Sergei Nakariakov, trumpetist

Sergei Nakariakov

Represented By:

Tom Kristensen
+45 21 85 58 61

Ole Justesen
+45 21 85 58 60


Sergei Nakariakov, the israeli-russian trumpet player, has established himself as one of the most sought-after trumpet players on the international stage. Gifted with a rare combination of stunning virtuosity, a suave and velvet-toned sound and a deep sensitivity he was named “The Paganini of the trumpet” and “Caruso of the trumpet”.

Nakariakov has single-handedly brought the flugelhorn to prominence on the concert platform. He has developed long-standing relationships with many of the world’s most respected leading orchestras, conductors and musicians.


Nakariakov’s most recent and future engagements include (among others): a performance at the Le Pont International Music Festival (Japan), concerts with Kremerata Baltica, Gidon Kremer and Mirga Grazinytė-Tyla in Berlin Konzerthaus and Hamburg Elbphilharmonie.

Nakariakov have embarked three times for Hamburg with three totally different programs showing his artistic variety from Haydn’s trumpet concerto to Shostakovich’s Concerto No. 1 for Piano, Strings and Trumpet and the impressive piece “ad absurdum” composed by Jörg Widmann.

Further engagements contain a tour with Cappella Gabetta and a summer-tour with Hong Kong Sinfonietta. Other notable appearances include concerts with the Kammerorchester des Bayerischen Rundfunks in Munich, Borodin Quartet in Istanbul, London and Amsterdam as well as several performances in Moscow, New York, St. Petersburg, Cologne, Luzern, Lahti and more.


Nakariakov’s repertoire covers not only the entire range of original literature for trumpet, but is continually expanding into broader territories, comprising many fascinating transcriptions and commissions by Peter Ruzicka, Uri Brener, Enjott Schneider and Jörg Widmann, while he searches for ever new means of musical expression.

Nakariakov has performed with many of the world’s most respected conductors including Valery Gergiev, Vladimir Spivakov, Saulius Sondeckis, Christoph Eschenbach, Yuri Temirkanov, Jiří Bělohlávek, Jaap van Zweden, Yuri Bashmet, Sir Neville Marriner, Mikhail Pletnev, Dmitri Sitkovetsky, Kent Nagano, Vladimir Ashkenazy, Mirga Grazinytė-Tyla as well as great orchestras. Furthermore, he regularly collaborates with many of the world’s leading musicians like Vadim Repin, Martha Argerich, Mischa Maisky, Emmanuel Pahud, Julian Rachlin, Dmitri Sitkovetsky for chamber music projects. With the pianist Maria Meerovitch and his sister, Vera Okhotnikova, he combines a long musical-friendly collaboration.

Sergei Nakariakov’s discography with Teldec Classics International (Warner) has drawn the most enthusiastic public and critical acclaim and incorporates the most famous original repertoire trumpet as well as numerous arrangements for trumpet and flugelhorn.

Born in Gorky Sergei began to play the piano when he was six years old, but moved on to the trumpet, a change of direction in which he was supported by his father, Mikhail Nakariakov, who has transcribed many classical concerts for the trumpet and created a unique repertoire for Sergei. He gave him his technical knowledge and helped him to develop still further his exceptional feel for music.

Sergei Nakariakov plays on instruments by Antoine Courtois, Paris.


Sergei Nakariakov – Carnival of Venice, Jean-Baptiste Arban

Sergei Nakariakov – Haydn Cello Concerto C major Benjamin Yusupov ICO


Freiburger Albert-Konzert – December 2019

“Mit golden-melancholischem Ton leicht, überaus beweglich in den Koloraturen – technisch ist bei Nakariakov alles möglich.

Dieser feinsinnige Bläser scheint nur dann zu atmen, wenn es die musikalische Syntax zwingend verlangt. Und die populäre “Air” aus Bachs D-Dur-Orchestersuite BWV 1068 mit dem dunkel klingenden Flügelhorn: Das war Klangschönheit pur. Weihnachten ist da nicht mehr weit.”

– Christine Adam, Badische Zeitung

San Jose concert, reviewed by San Francisco Chronicle

“Sergei Nakariakov plays the trumpet the way the rest of us breathe — if we’re lucky.”

– Joshua Kosman, San Francisco Chronicle