But Gergiev, currently also chief conductor of the London Symphony Orchestra, asked doubters to reserve judgement.
Gergiev's career started when his mother encouraged him to play piano as a child.
"In our business Maestro Gergiev is acknowledged as one of the great orchestra trainers, " said Kaye.
Mr Gergiev took his season to the English National Opera in 2006 with financially disastrous results.
It was Gergiev's idea to take the World Orchestra for Peace to Jerusalem this October.
While some question his motives, Gergiev maintains that he is not political and remains an independent voice.
Eminent Russian composer and close friend Rodion Shchedrin is present during rehearsals, and surprises Gergiev with a gift.
From the podium, Gergiev is pulling, willing, compelling them to follow his lead.
The two fell out when Ms Hochhauser rejected Mr Gergiev's commercially unsafe choice of an all-Shostakovich programme for the ROH.
Petersburg, the Moscow Easter Festival, the Gergiev Rotterdam Festival, the Mikkeli International Festival, and the Red Sea Festival in Eilat, Israel.
The Director-General also met with Maestro Valery Gergiev, UNESCO Artist for Peace and Director of the Mariinsky Theatre and Symphonic Orchestra.
His manager Doug Sheldon says Gergiev's energy and motivation may at first have come from an early awareness of his own mortality.
It was his father's sudden death when Gergiev was just 14 that drew him closer to music and eventually led to conducting.
Revealed follows Gergiev to St Petersburg for the White Nights Festival where the Mariinsky Orchestra perform a new opera, "The Enchanted Wanderer".
Revealed then follows Gergiev to the Edinburgh International Festival, where the LSO will launch their 18-month worldwide tour, playing the complete cycle of the Prokofiev symphonies.
The season opens Sept. 23 with conductor Valery Gergiev leading "Eugene Onegin, " in a Deborah Warner production that opened at the English National Opera in November 2011.
The world-renowned conductor Valery Gergiev, himself an Ossetian, gave a concert in the devastated South Ossetian capital Tskhinvali with his home orchestra, the Mariinsky of St Petersburg.
Gergiev, who is also principal conductor of the London Symphony Orchestra, performed a requiem of Russian music for a city he compared in a speech to Stalingrad.
It is the centrepiece of Gergiev's vision of making Saint Petersburg an international capital for music, which has already seen the creation of a new Mariinsky concert hall nearby.
In 2007, Gergiev became the London Symphony Orchestra's Principal Conductor, delighting its musicians with his passion for the Russian repertoire and ability to shed new light on familiar works.
Gergiev conducted at the opening, which included performances from Spanish tenor Placido Domingo, who sang Wagner, and the supreme Russian ballerina of modern times, Ulyana Lopatkina, who performed to Tchaikovsky.
Two weeks before the festival opened, Mr Gergiev found a space in the programme for Christian Blackshaw, a British pianist for whom he has come to have a high regard.
Unsatisfied, Mr Gergiev decided to start again from scratch.
The event represents a professional rapprochement with Mr Gergiev.
Gergiev sees music not only as an art-form, but also as a means to bring people together, often using his prominence to steer interest towards current affairs, particularly those close to his own heart.
Petersburg, the principal conductor of the London Symphony Orchestra, and a guest conductor everywhere else does not solve the question that has puzzled music lovers for two decades: How does Gergiev do everything he does?
NEWYORKER: You Cannot Start Without Me��Valery Gergiev, Maestro
Presently Principal Conductor of the London Symphony Orchestra and The World Orchestra of Peace, Valery Gergiev is also founder and Artistic Director of the Stars of the White Nights Festival and New Horizons Festival in St.
But with barely 72 hours to rehearse -- Kaye received the first copy of Pendereki's score only on Thursday -- the director said it was Gergiev's abilities to bring the best out of the musicians which brought the orchestra to life.
Hand gestures, whether the baton-traced polygons of the textbooks or the mysterious finger-flickerings of Mr Gergiev and Mr Abbado, are construed less as specific directions than as signs of a kind of ultra-responsive listening, a listening which feeds back into how the players hear each other.
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