The original artist is deprived vanity, he understands too well that art is inexhaustible.
Ludwig van Beethoven

Reviews

"…He  demostrated  his  ability  to  conduct   the   orchestra  as  a  well-balanced  unit,  playing beautiful  musik  with  melodiousness  and  clearcut  accents,  as  well  as  achieving  rich  and powerful  tones…"

Haaretz , Israel

"…Swept  away  and  cut  to  the  quick  by  the  inexorable  baton  of  Mark  Gorenstein,  the Montpellier  orchestra  seemed  to  have  won  the  right  to  aspire  to  the  ranks  of  the  great".

Midilibre, France

"...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

"...Finally, with the "Pathetique", Gorenstein's strength not to use up all of the arguments too early showed itself once more. The dramaturgy was perfect, a captivating, full of wonderful moments performance, with enormous intensity result..."

Frankfurter Allgemeine Zeitung, Germany

“... If I was to keep one programme from all the concerts my wife 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

"...Mark Gorenstein  conducts  with  exraordinary  restraint, with  exciting  growth, with  exquisite  pianissimo, with  an  exciting  play  of  color  and  really  hot,  grabs  the  heart  of intensity".

From the review on the CD "...Memory to the victims of Fascism and War"

"Pizzicato", Luxemburg

«… 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».

Stereoplay.de, Germany

"…The  concert  began  with  a  performance  of  three  pieces  from  “Raimonda”  (Glasunov). Rich  design,  skillful  balance  of  string  and  wind  instruments,  a  rich  palette  of  sounds – perhaps  it  is  natural  when  orchestra  conducts  artistic  director,  but  this  was  the  real sound  of   the  Russian  State  Symphony  Orchestra. (…)  However,  this  part  of  the  concert pale  in  comparison  a  stunning  performance  in  the  second  part  of  the  program,  which sounded  the  2-nd  symphony  of   Rachmaninov"

«Concert Diary», Japan

"...Gorenstein, already persuasive the thrift and clearness of his gestures, was a sovereign leader of the orchestra with marvelous woodwind instruments , compact disciplined brass and wonderfully harmonious strings. A great evening! ..." 

Kartner Tageszeitung, Austria