"...coherence, dramatic tension, and a clear reading of a complex musical language..."
- SONOGRAMA
Maistorovici studied conducting at the Royal College of Music as part of his dual performer-composer degree. He frequently leads performances of his own works, conducting or directing from the violin at major venues and festivals, such as South Bank Centre, Musiekgebouw Amsterdam, Salle Flagey Bruxelles, Studio Ernest Ansermet Geneva, Festival d'Aix-en-Provence, Romanian Athenaeum Bucharest, Great Hall of the St. Petersburg Conservatoire, Merkin Hall New York, Verbier Festival, Spoleto Festival, Enescu Festival, with orchestras such as the London Symphony Orchestra, European Union Chamber Orchestra, Orchestre des Jeunes de la Méditerranée, Campos do Jordao Festival Orchestra, New European Ensemble of The Hague, Young European Strings Camerata Bruxelles, Sinfonia Cymru Cardiff, Lausanne Chamber Orchestra, Nouvel Opéra Fribourg, Estonian Sinfonietta, Bucharest Radio Orchestra. As conductor he “masters the score in letter and spirit” (National Heritage Institute), ensuring “coherence, dramatic tension, and a clear reading of a complex musical language” (Sonograma). His symphonic programs feature soloists such as Daniel Rowland, Yuri Zhislin, Diana Ionescu, Teodora Gheorghiu, Diana Tugui. As composer-conductor his repertoire has a major focus on contemporary and modern works, including chamber opera and interdisciplinary projects. In 2023 Maistorovici created and conducted “Metamorfose after M.C.Escher” at the Tuinzaal of the Kunstmuseum Den Haag with the New European Ensemble and motion-reactive video projections, as part of the 125th anniversary exhibition of M.C. Escher, reuniting the music of Bach, Webern, Pärt and Maistorovici in “a musical/visual spectacle par excellence”, “a brilliant concept, brilliantly executed”, “a really enjoyable concert” (ArtsTalk Magazine). In 2019, Maistorovici performed the Dutch premiere of Concert Transilvan and directed the Enescu Octet for chamber orchestra with the Young European Strings Camerata at the Diligentia Theatre Den Haag, on the occasion of the Romanian Presidency to the EU Council. His love for the music of rock band Queen has led him into the crossover genre with QUEENClassics, combining cutting-edge violin performance with conducting “classic songs, superbly arranged by Maistorovici” (Wales Arts Review). Born in Romania in 1985, he is a former pupil of The Yehudi Menuhin School from the violin class of Natalia Boyarskaya and Lutsia Ibragimova. At the Royal College of Music in London he studied violin with Felix Andrievsky, composition with Mark-Anthony Turnage, Jonathan Cole and Richard Causton, conducting with Patrick Bailey, and later violin with Pierre Amoyal on a Soloist Master degree at the Haute École de Musique Lausanne. He deepened his understanding of chamber music with Bruno Canino at Fiesole Music School Florence and has had influential performance masterclasses with Boris Kuschnir, Anna Chumachenko, Gordan Nikolich, Ivry Gitlis, Ida Haendel, Zakhar Bronn, Ferenc Rados, Gábor Takács-Nagy, Lera Auerbach at courses such as Verbier Academy, Keshet Eilon and others. He advanced his composition studies with Oliver Knussen, Colin Matthews and Magnus Lindberg in Aldeburgh, Giaccomo Manzoni in Florence and Dan Dediu in Bucharest as a PHD in Music. In 2025 he was awarded the Romanian Academy Award, and in 2026 he was made a Fellow of the Royal Society of Arts. He is a winner of numerous awards, among them the George Enescu Composition Competition, Clive Christian Composition Award, Golden Medal of the Berliner International Competition, The Tillett Trust Performer Platform, Young Concert Artist Trust and others. He has given performance and composition masterclasses at the Royal College of Music London, Lilla Akademien Stokholm, Dartington International Summer School, Geneva Conservatoire and Bucharest National University of Music. In 2015 he founded vibrate!festival with pianist Diana Ionescu, an event that brings together world-class innovative classical artists, reaching out to new audiences through eclectic repertoire and cross-discipline projects in alternative spaces.
press
ARTSTALK MAGAZINE HOLLAND
Escher in The Hague
“The New European Ensemble has created a musical/visual spectacle par excellence. (…) They created Metamorfosen in collaboration with Carolien Teunisse of Deframe, who did the visuals, and conductor Vlad Maistorovici.
The concert took place in the main central hall of the Kunstmuseum where a stage and the orchestra had been set up behind a huge gauze. The wonderful thing about the theatrical use of gauze is that if it is lit from the front it is opaque and appears solid but if lit from behind is totally transparent. Both these aspects were exploited in Metamorfosen with the orchestra dimly lit with soloists occasionally being in the spotlight. Meanwhile images by Ms Teunisse were projected on the gauze, all of which were based on, or inspired by, the work of MC Escher. A brilliant concept, brilliantly executed. (...)
There was also work from D. Heinichen, Webern and Mr Maistorovici himself. His piece Metamorfose after MC Escher began with what seemed like the orchestra tuning up again as the images metamorphosed from chess board to tortoises and cats. The music became much more melodic, being almost Gershwinesque at times.
This was a really enjoyable concert. My only criticism, and one I don’t use very often, is that it was too short; I could have done with another half hour. Further performances are planned so watch out for those.”
NATIONAL HERITAGE INSTITUTE
Daniel Rowland/Turnage/Maistorovici
"The suite Carols Without Words, on themes from Romanian folk carols, for string orchestra (2020), by Vlad Maistorovici, bundles five melodies, whose refined instrumentation enhances their aura and conveys states of tranquility.
The Transylvanian Concerto, on melodies from Codex Caioni, for violin and string orchestra (2013), by Vlad Maistorovici, creatively applies to the cited source, manners specific to the traditional Transylvanian trio, Enescian procedures, in a unique multi-ethnic vision – through declared Romanian, Hungarian, Saxon, English, Jewish, Italian, Gypsy characters.
The Romanian Rhapsody, for violin and orchestra (2018; first Romanian audition), by British composer Mark Anthony Turnage, communicates nostalgia; it is a free-poematic piece, modifying the original meaning of the rhapsodic concept. The harmonies and orchestration have masterful iridescence, with sfumato effects and a result of immersion of the listener.
The interpretation of the Romanian Poem, op.1 (1897), by George Enescu, demonstrated, as always, that an orchestral ensemble surpasses itself when the conductor masters the letter and spirit of the score. The moments of violin, harp, and wind instruments were harmoniously integrated into the musical flow. From the male choir – prepared by István Boldizsár – I would have liked a hieratic sonority, appropriate to the Byzantine essences (but probably the sound engineering also exaggerated its intensity, capturing it from behind the scenes).
An exceptional concert, which surpasses other manifestations dedicated to this event and which were broadcast live by TVR. Bravo!"
"...masters the letter and spirit of the score..."
- NATIONAL HERITAGE INSTITUTE
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