A bright light shines in Strasbourg: Aziz Shokhakimov in interview

I meet the young Uzbek conductor Aziz Shokhakimov in his office in the Palais de la Musique et des Congrès, the home of the Orchestra Philharmonique de Strasbourg. His welcome – open, smiling – not only acknowledges our previous meetings, but also attests to his optimistic, forward-looking personality.

That evening, Shokhakimov conducted Bizet’s most famous opéra, Carmen, taking over from an indisposed John Nelson and dealing with cast changes (Joyce DiDonato also stepped away from the production) and changing expectations; Shokhakimov could take it over because of cancelled concerts with his other orchestra, the Tekfen Philharmonic, because of the Turkish earthquake. It was a superb cast: Elena Maximova now in the title role, a highly experienced Carmen, with Michael Spyres, Elsa Dreisig, Alexandre Duhamel and Florie Valiquette shining among a host of other talent.

Shokhakimov conducted Carmen for the first time at the tender age of 14 in Uzbekistan – it was sung in Russian, as was usual in post-Soviet countries. He also made his debut at the Deutsche Oper am Rhein with this piece, and ‘after these performances I was asked to become a Kapellmeister there’ (in 2014); his debut at Berlin’s Komische Oper was also a production of Carmen.

Famous (possibly initially notorious) for his fervent attention to detail in rehearsal, Shokhakimov has taken the Strasbourg Philharmonic to even greater heights since his arrival. Hearing his Prokofiev ‘Classical’ Symphony live – or for that matter, his live Bizet Symphony in C, both available via medici.tv - is proof positive of the results.

The Strasbourg Philharmonic has enjoyed a line of fine principal conductors: Hans Pfitzner, Klemperer, Paray, Rosbaud, Galliera and Shokhakimov now brings youth to the equation. Born in 1988, he won the Gustav Mahler International Conducting Competition in Bamberg at the age of just 21. He can be very demanding in rehearsal, which leads to that sense of pinpoint ensemble one hears in the Prokofiev or Bizet Symphonies referenced above.

His contract recently renewed, the relationship between Shokhakimov and his Strasbourg players is constantly developing. ‘Definitely,’ he agrees. ‘Starting from this season, we have better chemistry and a better understanding of each other.’ A very successful tour to South Korea helped. ‘I think the connection is even stronger now. From this season, now we are absolutely like family. Yes, sometimes I am too demanding of the musicians, but they know it is not because I am an asshole, but for a better result. Although it is a French city, Strasbourg's location at the eastern border of France with Germany means it's close to both Baden Baden and Karlsruhe, striking a good cultural balance, according to Shokhakimov. 'I lived in Germany for six years, and sometimes I miss the ordnung (order), but with my Strasbourg orchestra, we have both the cultures, we can be flexible, and at the same time, we have this precision’.

Shokhakimov is constantly expanding his repertoire and experiences: a recent Bellini Lucia in Paris (directed by Andrei Serban) was his first bel canto. As he told me, ‘Mostly I conduct Puccini, heavy repertoire like Turandot or Butterfly or Bohème. It was something new, and very challenging’. Last season (2022) he conducted the French premiere of Braunfels’ rarely-heard Die Vögel (The Birds) at the Opéra National du Rhin; next, Rimsky-Korsakov's Tsar Saltan (directed by the controversial, ever-stimulating director Dmitri Tcherniakov) looms in May.

While Shokhakimov enjoys guest conducting (this season found him debuting in Seattle and Kansas), it is the longevity of contact in Strasbourg that is clearly most fertile ground for him to develop. ‘I think now we can feel the result of our hard work.’ He is not only very demanding of the orchestra’s level of performance, but he also demands much of himself. A touching moment in our conversation came when he simply said, ‘I am often very proud of this orchestra’.

Shokhakimov is extending the reach and scope of the Strasbourg concerts; this season he conducted concerts for a young audience, including Debussy’s La Mer. There are cinema concerts, too (he mentions Mary Poppins) ‘and sometimes we have these concerts where the musicians are showing their instruments for the audience’. There are also plans for masterclasses: ‘We have a conservatory here in Strasbourg, and next season I will do a masterclass with young conductors and the next day the conductors will conduct the college orchestra and I will be there to listen and to help them. Maybe in the future we could play something together with this orchestra, connect them, and play some big repertoire’. The future is certainly bright for this orchestra.

Shokhakhimov’s contract extension in Strasbourg promises to yield further rewards. I tease out whether a compete Mahler Symphonies cycle is forthcoming; ‘We regularly play Mahler symphonies, but to create a cycle would be a little bit limited. We are the only orchestra here in Strasbourg, so every month we have to bring something different to the public. Mahler is one of my favourite composers and there is an idea to play the Mahler Symphonies for a period – next season Mahler No. 2, I already conducted No. 5, and in the future, of course, definitely.’ He does have some exciting thoughts about repertoire going forwards: ‘Maybe one day it would be interesting to bring some music from Soviet Union or post-Soviet Union countries, Georgian, perhaps Kancheli.’ Or Arvo Pärt and Uzbek composers? ‘Maybe one day,’ comes the tantalising reply.