Our artist Misha Shekhtman has received warm critical praise following his appearance at Bulgaria Hall in Sofia, conducting the Sofia Philharmonic in the opening concert of the European Music Festival 2026, with Mikhail Pletnev as soloist. The review, published by Press NG News Agency on 29 March 2026, described the evening as “bright, virtuosic and inspiring.”

Sofia, March 26. I headed toward Bulgaria Hall to attend, with great excitement and curiosity, the concert of the world star – pianist Mikhail Pletnyov. People were streaming toward the hall from all directions, but the presence of a police car made an impression. Later it became clear that teams from the National Security Service had also come, since they were accompanying the Prime Minister. “Hmm,” I thought to myself, “it had been a long time since I had seen a politician at a concert.” I exclude, of course, the demonstrative poses “every now and then” of some would-be politicians, who without fail appear the next day in most newspapers and the websites serving them, in exchange for an appropriate sum.

Suddenly, while I was waiting for the friends with whom I intended to listen to the concert, a relatively young man hurried past me with large strides. He was disheveled, carrying an elastic band in one hand and some sheets of paper in the other. His silhouette reminded me of Paganini – he radiated distraction, haste, and uplift all at once. He was dressed in a dark blue suit and was hurrying somewhere, taking enormous steps. Then he turned toward the artists’ entrance of the Philharmonic.

We stepped across the threshold of Bulgaria Hall. The staff welcomed us politely, and the cloakroom attendants took our coats and bags. It made a pleasant impression on me that they were all young people – well-mannered and attentive, upholding order and discipline. We entered the hall. It was packed. But inside I could not manage to glimpse as many young faces as I would have liked. The mature generation predominated – the one that has a crying need for and dependence on classical music; the one that wants to enjoy music again and again, and to be inspired by the jewels of the world musical treasury.

People were commenting impatiently on which part of the works they were expecting most: whether because of its beauty, or because of its expressiveness. In their conversations one could sense the pure joy that they were present precisely at this musical evening. And it had its own hallmark, because it was the opening evening of the European Music Festival 2026. And as was fitting – the stage was decorated with flowers, there were advertising panels at the back, it was warm and cozy. Everything was somehow glittering and charged with the energy and joyful expectation of the audience.

On stage appeared Vasil Dimitrov – executive director and founder of the music agency “Cantus Firmus.” He made an introductory address with gratitude and a retrospective of the festival program. Then he gave the floor to Nayden Todorov – Minister of Culture. The maestro highlighted the significance of the 26 editions of the European Music Festival as a sustainable event, which has presented both rising talents and established world names. Minister Todorov made an exceptionally humanistic emphasis and delivered a touching message, which I would like to quote:

“We live in a time of crises everywhere around us. Conflicts, hatred. How can we fight all of this? It seems that the last refuge for dialogue has remained culture. Precisely for this reason today culture and art should not be perceived as an ornament of society, but as its fundamental value. Because when all other bridges are burned, then culture and art remain the last way to find ourselves, to find a way to one another.”

After this official part, the hall welcomed the main “culprits” – the phenomenal Mikhail Pletnyov. And together with him onto the stage came the man whom I had seen running toward the hall minutes earlier – it turned out that this was the conductor of the concert. I looked in the program and understood: oh yes, this is the maestro of the evening – Mikhail Shekhtman. The audience applauded Pletnyov warmly, and Shekhtman stood behind him affably and with enormous respect toward the soloist.

The hall held its breath at the first chords of Piano Concerto No. 1 in C major, Op. 15 by Ludwig van Beethoven. I had not seen and heard such measured and balanced pianistic music-making. Strong presence, but without being obtrusive or dominating. Virtuosity without the pretension of “I lead!” An interpretation in full balance between heart and mind, in astonishing symbiosis and sonic monolithic alloy with our National Orchestra.

The key of C major carries harmony and energetic uplift. The first movement is extremely difficult technically because of the scale-like passages, through which Pletnyov flew cleanly and brilliantly, with polished elegance. The arpeggios and ornamentation in the piano corresponded with the clarinets, in order to bring out the melodic coda. The audience was enthused by the cheerful rondo, enjoying the keyboard pirouettes and the triumphant finale.

Our symphonic musicians were not merely accompanists, but an equal, high-class partner to Pletnyov. The orchestration here is dense – with clarinets, trumpets, and timpani. The harmonic modulations break expectations and overflow on a grand scale and brilliance. In the rondo there were many rhythmic surprises and complex cadenzas, requiring enormous virtuosity. The saturation with octave glissandi and fast passages also sets the requirement that the sound of the piano “pierce” the orchestral curtain. Pletnyov showed all this while playing without any physical effort whatsoever – clearly and without unnecessary use of the pedal. Exceptional!

Since Mikhail Pletnyov is also a conductor, he sensed the unity between piano and orchestra to such a degree that he seemed to moderate the orchestra invisibly through his playing, while at the same time skillfully embedding himself into the general sonic picture. He is an analytical, deep musician with supreme control over dynamics. A brilliant interpreter who imposes his own unique pianistic code. Mikhail Pletnyov is a true Renaissance figure – pianist, conductor, composer, and author of brilliant transcriptions.

The second work in the program – Symphony No. 2 in B-flat major by Franz Schubert – is one of the composer’s sunniest works. Allegro vivace began solemnly, followed by swirling passages in the strings. The dynamic, galloping finale of the fourth movement (Presto vivace) demonstrated the high class of the Sofia Philharmonic. For the orchestra this was a test – it had to sound both light, in a Mozartian way, and at the same time with Beethovenian energy. The performance demanded extreme precision from the strings, whose cascades of notes had to be in full synchrony so that the musical picture would remain clear. The timbre was bright, without unnecessary heaviness.

Our Philharmonic musicians coped brilliantly and bravura-like with maintaining the intensity until the very finale. Conductor Mikhail Shekhtman maintained the pulse of the work unwaveringly, without overcrowding or nervousness, even at the dizzying speed. Clear articulation streamed from the Maestro, who with each gesture painted the phrases, and in places led the sound with his whole body.

Let the most conservative readers forgive me, but I consider that Mikhail Shekhtman belongs to that new generation of conductors in whom body and gesture are in complete symbiosis with the music. His “dance-like,” almost pantomimic and plastic style is not self-serving, but a powerful instrument of control. Shekhtman drew with sharp, willful, and precise movements. He swirled his energy and transmitted it to the musicians – he diminished himself before the orchestra at pianissimo and unfolded his entire bearing at fortissimo, without, however, being a dictator-conductor.

Shekhtman has the ability to depict the musical form physically, which makes his appearances exceptionally affecting. Regardless of whether it is natural or a sought effect, the audience not only hears but also sees the emotion. We can certainly say that Mikhail Shekhtman is one of the most exciting young conductors, able to turn the strict classical form into living, breathing art. And certainly this is a bridge of communication with the young people, whom I missed so much in Bulgaria Hall this evening.

I am grateful for the light and joy with which the musicians illuminated us on this memorable evening. Applause! And respect!

By Ivan Vărbanov