{"id":48617,"date":"2026-05-31T16:43:32","date_gmt":"2026-05-31T14:43:32","guid":{"rendered":"https:\/\/novastan.org\/en\/?p=48617"},"modified":"2026-05-31T16:43:33","modified_gmt":"2026-05-31T14:43:33","slug":"uzbekistani-conductor-aziz-shokhakimov-strasbourg-philharmonic","status":"publish","type":"post","link":"https:\/\/novastan.org\/en\/uzbekistan\/uzbekistani-conductor-aziz-shokhakimov-strasbourg-philharmonic\/","title":{"rendered":"From Uzbekistan to Strasbourg: Aziz Shokhakimov, a conductor between cultures and languages"},"content":{"rendered":"\n

Originally from Uzbekistan, conductor Aziz Shokhakimov has been leading the Strasbourg Philharmonic Orchestra since 2021. At 38, this first Uzbekistani conductor in Strasbourg, passionate about French music, has followed an impeccable path. Interview.<\/strong>
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In Strasbourg, Aziz Shokhakimov has been Music and Artistic Director of the Strasbourg Philharmonic Orchestra since September 2021. In this role, he also works closely with the Op\u00e9ra national du Rhin, as the orchestra regularly performs opera there. He already knew the Strasbourg<\/a> ensemble well, having conducted it as a guest from 2014 before taking up its leadership.<\/p>\n\n\n\n

Born in Uzbekistan and trained in the capital Tashkent<\/a>, Aziz Shokhakimov did not so much choose conducting as grow up within it. At just eleven years old, in a children\u2019s and then school orchestra, he learned the profession through practice, sometimes compensating for missing instruments by playing certain parts himself. This early start nurtured a visceral relationship with the collective: the orchestra as a living organism, made of listening, discipline and trust.<\/p>\n\n\n

Faites un don \u00e0 Novastan<\/strong><\/a><\/p>\n\n\n\n

In Strasbourg<\/a>, a border city whose Franco-German fusion he admires, his presence is particularly visible in the orchestra\u2019s major popular events. For the 2026 New Year\u2019s Eve and New Year concerts, the Strasbourg Philharmonic Orchestra brought together more than 3,800 spectators in a full Erasme Hall, around a programme<\/a> entitled Floril\u00e8ge lyrique<\/em>, which Novastan<\/em> attended. Under the direction of Aziz Shokhakimov, the evening celebrated the voice, with two international soloists: Uzbekistani soprano Barno<\/a> Ismatullaeva and tenor Ren\u00e9 Barbera. The Choir of the Op\u00e9ra national du Rhin also took part, in a festive atmosphere greeted by long ovations.
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Beyond the Strasbourg stage, Aziz Shokhakimov also appears in the documentary O\u2019zbekistonlik<\/em>, produced by Uzbekistan\u2019s Club. The episode devoted to him, available on YouTube<\/a> with English subtitles, is part of a series highlighting Uzbek personalities who have faced obstacles but managed to make their way to the highest level: a way of offering concrete role models and nurturing a positive collective narrative around Uzbekistanis abroad<\/a>. From France, Aziz Shokhakimov sometimes describes himself as an \u201cinformal cultural ambassador\u201d: someone who, through encounters, makes people want to look at Central Asia differently. Interview.<\/p>\n\n\n\n

Novastan : To begin with, could you introduce yourself and look back at the major stages, the turning points, that shaped your artistic and professional path?<\/strong><\/p>\n\n\n\n

Aziz Shokhakimov <\/strong>: I am a conductor. I was born and grew up in Uzbekistan, and I received my musical training in Tashkent.<\/p>\n\n\n\n

A decisive turning point in my professional life came in 2010, when I won second prize at the Gustav Mahler International Conducting Competition in Bamberg. It is one of the most prestigious competitions for conductors. From that moment on, I began receiving invitations in Europe, the United States and Japan. One could say that my international career really began with that competition.<\/p>\n\n\n\n

Looking back, what were the moments that most clearly shaped you as an artist and as a conductor?<\/strong><\/strong><\/p>\n\n\n\n

Honestly, I never felt that I consciously chose this profession. Becoming a conductor happened very naturally.<\/p>\n\n\n\n

I began conducting at a very young age, when I was eleven. At first, it was a kind of experiment suggested by my teacher, Vladimir Borisovich Neymer. I first worked with a children\u2019s orchestra, then with a school orchestra. We often lacked instruments: if there were no percussion instruments, I played the parts myself; if other instruments were missing, I would go to the piano.<\/p>\n\n\n\n

In reality, I literally grew up inside the orchestra. Of course, later I received academic training at the conservatory, but my training as a conductor began in childhood, in contact with real musicians<\/a>.<\/p>\n\n\n\n

Has your artistic centre of gravity evolved over time?<\/strong><\/strong><\/p>\n\n\n\n

Yes, absolutely. Over time, many things change: repertoire priorities, working methods, the way one achieves a result…<\/p>\n\n\n\n

But I feel that since childhood, I have had an inner ear, a musical energy that has never left me. The tools evolve, experience deepens, but that inner drive, my fundamental relationship with music, has remained the same.<\/p>\n\n\n\n

What was your first formative contact with music?<\/strong><\/strong><\/p>\n\n\n\n

Music was part of my life from early childhood, because both my parents are musicians.<\/p>\n\n\n\n

But a truly decisive moment came later, when I was playing viola in a youth symphony orchestra in the Volga region of Russia. There, I saw young people of different nationalities, religions and countries making music together, sharing the same scores, the same sound, with joy and commitment.<\/p>\n\n\n\n

It made a deep impression on me. I was probably quite idealistic as a child, but that experience confirmed something important: music really has the power to unite people.<\/p>\n\n\n\n

Which teachers, mentors or institutions most influenced your discipline and musical imagination?<\/strong><\/strong><\/p>\n\n\n\n

All my teachers influenced me, each in their own way. But above all, Vladimir Borisovich Neymer<\/a>, who was like a second father to me.<\/p>\n\n\n\n

Good and bad teachers alike shape you: good ones show you how to work and how to treat others; bad ones mainly teach you what not to do.<\/p>\n\n\n\n

I am convinced that one never stops learning. There is an Indian proverb I like very much: \u201cNo one is your friend, no one is your enemy – everyone is your teacher.\u201d I try to approach every encounter as an opportunity to learn.<\/p>\n\n\n\n

Do you still play an instrument? And have you sung or worked on your voice?<\/strong><\/strong><\/p>\n\n\n\n

Yes, today I mainly play the piano. I played the viola for a long time, but the piano has become my main working instrument.<\/p>\n\n\n\n

I also studied singing. First at school, then seriously at the conservatory. Not because I wanted to become a singer, but to understand vocal technique, breathing and how the voice works. For a conductor who works with opera and choirs, this knowledge is essential.<\/p>\n\n\n\n

For readers who do not know Ortasaray, how would you describe the place where you grew up?<\/strong><\/strong><\/p>\n\n\n\n

Ortasaray, when I was growing up there, was surrounded by nature. There was a lot of greenery, birds, fishing trips, mushroom picking in spring. From my home, we had a magnificent view of the mountains.<\/p>\n\n\n\n

This connection with nature deeply influenced me. I still love mountains just as much, and whenever possible, my family and I try to spend our holidays there, whether in the Black Forest or in the Alps.<\/p>\n\n\n\n

Unfortunately, the region has changed a lot since then, and much of that natural environment has disappeared.<\/p>\n\n\n\n

Did the mountain landscape and the multicultural environment have a lasting impact on your sensibility?<\/strong><\/strong><\/p>\n\n\n\n

Absolutely. The mountains shaped my relationship with space and silence, while the multicultural environment shaped my relationship with others.<\/p>\n\n\n\n

In Ortasaray, I grew up among Kazakhs, Koreans, Russians and Turks. From childhood, I lived among several languages and cultures, and that seemed completely natural to me. I think that is also why it later became easy for me to adapt to different countries, without cultural conflict or inner resistance.<\/p>\n\n\n\n

You move between several linguistic and cultural worlds. How do languages \u201clive\u201d in you, personally and professionally?<\/strong><\/strong><\/p>\n\n\n\n

For me, language is not just a tool for communication: it is a way of thinking, a cultural framework and even, in a certain sense, part of music.<\/p>\n\n\n\n

To understand German music, for example, knowledge of German is extremely important. Phrasing in Beethoven, Brahms, Mozart or Haydn often follows a linguistic logic. This influences articulation, structure and above all phrase endings.<\/p>\n\n\n\n

In German, endings carry particular weight. In Russian or French, they function differently, and this can sometimes influence the way musicians intuitively feel form.<\/p>\n\n\n\n

In rehearsal, language therefore often becomes an element of musical explanation. More broadly, I believe that the more languages one speaks, the more one opens up and develops culturally, both as a musician and as a person.<\/p>\n\n\n\n

Before moving to Strasbourg, what image did you have of the city?<\/strong><\/strong><\/p>\n\n\n\n

I already knew Strasbourg quite well before moving here. I had been conducting here since 2014, almost every two years, so I had time to discover the city, its architecture, its musical life, and I already had friends here.<\/p>\n\n\n\n

I really like this city. You can feel the fusion between French and German cultures, which creates a very special atmosphere. Geographically, it is also a unique place: Germany and Switzerland are just nearby.<\/p>\n\n\n\n

That is why I am sincerely happy to live here.<\/p>\n\n\n\n

What surprised you most here, and what do you miss from home?<\/strong><\/strong><\/p>\n\n\n\n

I am fascinated by the combination of French freedom and German precision. That is what makes Strasbourg so distinctive.<\/p>\n\n\n\n

On a personal level, I miss my family most, even if I am not particularly sentimental. With technology, distance is less restrictive today, and I try to go to Tashkent regularly.<\/p>\n\n\n\n

How do people perceive Uzbekistan?<\/strong><\/strong><\/p>\n\n\n\n

Some people know Central Asia well, while others know almost nothing about it. But often, after meeting me, they become curious and start reading, searching, learning. In that sense, I sometimes feel like an informal cultural ambassador for my region.<\/p>\n\n\n\n

And yes, Uzbekistan is more visible than before. The country seems more culturally open, and that changes the way it is perceived.<\/p>\n\n\n

Want more Central Asia in your inbox? Subscribe to our newsletter here.<\/a><\/span><\/strong><\/span><\/p>\n\n\n\n

Through your international engagements, which orchestras have made the strongest impression on you?<\/strong><\/strong><\/p>\n\n\n\n

Every orchestra leaves something behind: a sound, an atmosphere, a human connection. But this season, I was particularly impressed by the Royal Scottish National Orchestra<\/a>. I worked with them very recently, and I was struck by their enthusiasm, professionalism and commitment.<\/p>\n\n\n\n

What piece of advice would you give to young musicians?<\/strong><\/strong><\/p>\n\n\n\n

First, be honest with yourselves: are you really ready to devote your life to music? Music requires immense commitment and sacrifices: time, stability, sometimes even one\u2019s personal life. You can never stop progressing; the moment you stop, you begin to fall behind.<\/p>\n\n\n\n

There is a saying: \u201cChoose a job you love, and you will never feel like you are working a day in your life.\u201d There is some truth in that, but musicians work enormously hard. Love simply makes that work meaningful.<\/p>\n\n\n\n

If you could correct one illusion about success in music, what would it be?<\/strong><\/strong><\/p>\n\n\n\n

The illusion of quick success. Real success in music is not a single moment: it is a long process, built on daily work, doubts, mistakes and gradual progress. And for me, that is precisely what makes music so precious.<\/p>\n\n\n\n

Interview by Mathieu Lemoine,
Contributor for Novastan<\/strong><\/p>\n\n\n\n

Edited in French<\/a> by Ana\u00efs Boulard<\/strong> <\/p>\n\n\n\n

Translated by Maya Ivanova<\/strong><\/p>\n\n\n

Thank you for reading this article! If you have time, we would appreciate your feedback, either through this anonymous form or by email at editorial@novastan.org<\/em><\/a>. Thank you very much!<\/p>\n\n\n\n

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Originally from Uzbekistan, conductor Aziz Shokhakimov has been leading the Strasbourg Philharmonic Orchestra since 2021. At 38, this first Uzbekistani conductor in Strasbourg, passionate about French music, has followed an impeccable path. Interview. In Strasbourg, Aziz Shokhakimov has been Music and Artistic Director of the Strasbourg Philharmonic Orchestra since September 2021. In this role, he […]<\/p>\n","protected":false},"author":358,"featured_media":48618,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4669,4668,5],"tags":[4936,4512,3974],"coauthors":[358],"class_list":["post-48617","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-people","category-society","category-uzbekistan","tag-aziz-shokhakimov","tag-strasbourg","tag-uzbekistan"],"acf":[],"_links":{"self":[{"href":"https:\/\/novastan.org\/en\/wp-json\/wp\/v2\/posts\/48617","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/novastan.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/novastan.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/novastan.org\/en\/wp-json\/wp\/v2\/users\/358"}],"replies":[{"embeddable":true,"href":"https:\/\/novastan.org\/en\/wp-json\/wp\/v2\/comments?post=48617"}],"version-history":[{"count":4,"href":"https:\/\/novastan.org\/en\/wp-json\/wp\/v2\/posts\/48617\/revisions"}],"predecessor-version":[{"id":48622,"href":"https:\/\/novastan.org\/en\/wp-json\/wp\/v2\/posts\/48617\/revisions\/48622"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/novastan.org\/en\/wp-json\/wp\/v2\/media\/48618"}],"wp:attachment":[{"href":"https:\/\/novastan.org\/en\/wp-json\/wp\/v2\/media?parent=48617"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/novastan.org\/en\/wp-json\/wp\/v2\/categories?post=48617"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/novastan.org\/en\/wp-json\/wp\/v2\/tags?post=48617"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/novastan.org\/en\/wp-json\/wp\/v2\/coauthors?post=48617"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}