...Gints Glinka is without a doubt a promising talent!

Gidon Kremer

..this young man has a great future!

David Geringas

I consider Gints Glinka to be one of the brightest conductors of the younger generation, he is doubtless something extraordinary!

Peteris Vasks

Glinka let us realize how great is the symphony...

[Beethoven Fine Music Radio]

Gints Glinkas’  presence and passion were the basis of his active and temperamental conducting style. His ability to give all to the music, his energy and temperament gave rise to great enthusiasm from the public, which rose to their feet at the end of the concert. Not of small importance the fact that Gints Glinka conducted the whole programme [Bartok Concerto for orchestra] by heart.

Latvian TV1

Gints Glinka. The name of this Latvian conductor who studied and worked for a brief period in Copenhagen is worth remembering. The 30 year old musician headed a very promising concert in the Great Philharmonic Hall (November 1, 2005.).
Let us express the fervent hope that this talent fulfills its promise. Because the conducting world has too many flashy acrobats, a great deal of emptiness wanting to hide behind excessive advertising or meaningless rhetoric, and too few mature personalities. Gints Glinka cannot be considered to be just an adept advertising performer. Soon it will be possible to say about him: this is a conductor given by the mercy of God. A conductor with multifaceted contact with the orchestra, from gentle plasticity to firm gestures of his will. With a thorough knowledge of the score, irrespective of whether it is before the conductor’s eyes or not.
It was with just such an outstanding performance that the conductor achieved victory over the entrenched armor of the orchestra which is mixed with contempt, hostility, idleness and ignorance. In conclusion, let us share with you a secret that is almost impossible to fulfill and yet justified: may this wonderful musician and conductor continue to develop in the direction of the genius to which he is already so close, and yet maintain enough distance as a reminder of the highly refined figure whose enchantingly subtle technique and penetratingly deep gaze lit up the Berlin Philharmonic.

Music criticism archive, St. Petersburg

Glinka not only could accompany his soloist. Also he was able to elicit the great romantic suck from the musicians. Tchaikovsky’s Italian capriccio and the darker, brilliant orchestrated “Spanish Capriccio” by Rimsky-Korsakov both had plenty. Lots of generous brass, cheerful sunshine melodies by Tchaikovsky, saturating playing of the strings in Rimsky-Korsakov and not least a thoroughly competent designing – all of it without score – made the re-listening to Glinka positive. Technically as well as musically. Maybe he is a man, to whom the orchestra [Copenhagen Philharmonic] should make a closer connection?


There is something peculiar about the Copenhagen Philharmonic Orchestra. Normally it is placed somewhere below the top of the first division. But under certain conditions it is suddenly able to play like being in the Super League. Maybe, no other Danish orchestra is more dependant of inspiration and proper working conditions. And luckily the inspiration was there this evening.

Berlingske Tidende

The young Latvian, Gints Glinka achieved miraculous results with the orchestra in the Polish premiere of that difficult work [Carl Nielsen’s 4th Symphony]. He is a fascinating conductor, making music in the way the greatest maestros do!  Soon the whole world will be speaking about him… The other works, put together with exquisite taste by the maestro, were the excellent and highly interesting overture “Lauda” by contemporary Latvian composer Peteris Vasks and the First Violin Concerto of Szymanowski. This evening can be justly described as one of the true revelations of this concert season.

Nowy Glos Robotniczy

Only sometimes the cautious ear could find the composer [Carl Nielsen] a bit too talkative, stretching a little too much the capricious bantering of the winds, but it was precisely here that the masterly skills of the conductor  could be noticed. It was he alone who delivered the impression that no bar in the entire piece was out of place, and was able to impart to each phrase and entrance the appropriate role. Conducting from memory, he sustained uninterrupted eye contact with the orchestra, the importance of which was proved by their performance – vivid, spontaneous, ardent and inspired. Under such an extraordinary baton one cannot play in any other way...

Kurier Lodzki

Energy and inspiration for life – can anything like that be given by a purely Latvian Symphony music programme excluding the most favorite hits of the world classics or provocative surprises of the contemporary sound-art? It turns out to be true if only done with burning heart and clever mind. That was exactly  this “chemical combination” that defined the Latvian National Symphony Orchestra concert Peteris Vasks and his compeers – the central event of the Latvian symphony music year, at choice of the main hero of the evening, composer Peteris Vasks conducted by the young Latvian conductor Gints Glinka.
At the symphony music concert on April 8th at the Great Guild we witnessed the brightest, most profound and passionate interpretation of Peteris Vasks’ Symphony No. 2 (1999) ever experienced in Latvia (after its world premiere at the Royal Albert Hall in London under conductor Yakov Kreizberg).
Gints Glinka directed the playing of the voluminous and fairly complicated Peteris Vasks’ Symphony No. 2 by heart thereby liberating all senses that allowed him to concentrate on the very essence of music.
Having passionately and fully given himself to music and completely yielding to its emotional density, Glinka does not allow himself to lose control. He guides the orchestra with a firm hand, decisively and purposefully building the musical architecture of symphony – from an infernal machine to birds’ garden created in one’s dreams and an allusion of Latvian folk song, not allowing it sound like commonplace cliché. Control and perfection are the powers that push the process on towards the inevitability required by P. Vasks’ music. Interpretation of the symphony grows into an expanded survey of the whole music time, not losing the acute sharpness and particular beauty of every moment.

Here's a brave prediction: if Gints Glinka were to become the conductor of the Latvian National Symphony Orchestra, our orchestra would quickly become the best orchestra not only in Latvia, but in a much wider region - in the Baltic States at least.

In his debut with the Latvian National Symphony Orchestra Gints Glinka proved two things which confirmed statements that he had made in advance - it is possible to lift tested material to a new level, displaying the principle of concerts as such in a new light, and it is possible to transmit the accumulated emotional idea to the listener.
Gints conducted Strauss' "Don Juan", Liszt's First Piano Concert and Beethoven's 7th Symphony. All of these compositions are very well known, but in the context of Gints Glinka we can talk about making music, about an explanation of the ideas of the compositions in full line with the intentions of the composers, with the descriptions that were once given by their contemporaries.
This is a young conductor and one is fascinated by the extent of his thinking. It takes our orchestra a very short period of time - just a few beats - to put an end to any thought that its level of quality is not guaranteed. How on earth did the orchestra achieve such progress? The work of the conductor can once again be noticed, tasted, evaluated - that hasn't been true for a long time indeed. The conductor's categorical insistence that "this will happen the way that I want, or it won't happen at all", gains obvious confirmation in the event.

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