On the eve of Danube Day, on June 27 at 7 p.m. in the Philharmonic Hall, the State Opera - Ruse will delight the audience with a magical evening in which music will tell stories, paint pictures and touch the heart. The symphonic concert, dedicated to the celebration of the majestic river, is under the patronage of the International Society "Elias Canetti" - Ruse. In the program, Ruse residents will have the opportunity to experience the exceptionally beautiful works of Jan Sibelius - Symphony No. 1, Nikolai Rimsky-Korsakov - Fantasy "The Golden Cockerel", Claude Debussy - "The Afternoon of a Faun" and Antonio Vivaldi - "Summer" from "The Four Seasons". The soloist of the concert is the laureate of the National Competition "Orpheus of the Future" - the young violinist Dara Karagyozova, who has been performing successfully at a number of national and international competitions and stages for 12 years.
The soloist of the concert is the laureate of the national competition “Orpheus of the Future” – the young violinist Dara Karagyozova, who has been performing successfully for 12 years on both national and international stages and competitions. The orchestra of State Opera Ruse will be conducted by Ukki Sachdeva – an Indian-American conductor with an international career, based in Berlin and Los Angeles. As a guest conductor, he has had the privilege of working with orchestras across Europe and the United States. Ukki has served as assistant conductor of the Los Angeles Chamber Orchestra and Jaime Martín. He is currently mentored by Maestro Maxim Eshkenazy, Jorma Panula, and Markus Stenz. He has also studied with Paavo Järvi. Ukki has been featured on programs by Bulgarian National Radio and Television, NPR’s From the Top, New York’s WXQR Young Artist Showcase, and New York Concert Review. He currently studies at the Hanns Eisler School of Music in Berlin and previously studied conducting at the Colburn School with Maxim Eshkenazy. He made his conducting debut at the age of 16 with Aaron Copland’s Appalachian Spring, performed with a chamber orchestra he himself founded. In 2022 and 2023, he twice received the “Young Stars of the Future” award from the McBeth Foundation and the South Coast Symphony.
Here is what he shares:
What inspired You to take up classical symphonic conducting? It is a demanding profession, and also a great challenge and responsibility.
My passion for music began early, fueled by the emotional depth and storytelling in orchestral works. Conducting Appalachian Spring at age 16 with my own chamber orchestra was a pivotal moment – it showed me the power of leading musicians toward a unified vision. Studying with mentors like Maestro Maxim Eshkenazy and Jorma Panula further fueled my desire to shape music through conducting.
What are Your thoughts on the future of classical symphonic music in today’s increasingly dynamic and fast-paced world? Will we be able to preserve it?
Classical symphonic music remains a vital art form, capable of connecting diverse audiences through emotional universality. Its future lies in blending tradition with innovation – programming works like Sibelius and Debussy alongside new compositions, embracing diverse voices, and using technology to enhance accessibility. Engaging younger audiences through education and dynamic performances, such as at festivals, is key to the genre’s evolution.
What methods do You use to maintain communication and coordination between all sections of the orchestra during a concert, so they sound like a single organism?
As conductors, we speak with our hands! I prioritize building trust with the orchestra during rehearsals, ensuring mutual understanding of phrasing and ideas. With the soloist, it’s like chamber music – there’s a give and take that makes the performance even more impactful.
You have already conducted in Bulgaria. How does the Bulgarian audience differ from those in other countries?
The Bulgarian audience, especially in Ruse, is deeply appreciative and emotionally engaged, reflecting the country's rich musical heritage. My experience during the 2022–23 tour in Bulgaria revealed an attentive and responsive audience, often staying for discussions after concerts. Compared to American or German audiences, Bulgarians bring a unique warmth and enthusiasm that creates an intimate connection with the music.
What are the key differences you observe in classical symphonic conducting across different countries and cultures?
I’ve had the fortune to conduct on three continents – Europe, North America, and Asia. Naturally, different countries and languages come with different cultures and playing styles. Yet, the culture of classical music in the 21st century is increasingly one that transcends geographic boundaries and even language itself.
What is your approach to interpreting classical symphonic works? How important is it to stay true to tradition, and where is there room for experimentation?
My goal is to honor the composer’s intent while bringing a fresh perspective. In Sibelius’ First Symphony, I emphasize its Nordic intensity and structural clarity, drawing on my training with Finnish conductors. In Debussy’s Prelude, I explore its impressionistic colors. Tradition is a compass, but experimentation – such as emphasizing the rhythmic vibrancy in Vivaldi’s Summer – keeps the music alive for contemporary audiences.
The audience may be curious to know how You prepare for rehearsals. What are Your working methods with the orchestra and soloists?
Orchestral performance involves many complex elements happening at once, unlike chamber or solo music. Rehearsal preparation means understanding these complexities and identifying the most important musical idea at any given moment. With a soloist, we must be even more closely attuned and aware of each other's musical intentions.
Many people wonder about the role of the person waving their arms in front of the orchestra. In that sense, what is the function of conductor-orchestra interaction in creating musical impact during a performance?
The conductor channels the orchestra’s energy like an electric current, directing the music’s impact straight to the audience. Much of this is in service to the musicians and the score – it’s through their artistry that the music comes alive. Together, we create a performance that captivates and moves listeners.
Are there any classical symphonic works you would love to conduct but haven’t yet had the opportunity?
I’d love to conduct Ravel’s Daphnis et Chloé for its lush orchestration and vivid storytelling, which would challenge me to shape its impressionistic colors and dynamic contrasts. Also, Stravinsky’s The Rite of Spring captivates me with its rhythmic intensity and revolutionary spirit, aligning with my interest in bold, transformative works.
If You could conduct a symphonic piece or an opera from any historical period, which era would you choose and why?
For both answers, I’d say the early 20th century! As mentioned, I’m fascinated by The Rite of Spring and Daphnis et Chloé. In opera, I’m drawn to the innovative intensity of Wagner and Strauss, as well as the soaring melodies of Puccini.
If You could “revive” any composer and work with him today, who would it be, and how would you adapt to his style?
I’m deeply passionate about Sibelius, whose music brings health and strength, uplifting the spirit and connecting humanity with nature. His works convey inner peace, less anxious than some other composers, closer to the calm of Eastern philosophies. I’d be curious to hear his thoughts on today’s orchestras and his advice for interpreting his music.
What are Your thoughts on the concept of “contemporary opera”? Are new technologies and modern performance elements allies or enemies of classical symphonic music?
Contemporary opera revives the genre by blending modern storytelling with traditional vocal artistry. Technologies like digital projections are allies when they enhance the drama, but they must illuminate – not overshadow – mthe emotional core of the music, preserving the timeless power of opera.
And finally: What is special about conducting a concert that is part of the Danube River Festival? What does this celebration symbolize for you, and what emotions and messages do you hope to convey through music at such a unique event?
Conducting a concert on the eve of Danube River Day in Ruse is a privilege, as the river symbolizes unity and cultural exchange across Europe. The festival celebrates this connection through music. With Sibelius’ emotional landscapes, Debussy’s pastoral imagery, and Vivaldi’s flora and fauna, our program shows how deeply music is tied to nature. In Ruse, that source of inspiration is the Danube – and we hope to honor and celebrate its power on this festive Friday evening!
Interview by Diana Dimitrova
Снимка: Укки Сачедина
TICKETS available at the “OPERA” box office and HERE.
