Boreyko was a persuasive advocate [for Tchaikovsky's Suite No 3], bringing out the elegiac sweetness of the first movement and the lightness of the third, a march spun out of candy floss... he and the orchestra capped the long final variations with a sparkling polacca.

From Beethoven's first notes of concert overture Coriolan, dealing with betrayal, death and redemption, the RNO's sonority and knife-edge accuracy with every note marks it as one of the world's best. Under the baton of [Andrey] Boreyko, Beethoven was warm, short and very, very sweet... the eerie blend of haunting brass and trembling strings heralds Variation 18 [of Rachmaninov Rhapsody On A Theme Of Paganini], with the ebb and flow of the melody's volume and intensity handled beautifully by Boreyko and Lugansky.

Prom 44 saw the Russian National Orchestra – with Andrey Boreyko standing in for its founder-conductor Mikhail Pletnev – celebrating its first 20 years. They delivered Tchaikovsky's Suite No 3, and a coruscating performance of Rachmaninov's Rhapsody on a Theme of Paganini with Nikolai Lugansky at the piano.

The concert allowed Andrey Boreyko to demonstrate why he figures among the more promising young Russian conductors by leading a shrewdly judged performance of Shostakovich's enigmatic yet strangely inviting Symphony No.15. Vadim Repin also demonstrated, as if further proof were needed, that he can play Tchaikovsky's Violin Concerto stunningly.

Boreyko runs a tight ship. The taut, rhythmic control he brought to Beethoven's Coriolan Overture was undeniably effective, however, suggesting the implacable character of Heinrich von Collin's play. It was put to good use, too, in Tchaikovsky's Suite No. 3... Boreyko was able to harness the virtues of this marvellous orchestra here as well. They have a highly individual timbre: dark and burnished, ideal for Tchaikovsky's melancholic soundworld.... Tchaikovsky's drooping phrases sound perfect when played by these velvety strings and the rippling woodwind accompaniment to the second variation was expertly executed. If Boreyko's more severe side enhanced the diablerie of Rachmaninoff's Rhapsody on a Theme of Paganini, he was also able to open up to the expressivity of the more romantic variation - the "domain of love”, as the composer called them. The soloist, Nikolai Lugansky, was happily responsive to this shift of sensibility, letting in a welcome draught of subjectivity.... a captivating evening of music-making.