Debut performances at Berliner Staatsoper & with Mariinsky Orchestra

Denis Kozhukhin

Next Concerts

June 12, 2026

Suwon-si, Gyeonggi-do, South Korea

Brahms: Piano Concerto No.1 in D minor, Op.15

– Sunwook Kim (conductor)

Venue: Gyeonggi Arts Centre, Suwon-si

Link to the performance

June 13, 2026

Seoul, South Korea

Brahms: Piano Concerto No.1 in D minor, Op.15

– Sunwook Kim (conductor)

Venue: Seoul Arts Center, Seoul

Link to the performance

News

October 10th, 2014

On 15 October, Denis gives his debut performance at the Schille Theatre at the Berliner Staatsoper for which he performs in Jörg Widmann’s Quintet for Oboe, Clarinet, Horn, Bassoon and Piano. Denis performs alongside the composer on clarinet, and was invited by Daniel Barenboim for the performance.

Following this, Denis travels to the US where he makes his debut with the Houston Symphony Orchestra, giving three performances of Prokofiev Piano Concerto No.2 with Jakub Hrusa on 17,18 and 19 October at Jones Hall, Houston.

October also sees Denis make his debut with the Mariinsky Orchestra under the baton of Valery Gergiev. He will give two performances of Prokofiev Piano Concerto No.2 with the orchestra, first at the Vienna Konzerthaus on 27 October and then at the Konzerthaus Dortmund on 30 October.

Video

Brahms: Fantasies No. 1 in D minor

In the Press

“Ravel’s Concerto in G takes us to completely different worlds. From that suggestive, almost hypnotic evocation of Debussy, we move on to a piece full of vitality, smiles, light-heartedness and, as its author intended, fun. Exultant fun from beginning to end, with hardly any respite, barely in the second movement, which never ceases to smile charmingly, albeit in a calmer way. Music that fits like a glove to the vitalistic nerve of the French maestro, who put all the rhythmic voltage into a vibrant accompaniment for the Russian soloist Denis Kozhukhin, who in turn demonstrated his excellent level once again.

As has been appreciated on previous occasions, the Russian’s sound is beautiful and has sufficient presence, although it does not dazzle. He shades beautifully and handles the pedal with general restraint, only occasionally overstepping that balance. He translated the fast-paced score apolloniously and with impeccable momentum, with a good dose of panache and fantasy, very successful realisation of the music’s jazzy resonances, and enviable intensity, connecting very well with the baton in a reading in which the rhythmic energy shone through.”