UPCOMING

Philharmonie, Paris
Orchestre de Paris
Nicola Benedetti, violin
Richard STRAUSS
Fantasie from "Die Frau Ohne Schatten"
Karol SZYMANOWSKI
Violin Concerto No. 2
Sergei RACHMANINOFF
Symphonic Dances
karina
canellakis
schedule

Season 2017/18

may
jun
Philharmonie, Paris
Orchestre de Paris
Nicola Benedetti, violin
Richard STRAUSS
Fantasie from "Die Frau Ohne Schatten"
Karol SZYMANOWSKI
Violin Concerto No. 2
Sergei RACHMANINOFF
Symphonic Dances
Philharmonie, Paris
Orchestre de Paris
Nicola Benedetti, violin
Richard STRAUSS
Fantasie from "Die Frau Ohne Schatten"
Karol SZYMANOWSKI
Violin Concerto No. 2
Sergei RACHMANINOFF
Symphonic Dances
jul
Royal Albert Hall, London
BBC – Proms 2018
BBC Symphony Orchestra
Alisa Weilerstein, cello
Beethoven
Coriolan Overture
Shostakovich
Cello Concerto No.1
Andrew Norman
“New Work”
Rachmaninoff
Symphonic Dances
aug
Festspielhaus Bregenz
Wiener Symphoniker
Benjamin Appl, baritone
Thomas Larcher
“Alle Tage”
Beethoven
Symphony No.5
about

Karina Canellakis

Conductor

Karina Canellakis is the newly appointed Chief Conductor of the Netherlands Radio Philharmonic Orchestra in Amsterdam, beginning in the 19/20 season. Winner of the 2016 Sir Georg Solti Conducting Award, Karina Canellakis is internationally acclaimed for her emotionally charged performances, technical command and interpretive depth. She made her European conducting debut in 2015 with the Chamber Orchestra of Europe in Graz, Austria, replacing the late Nikolaus Harnoncourt, returning the following June to conduct Concentus Musicus Wien in four symphonies of a Beethoven Cycle. She first made headlines in 2014 filling in at the last-minute for Jaap van Zweden in Shostakovich Symphony No. 8 with the Dallas Symphony Orchestra, where she held the position of Assistant Conductor for two seasons.

Ms. Canellakis began the 2017/18 season with her debut at the BBC Proms in London with the BBC Symphony Orchestra and a return to the Zurich Opera to conduct Mozart’s Die Zauberflöte. Notable debuts this season include the Orchestre de Paris, Rundfunk-Sinfonieorchester Berlin, Gürzenich Orchestra Cologne, Bamberger Symphoniker, National Orchestra of Spain, Netherlands Radio Philharmonic, the Hallé Orchestra and Seattle Symphony; alongside re-invitations to the Royal Stockholm Philharmonic, Swedish Radio Orchestra, Danish National Orchestra, Scottish Chamber Orchestra, Los Angeles Chamber Orchestra and Vancouver Symphony.

In summer 2018, Karina Canellakis returns to the London Proms with the BBC Symphony and makes her Wiener Symphoniker debut at the Bregenz Festival. She later returns to the Los Angeles Philharmonic for a concert at the Hollywood Bowl in September.

In Europe next season she will conduct the prestigious Nobel Prize concert with the Stockholm Philharmonic, and debut with the London Philharmonic, Oslo Philharmonic and Deutsches Sinfonie-Orchester Berlin, among others; while in North America she makes debuts with the Orchestre Symphonique de Montréal and the St. Louis Symphony. She will also undertake a four-city tour of Australia conducting the symphony orchestras of Melbourne, Perth, Adelaide, and Tasmania.

Last season, Ms. Canellakis made debuts with the City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, Orchestre National de Lyon, and Toronto and Milwaukee Symphony Orchestras. She conducted the world premiere of David Lang’s new opera The Loser at the Brooklyn Academy of Music (BAM), Peter Maxwell Davies’ new opera The Hogboon with the Luxembourg Philharmonic, and a fully staged production of Verdi’s Requiem at the Zurich Opera.
Previous seasons have featured orchestral debuts with the Hong Kong Philharmonic, Cincinnati, Detroit, Houston and San Diego Symphony Orchestras, and at the Mostly Mozart Festival in New York leading the International Contemporary Ensemble (ICE). In 2016 Ms. Canellakis conducted Mozart’s Le Nozze di Figaro with the Curtis Opera Theatre at the Kimmel Center in Philadelphia.

Already known to many in the classical music world for her virtuoso violin playing, Ms. Canellakis was initially encouraged to pursue conducting by Sir Simon Rattle while she was playing regularly in the Berlin Philharmonic for two years as a member of their Orchester-Akademie. In addition to appearing frequently as soloist with various North American orchestras, she subsequently played regularly in the Chicago Symphony for over three years, and appeared on several occasions as guest concertmaster of the Bergen Philharmonic in Norway. She also spent many summers performing at the Marlboro Music Festival. She plays a 1782 Mantegazza violin on generous loan from a private patron.

Ms. Canellakis is a graduate of the Curtis Institute of Music and the Juilliard School. Her other major mentors have been Alan Gilbert and Fabio Luisi. She was born and raised in New York City and speaks French, German and Italian

Karina Canellakis

Dirigentin

Karina Canellakis, die Gewinnerin des Dirigentenwettbewerbs Sir Georg Solti 2016, wird international für ihre emotional aufgeladenen Auftritte, ihre technischen Fähigkeiten und ihre eindrückliche Tiefe gelobt. 2015 gab sie ihr Debüt in Europa gemeinsam mit dem Chamber Orchestra of Europe in Graz, als sie kurzfristig Nikolaous Harnoncourt ersetzte. Im Juni des folgenden Jahres kehrte sie zurück, um den Concentus Musicus Wien in vier Sinfonien eines Beethoven-Zyklus zu leiten. Erstmals machte Canellakis bereits 2014 Schlagzeilen, als sie bei einer Aufführung von Schostakowitschs Sinfonie Nr. 8 mit dem Dallas Symphony Orchestra, wo sie zwei Jahre lang als Assistenz-Dirigentin tätig war, in letzter Minute für Jaap van Zweden einsprang.

Canellakis beginnt die Saison 2017/18 mit ihrem ersten Auftritt bei den BBC Proms in London zusammen mit dem BBC Symphony Orchestra und ihrer Rückkehr zum Opernhaus Zürich, wo sie Mozarts «Die Zauberflöte» leiten wird. Darüber hinaus gibt sie ihre Debüts z.B. beim Orchestre de Paris, bei den Wiener Symphonikern, beim Rundfunk-Sinfonieorchester Berlin, beim Gürzenich-Orchester Köln, bei den Bambergern Symphonikern, beim Orquesta Nacional de Espana, beim Radio Filharmonisch Orkest, beim britischen Hallé Orchestra und beim Seattle Symphony. Dazu kommen Wiedereinladungen des Kungliga Filharmoniska Orkestern, des Sveriges Radios Symphoniorkester, des DR Symphoni Orkestret, dem Scottish Chamber Orchestra, dem Los Angeles Chamber Orchestra und der Vancouver Symphony.

In der letzten Saison gab die Amerikanerin ihr Debüt beim Hollywood Bowl mit dem Los Angeles Philharmonic, City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, Orchestre National de Lyon und bei den Sinfonieorchestern Toronto und Milwaukee. Sie dirigierte die Uraufführung von David Langs neuer Oper «The Loser» an der Brooklyn Academy of Music, Peter Maxwell Davies’ neuer Oper «The Hogboon» mit dem Orchestre Philharmonique du Luxembourg und eine Bühnenproduktion von Giuseppe Verdis «Requiem» am Opernhaus Zürich.

Zuvor debütierte Karina Canellakis beim Hong Kong Philharmonic und den Sinfonieorchestern in Cincinnati, Detroit, Houston und San Diego sowie beim Mostly Mozart Festival in New York mit dem International Contemporary Ensemble. 2016 dirigierte sie Mozarts «Le nozze di Figaro» mit dem Curtis Opera Theatre im Kimmel Center Philadelphia.

Karina Canellakis machte sich zunächst für ihr virtuoses Geigenspiel einen Namen in der Klassikwelt und wurde von Sir Simon Rattle auch zum Dirigieren gebracht, als sie zwei Jahre lang Mitglied der Orchester-Akademie der Berliner Philharmoniker war. Als Solistin an der Violine trat sie mit nordamerikanischen Orchestern auf, spielte drei Jahre lang regelmäßig mit der Chicago Symphony und war mehrfach Gast-Konzertmeisterin beim Philharmonischen Orchester der Stadt Bergen in Norwegen. Zudem gastierte sie häufig beim Marlboro Music Festival. Sie spielt eine Violine von Mantegazza aus dem Jahr 1782, die ihr als großzügige Leihgabe aus Privatbesitz zur Verfügung gestellt wird.

Karina Canellakis ist Absolventin des Curtis Institute of Music und der Juilliard School in New York. Weitere Mentoren waren Alan Gilbert und Fabio Luisi.

press
“Canellakis’ high-wire act was a dare. The players were kept on the edge of their seats. Something could have derailed it at any moment. Nothing did. It was great.”
LA Times, Mark Swed
April 24, 2018
“Canellakis did a remarkable job of finding the lyrical radiance and ebb-and-flow of the opening movement (Brahms 3rd symphony with the Vancouver Symphony), putting it together with coherence, beautifully shaped string lines and the needed dramatic force. This was all about beauty and poetry. It is inspiring to see a young conductor exhibiting so much craft and thought – and so much love of the music”
Seen and Heard International, Geoffrey Newman
April 14, 2018
“In Dvorak’s Symphony No. 7 (National Arts Center Orchestra, Ottawa), Canellakis delivered passion and pathos. The opening movement was weighty with brooding stoicism, carried on the glowing gravitas of Larry Vine’s horn solos. The second movement was expressed with the tenderest affection and blue-sky calm; the Scherzo was gracefully articulated, nimble in its refined rusticism. The robust finale was propelled by an almost operatic sense of drama and fatalism; Canellakis allowing the tension to steam along irresistibly until the implacable end.”
Artsfile, Natasha Gautie
January 11, 2018
“Karina Canellakis led the orchestra in a fierce and full-blooded reading of one of the canon’s great Romantic symphonies…”
Paul Kosidowski, Milwaukee Magazine
November 10, 2017
“Those big moments were insistent and regal, standing in thrilling contrast to the symphony’s most touching, tender melodies.”
Elaine Schmidt, journal sentinel
November 10, 2017
“Canellakis’s Dvořák was high, lucid and bright from start to finish.”
David Nice, theartsdesk.com
September 6, 2017
“Für diese großartige Beethoven-Interpretation dankte das Publikum mit anhaltenden Beifallsstürmen.”
Michael Baumgartl, svz.de
September 3, 2017
“A rising conductor makes an impressive L.A. Phil debut at the Bowl”
Richard S. Ginell, Los Angeles Times
August 9, 2017
“Spectacular Rachmaninoff from Karina Canellakis and the CBSO”
John Quinn, Seen and Heard International
May 17, 2017
“Canellakis captured the intense feeling at the heart of the music.”
Paul Kosidowski, Milwaukee Magazine
March 14, 2017
“Canellakis and the orchestra moved with absolute conviction from atmospheric sounds and cloudy harmonies to direct, simple statements, giving a taut, crisp performance, making sections of it fairly crackle with musical energy and tension”
Elaine Schmidt, USA Today Milwaukee Journal-Sentinel
March 10, 2017
“Dirigentinnen-Neuentdeckung: Karina Canellakis”
Crescendo Magazine, Michael Sellger
February 22, 2017
“Meet the Maestro: Karina Canellakis”
Toby Deller, Rhinegold, Classical Music Magazine
February 15, 2017
“The dynamic young conductor Karina Canellakis made an indelible impression on a packed audience at Sage Gateshead”
Gavin Engelbrecht, The Northern Echo
February 6, 2017
“Though expressive and engaged, she is disinclined to play to the gallery. Intentions are clear, with no histrionics or fuss. And the results speak for themselves.”
David Gordon Duke, Vancouver Sun
October 16, 2016
“Dirigentin Karina Canellakis zeigte bei der Styriarte in Ludwig van Beethovens 2. und 7. Symphonie viel Kraft und starke Kontraste.”
Eva Schulz, Kleine Zeitung
June 28, 2016
“With gestures clear yet expressive, Canellakis realized every emotional import, managing every transition with assurance, building climaxes with inevitability.”
Scott Cantrell, The Dallas Morning News
February 4, 2016
media
© Mathias Bothor
© Mathias Bothor
© Mathias Bothor
© Mathias Bothor
© Mathias Bothor
© Mathias Bothor
© Mathias Bothor
© Werner Kmetitsch, Stefaniensaal, Graz
© Werner Kmetitsch, Stefaniensaal, Graz
© Werner Kmetitsch, Stefaniensaal, Graz
© Cheung Wai Lok, Hong Kong Philharmonic Orchestra
© Cheung Wai Lok, Hong Kong Philharmonic Orchestra
© Chris Christodoulou
© Chris Christodoulou
© Chris Christodoulou
© Daniel Bracker
© Daniel Bracker
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