Karina is back with her orchestra, the Netherlands Radio Philharmonic Orchestra, performing a live streamed concert Friday June 19th from TivoliVredenburg in Utrecht.
This would have been Verdi's Requiem, and so the orchestra will instead play works by Verdi, Puccini, Wagner, and Brahms. The concert is being live streamed on Facebook.
Karina conducts and co-hosts Pieces of Tomorrow, an innovative series hosted by DJ Paul and TivoliVredenburg concert hall in Utrecht. The series presents one hour of music the night before a Friday concert to an audience of newcomers to classical music, relaxed in armchairs with drinks.
Playback "Pieces of Tomorrow" Wagner edition from the live Facebook stream from June 18th here.
Karina Canellakis makes her debut with the Munich Philharmonic Orchestra conducting Beethoven’s 4th Symphony and Adams’ Shaker Loops.
The performance was filmed and recorded at the Philharmonie Gasteig for broadcast on the orchestra's website.
The London Philharmonic Orchestra (LPO) has appointed the American conductor Karina Canellakis as its principal guest conductor from September.

Season 2019/20


Karina Canellakis

Chief Conductor of the Netherlands Radio Philharmonic Orchestra

Principal Guest Conductor of the London Philharmonic Orchestra

Principal Guest Conductor of the Rundfunk-Sinfonieorchester Berlin

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

Erste Gastdirigentin, Rundfunk-Sinfonieorchester Berlin

Karina Canellakis wird mit Beginn der Saison 2019/20 Chefdirigentin des Radio Filharmonisch Orkest der Niederlande und Erste Gastdirigentin des Rundfunk-Sinfonieorchesters Berlin. Ihre musikalische Karriere begann die aus New York gebürtige Dirigentin, die griechische und russische Vorfahren hat und neben Englisch auch Deutsch, Französisch und Italienisch spricht, zunächst als Geigerin. Im Zuge ihrer Ausbildung wurde sie Mitglied der Orchesterakademie der Berliner Philharmoniker, wo sie von Sir Simon Rattle ermutigt wurde, sich stärker dem Dirigieren zu widmen. Diesem Rat folgte sie mit großer Begeisterung und gewann 2016 den Sir Georg Solti Dirigierpreis. Mit emotionsgeladenen Auftritten, technischer Brillanz und interpretatorischer Tiefe machte sie sich in der Folge schnell einen Namen bei Orchestern und an Opernhäusern in den USA, in Europa, Asien und Australien. Einige Zeit lang war sie Assistant Conductor beim Dallas Symphony Orchestra.

Karina Canellakis gibt in der Saison 2018/19 einige bemerkenswerte Debüts, darunter beim Orchestre Symphonique de Montréal, St. Louis Symphony Orchestra, London Philharmonic Orchestra, beim Deutschen Symphonie-Orchester Berlin, bei den Dresdner Philharmonikern, dem Oslo Philharmonic und beim Stavanger Symphony Orchestra. Im November 2018 gab sie ihr Australien-Debüt im Rahmen einer Vier-Städte-Tour mit den Sinfonieorchestern von Melbourne, Perth, Adelaide und Tasmanien. Außerdem dirigierte sie im prestigeträchtigen Nobelpreis-Konzert 2018 das Royal Stockholm Philharmonic Orchestra, das sie auch in zwei weiteren Sinfoniekonzerten leitete. Im Sommer 2018 debütierte sie mit den Wiener Symphonikern bei den Bregenzer Festspielen und kehrte mit dem BBC Symphony Orchestra zu den BBC Proms zurück.

Wiedereinladungen erhielt sie in der Saison 2018/19 zudem vom Los Angeles Philharmonic Orchestra, sowie von den Sinfonieorchestern von Cincinnati, Dallas, Detroit, Milwaukee und North Carolina. Darüber hinaus dirigiert Karina Canellakis in der laufenden Saison „Don Giovanni“ mit dem Curtis Opera Theater im Kimmel Center in Philadelphia und kehrt in Europa unter anderem zum Gürzenich Orchester Köln, zum Swedish Radio Orchestra, zum Orchestre National de Lyon und zum Scottish Chamber Orchestra zurück.

In den vergangenen Spielzeiten gab sie ihre Debüts mit dem Orchestre de Paris, dem Rundfunk-Sinfonieorchester Berlin, den Bamberger Symphonikern, dem Nationalorchester von Spanien, dem Hallé Orchestra, dem City of Birmingham Symphony Orchestra, dem Royal Scottish National Orchestra, dem Hong Kong Philharmonic Orchestra und den Sinfonieorchestern von Toronto, Vancouver und Houston. Im Bereich Musiktheater dirigierte sie „Die Zauberflöte“ am Opernhaus Zürich, „Le nozze di Figaro“ am Curtis Opera Theatre und die Uraufführung von David Langs Oper „The Loser“ an der Brooklyn Academy of Music. Zudem übernahm sie die musikalische Leitung der neuen Oper „The Hogboon“ von Peter Maxwell Davies mit dem Philharmonischen Orchester von Luxemburg sowie von Verdis „Requiem“ am Opernhaus Zürich.

Karina Canellakis studierte am Curtis Institute of Music sowie an der Juilliard School und ist in der klassischen Musikwelt schon länger für ihr virtuoses Violinspiel bekannt. Sie spielte jenseits ihrer Tätigkeit in der Karajan-Akademie der Berliner Philharmoniker lange Jahre regelmäßig als Solistin mit verschiedenen nordamerikanischen Orchestern sowie drei Jahre lang im Chicago Symphony Orchestra und trat mehrfach als Gastkonzertmeisterin mit dem Bergen Philharmonic Orchestra in Norwegen auf. Karina Canellakis spielt auf einer Mantegazza-Geige von 1782, die ihr freundlicherweise von einem privaten Mäzen zur Verfügung gestellt wird.

“Wenn du Dirigentin sein willst, dann mach es!”
Karina is featured on the cover of Germany's Concerti Magazine. Read the full article here (auf Deutsch)
April 6, 2020
“(London Symphony Orchestra, Strauss’ Death and Transfiguration) …each of Strauss’ over-the-top moments registered high on music’s Richter scale. She has a clear and continuous beat, conveys her own delight in the music, and reserves really expansive gestures for episodes of, well, transfiguration.”
Roy Westbrook, Bachtrack
April 6, 2020
“(The Philadelphia Orchestra)…Canellakis has the spark of interpretive imagination…The physical cues Canellakis gives are both crisp and dramatic, even if the ears tell us that the more important work goes on in rehearsal.”
Peter Dobrin, Philadelphia Enquirer
April 6, 2020
“Canellakis made the Beethoven sound as fresh as a brand-new piece. It wasn’t that she imposed any eccentricities, but that she brought out the inherent drama — the contrasts of volume and texture, the surprising accents, the slow movement’s heartfelt lyricism…”
Scott Cantrell, Dallas Morning News
May 10, 2019
“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, Vancouver Symphony), putting it together with coherence, beautifully shaped string lines and the needed dramatic force. This was all about beauty and poetry.”
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 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,
September 6, 2017
“Für diese großartige Beethoven-Interpretation dankte das Publikum mit anhaltenden Beifallsstürmen.”
Michael Baumgartl,
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
© 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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