Conducting isn't a profession at all. But a sacred mission at times a holy service and often a desease that could be cured only by death.

Charles Munch


“…The best measure of Mr. Mark Gorenstein’s work came in an urgent, imaginatively shaded account of Bartok’s Concerto for Orchestra. Beginning at a whisper, the cellos rose to a magnificently throaty sound. Woodwinds were ribald, and brasses took on a warm glow. It would be hard to imagine a more phantasmagorical rendition of the closing pages in the Giuoco Delle Coppie, or a more desolate introduction to the Elegia”.

New York Times, USA

Mark Gorenstein’s interpretation of the 2nd Symphony by Sergei Rachmaninov is the best one I have heard so far. Grandiose – is the way he treated the piece, like the “Russian Celibidache” – until the last twinkling of the strings. Here you will notice what this work can become if you take each voice seriously and will not rely only on the superficial abundance of long melodies.

Westdeusche Allgemeine Zeitung, Germany

“… I would like to briefly dwell only on one of my musical impressions – the performance of Mahler’s Ninth Symphony under Gorenstein. If we take the rating, the Ninth sounded at the highest level in Moscow: all performances – Zubin Mehta with the New York Philharmonic (1988), Evgeny Svetlanov with the State Orchestra (1990), Rudolf Barshai with BSO (1993) – this is also the highest class of an orchestra and individually rich interpretations. So, I put Gorenstein in that line, but Michael Tilson Thomas with his San Francisco Symphony (Cologne, 2003), for example, is not: technologically Gorenstein did this brilliantly, a rare orchestra and a rare conductor would pull such technology. But also (the interpretation) reading – is it often today that the level of technique and thinking of musicians makes it possible to generally speak about it?
It turned out to be its own, special, different from the above listed luminaries. I will speak about his understanding of Maler’s “sarcastic humor” in the Lendler as some strange, hidden voices of the outside world, without this often heard neurotic burping here. And about the final Adagio: here, in Gorenstein’s – there is a purified, full-blooded, restless tragedy, so naturally encompassing all the preceding events of this intense story – no Mehta’s sentimentality or, on the contrary, Barshai’s cold harshness. The concentration on the almost one and a half hour of unity of development, the vision of the whole is the source of the stupor in which Gorenstein kept the hall throughout this symphony … “

Philharmonic magazine, Russia

“… If I was to keep one programme from all the concerts my life and I have been privileged to hear over the last five years, it would surely be that of the Russian Symphony Orchestra’s performance on Tuesday March 27th with the baton of Mark Gorenstein…”

Bradford Telegraph, UK

«… The  London  version  of  Georg  Solti  in  1974  long  time  has  been  considered  the etalon. Now,  at last  Russian  conductor  in  a  concert   perfomance  of  «Eugene Onegin»… with  the  participation  of  excellent  singers  of a  new  generation,  freed  and  revived  very  convincingly  a  young  fire,  lyrical  beauty  and  the  true  internal  drama  of   this  masterpiece.  In  just  a few  years,  Mark  Gorenstein  managed  to  turn  around  the  artistic  decline  of  the  State  Symphony  Orchestra  of  Russia…and  has  transformed  into  an  amazingly  refined  ensemble,  that  responds  to  his  thoughtful  direction  with  flexible  dynamics  and  obvious  intrinsic  motivation.  He  also  reveals  himself  as  the  “ideal  conductor”  Tchaikovsky  wished  for,  who  deftly  accompanies  the  singers  pampers  them  instead  of  unceremoniously  drowning  them  out…»

From  the  review  of  the  recording  of  Tchaikovsky  «Eugene  Onegin»., Germany