyricism are captured with lushness and beauty. His Shostakovich recordings are technically stunning performances, especially in the more manic passages; and in spots (the quieter moments of the first movement of the Second), Stoupel brings out the hints and whispers well. His tone is so powerful that you’re apt to be convinced as you’re listening. "

— Fanfare, USA

"Stoupel's extraordinary Sonatas by Rathaus and Shostakovich : Rathaus’ musical language mixes the traditional with radical modernity. Some critics celebrated him, before he went into exile in 1932, as one of the greatest hopes of the 20th century. Others tore his works apart, and the public was also mostly hostile to them. But the expressive music should actually be better known today. The first piano sonata has already been recorded, but the recording with Vladimir Stoupel seems to me to be the best of those currently available. The pianist plays the sonata, which can still be classified as late romantic, with great intensity and expressiveness. Especially fascinating is the Lento con espressione, in which Stoupel’s playing is very introverted. That is about 10 minutes of a gripping, deeply touching piano playing. The Third Sonata, whose tonal proximity to Scriabin the pianist emphasises in his booklet text is performed with a similarly glowing expression and, in addition, stupendous virtuosity. On the second CD of this album, Stoupel proves himself to be a highly virtuoso performer of both Shostakovich sonatas. The one-movement first sonata is very effective, with contrasts that the pianist illuminates with maximum passion. The Second Sonata, which is far less effective than the first one, needs an imaginative interpreter to sound effectively. Stoupel has the creative talent and the ability to make the work instinctively sound right in both its slow and virtuoso parts. There is nothing constructed or intellectually tuned in this performance. Stoupel has this phenomenal expressiveness and that confidence of accentuation, which distributes light and shadow over entire periods and forces the listener to fully experience the music."

— Pizzicato, Luxembourg

"The main work of the evening was Igor Stravinsky’s unfortunately very seldom played Concerto for piano, wind band, double basses, and timpani from 1924. It very clearly highlights reminiscences of the music of the early eighteenth century, for example, when the first movement calls to mind the structure of a French overture, or when the piano’s sound – rhythmically complicated, dry, emotionlessly shaped – gives the impression of a harpsichord. In the outer movements, at least, expressiveness is allowed only here and there in the orchestra. Soloist Vladimir Stoupel mastered the task with exemplary artistic power and – especially important in this piece – utmost rhythmic precision."

— Frankfurter Allgemeine Zeitung, Germany

"Vladimir Stoupel with the Tchaikovsky Concerto in Kassel: “There is a trend toward standardization when it comes to the most well- known classical hits.That whichevery body knows has to sound the same each time. But it often gets exciting then when someone offers his own individual version. In Vladimir Stoupel’s interpretation, Tchaikovsky’s famous B-Minor Piano Concerto not only had its own sonority. On the forty-minute musical mountain tour, the Berlin-based Russian with French citizenship took advantage of every liberty to linger, to enjoy the atmosphere, to then quicken the pace again in order to storm the peak at the end in a quick tempo. Stoupel played the heavy chordal towers at the beginning with forward- pressing élan, yet in the lyrical passages he slowed the tempo and let the various episodes pass by in complete serenity, almost coming to a standstill – but without forfeiting tension because of it. Stoupel did not emphasize virtuoso brilliance in this first movement. Unusual, however, was the tonal sensitivity with which he differentiated the rhythmical levels of the piano writing. The second movement began extremely slow. Here, too, Stoupel discovered tonal fields over which many pianists pass over without regard, and provided for strong contrasts in the prestissimo passages. Only in the finale did Stoupel really get down to it with his virtuoso hands, and the octave cascades at the end came out as if chiseled in stone. For the thunderous applause in the sold-out Stadthalle, the soloíst reciprocated with the Autumn Song from Tchaikowvsky’s Seasons cycle, op. 37, which he played delightfully dreamy with nearly magical pianissimo colors.”"

— Hessische Allgemeine Zeitung, Kassel, Germany

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Expertise

Instrument

Piano

Special Skill

Chamber Music

Orchestral Conductor

Recitals

Soloist