UPCOMING

Berliner Philharmonie
Deutsches Sinfonie Orchester
Pekka Kuusisto, violin
Dvořák
The Noon Witch
Ligeti
Violinkonzert
Bartók
Concerto for orchestra
Conductor
karina
canellakis
schedule

Season 2018/19

mar
Berliner Philharmonie
Deutsches Sinfonie Orchester
Pekka Kuusisto, violin
Dvořák
The Noon Witch
Ligeti
Violinkonzert
Bartók
Concerto for orchestra
apr
Stockholm Berwaldhalle
Swedish Radio Orchestra
BRITTEN
Sinfonia da Requiem
BEETHOVEN
Symphony No. 7 in A major, Op. 92
Stockholm Berwaldhalle
Swedish Radio Orchestra
BRITTEN
Sinfonia da Requiem
BEETHOVEN
Symphony No. 7 in A major, Op. 92
Sage Gateshead, Newcastle, England
Royal Northern Sinfonia
Chorus of the Royal Northern Sinfonia
Karen Gomyo, violin
Beethoven
Leonore Overture No.3
Mendelssohn
Violin Concerto in e minor
Cherubini
Requiem
may
Meyerson Symphony Center, Dallas
Dallas Symphony Orchestra
Daniel Müller-Schott, cello
ELGAR
Sursum Corda
BEETHOVEN
Symphony No. 4
SCHUMANN
Cello Concerto
ELGAR
In the South (Alassio)
Meyerson Symphony Center, Dallas
Dallas Symphony Orchestra
Daniel Müller-Schott, cello
ELGAR
Sursum Corda
BEETHOVEN
Symphony No. 4
SCHUMANN
Cello Concerto
ELGAR
In the South (Alassio)
Meyerson Symphony Center, Dallas
Dallas Symphony Orchestra
Daniel Müller-Schott, cello
ELGAR
Sursum Corda
BEETHOVEN
Symphony No. 4
SCHUMANN
Cello Concerto
ELGAR
In the South (Alassio)
Meyerson Symphony Center, Dallas
Dallas Symphony Orchestra
Daniel Müller-Schott, cello
ELGAR
Sursum Corda
BEETHOVEN
Symphony No. 4
SCHUMANN
Cello Concerto
ELGAR
In the South (Alassio)
Maison symphonique de Montréal
Orchestre Symphonique de Montréal
Daniil Trifonov, piano
WAGNER
Prelude & Liebestod from Tristan und Isolde
LUTOSLAWSKI
Concerto for Orchestra
RACHMANINOFF
Piano Concerto No. 3 in D minor, Op. 30
Maison symphonique de Montréal
Orchestre Symphonique de Montréal
Daniil Trifonov, piano
WAGNER
Prelude & Liebestod from Tristan und Isolde
LUTOSLAWSKI
Concerto for Orchestra
RACHMANINOFF
Piano Concerto No. 3 in D minor, Op. 30
Maison symphonique de Montréal
Orchestre Symphonique de Montréal
Daniil Trifonov, piano
WAGNER
Prelude & Liebestod from Tristan und Isolde
LUTOSLAWSKI
Concerto for Orchestra
RACHMANINOFF
Piano Concerto No. 3 in D minor, Op. 30
jun
Dresdner Philharmonie
Dresdner Philharmoniker
Christian Tetzlaff, violin
MESSAIEN
Hymne au Saint Sacrament
SHOSTAKOVICH
Violin Concerto No. 1, Op. 99
STRAVINSKY
Funeral Song, Op 5
SCRIABIN
Le Poème de l’extase
Dresdner Philharmonie
Dresdner Philharmoniker
Christian Tetzlaff, violin
MESSAIEN
Hymne au Saint Sacrament
SHOSTAKOVICH
Violin Concerto No. 1, Op. 99
STRAVINSKY
Funeral Song, Op 5
SCRIABIN
Le Poème de l’extase
about

Karina Canellakis

Chief Conductor of the Netherlands Radio Philharmonic Orchestra, beginning in the 2019/20 season
 
 
Karina Canellakis is the newly appointed Chief Conductor of the Netherlands Radio Philharmonic Orchestra, beginning in the 2019/20 season. Internationally acclaimed for her emotionally charged performances, technical command and interpretive depth, Karina’s reputation has risen quickly since winning the Sir Georg Solti Conducting Award in 2016.

Karina makes several notable debuts in the 2018/19 season, including with the Orchestre Symphonique de Montréal, St. Louis Symphony Orchestra, London Philharmonic, Deutsches Symphonie-orchester Berlin, Dresdner Philharmoniker, Oslo Philharmonic, and Stavanger Symphony. She also makes her Australian debut in a four-city tour conducting the symphony orchestras of Melbourne, Perth, Adelaide, and Tasmania. In addition, Canellakis leads the prestigious 2018 Nobel Prize Concert with the Royal Stockholm Philharmonic, with whom she appears twice in this season. Over the summer, she made her Wiener Symphoniker debut at the Bregenz Festival and returned to the Proms with the BBC Symphony Orchestra.

Re-invitations this season feature the Los Angeles Philharmonic at the Hollywood Bowl as well as the symphony orchestras of Cincinnati, Dallas, Detroit, Milwaukee, and North Carolina. She also conducts Don Giovanni with the Curtis Opera Theater at the Kimmel Center in Philadelphia. In Europe, she returns to the London Philharmonic Orchestra, BBC Symphony Orchestra, Gürzenich Orchestra Cologne, Swedish Radio Orchestra, Orchestre National de Lyon, and Scottish Chamber Orchestra, among others.

Recent seasons have featured debuts with the Orchestre de Paris, Rundfunk-Sinfonieorchester Berlin, Bamberger Symphoniker, National Orchestra of Spain, the Hallé Orchestra, City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, Hong Kong Philharmonic, and the Toronto, Vancouver, and Houston symphonies. On the operatic stage, she has conducted Die Zauberflöte with the Zurich Opera, Le nozze di Figaro with Curtis Opera Theatre, and gave the world premiere of David Lang’s opera The Loser at the Brooklyn Academy of Music. She has also led Peter MaxwellDavies’ new opera The Hogboon with the Luxembourg Philharmonic, and a fully staged production of Verdi’s Requiem at the Zurich Opera.

Already known to many in the classical music world for her virtuoso violin playing, Karina 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 a 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.

Karina previously served as Assistant Conductor of the Dallas Symphony Orchestra. She is a graduate of the Curtis Institute of Music and the Juilliard School. Born and raised in New York City, she speaks French, German and Italian.

Karina Canellakis

Chefdirigentin, Radio Filharmonisch Orkest ab September 2019
 
 
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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