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UPCOMING

Orchestra Hall, Chicago
Chicago Symphony Orchestra
Kirill Gerstein, piano
Conductor
karina
canellakis
news
Highlights of the Upcoming 2022-23 Season
For Karina the 2022-23 season starts with a return to the BBC Proms, which will include a world premiere by Betsy Jolas. She is looking forward to her debuts with the New York Philharmonic, National Symphony Orchestra and Pittsburgh Symphony. In the new season she also returns to the Philadelphia Orchestra, San Francisco Symphony, the Bavarian Radio Symphony, Orchestre de Paris as well as the Dallas and Boston Symphonies. She continues to present exciting modern pieces as well as well-known masterpieces at the Concertgebouw Amsterdam and TivoliVredenburg in Utrecht with the Radio Filharmonisch Orkest, where she holds the title of Chief Conductor. After the great success of "Kat'a Kabánova" she brings another Janácek opera, "The Cunning Little Vixen", to the Concertgebouw in April 2023. As Principal Guest Karina also returns to the Rundfunk-Sinfonieorchester Berlin and tours some of Europe's most renowned concert halls with the London Philharmonic.
Debut with hr-Sinfonieorchester in Frankfurt
Karina makes her debut with the hr-Sinfonieorchester on March 31 with a program featuring Stravinsky's Chant funèbre, Beethoven's Piano Concerto No. 3 with soloist Lars Vogt and Bartók's Concerto for Orchestra. The concert on April 1 will be streamed live on Karina's Facebook channel and on the orchestra's website.
Karina Canellakis continues as Chief Conductor of the Netherlands Radio Philharmonic Orchestra until 2027
The Netherlands Radio Philharmonic Orchestra and Karina Canellakis are extending their successful collaboration. Canellakis, who has been Chief Conductor since September 2019, will continue with the RFO until the end of July 2027. After two successful concert seasons together, in which beautiful orchestral productions, new concert formats and special corona projects took place, both Canellakis and the orchestra wish to continue their collaboration. With this contract extension, Karina Canellakis and the orchestra confirm their special bond, which was recognizable from their very first rehearsal together. “I have had a special musical bond with this orchestra all the way back from our very first rehearsal together in 2018. I am so thrilled to continue this collaboration with the RFO for another four years, and am extremely proud of how beautifully the orchestra has been playing and how they have managed to continue to make music passionately despite the enormous challenges we have faced in the past 18 months due to the pandemic. I look forward to many more years together, again with full audiences and a broad scope of rich and exciting repertoire.”
Karina Canellakis’ Upcoming Season 2021-22
Karina's upcoming season includes concerts with some of the finest European and US orchestras: Gewandhausorchester Leipzig, Orchester des Bayerischen Rundfunks, Orchestre de Paris, Los Angeles Philharmonic, San Francisco Symphony, Chicago Symphony Orchestra, to name a few. In the new season she will conduct a wide range of exciting programs as Chief Conductor of the Netherlands Radio Philharmonic Orchestra and as Principal Guest Conductor of the London Philharmonic Orchestra and Rundfunk-Sinfonieorchester Berlin. Karina will also conduct a new production of "Eugene Onegin" at the Théâtre des Champs-Élysées. More dates to be announced.
“Beethoven – The European Tour” live on ARTE
On June 6 Karina will conduct the closing concert of ARTE’s live broadcast event of all 9 Beethoven Symphonies from 9 European cities. Beethoven’s Ninth with the Wiener Symphoniker and soloists Camilla Nylund, Patricia Nolz, Piotr Beczala and Ryan Speedo Green will take place in front of Vienna’s Schloss Belvedere at 9pm CET.
(c) BR / Astrid Ackermann
Debut with Symphonieorchester des Bayerischen Rundfunks
Karina makes her debut with the Symphonieorchester des Bayerischen Rundfunks (BRSO) conducting pieces by Richard Strauss and Arnold Schönberg. The concert with soprano Camilla Nylund is available as video stream on the website of BR-Klassik.
OPUS KLASSIK 2020
Karina will conduct the Opus Klassik, Germany’s Classical Music Award 2020 in Berlin on October 18th with a line-up of starry soloists including Anne-Sophie Mutter, Jonas Kaufmann, Elina Garanca, and many more, with the Konzerthaus Orchester.
Season Opening Concert TivoliVredenburg
Karina opens the TivoliVredenburg Vrijdag Concert season to excellent reviews with the Radio Filharmonisch Orkest, celebrating the 75th anniversary of both the orchestra and the Netherlands Radio Choir (Groot Omroepkoor) in a program featuring Brahms’ Schicksalslied.
Karina conducts an American-themed program with the Radio Filharmonisch Orkest in the Concertgebouw in Amsterdam, featuring works by William Grant Still and George Walker.
The orchestra joyously performs together again, with 1.5 meter distancing, on the stage of the beautiful Concertgebouw Hall. Featuring virtuoso violinist Simone Lamsma.
Karina launches “The Crazy Project” with Avrotros broadcasting company, resulting in live video recorded performances of John Adams’ Shaker Loops and Bartok’s Bluebeard’s Castle.
Star soloists Rinat Shaham and Gabor Bretz take the lead as Judith and Bluebeard in this captivating production critically hailed as "Outstanding."
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schedule

Season 2022/23

may
Orchestra Hall, Chicago
Chicago Symphony Orchestra
Kirill Gerstein, piano
THOMAS
Brio
SCHUMANN
Piano Concerto
R. STRAUSS
Ein Heldenleben
Orchestra Hall, Chicago
Chicago Symphony Orchestra
Kirill Gerstein, piano
THOMAS
Brio
SCHUMANN
Piano Concerto
R. STRAUSS
Ein Heldenleben
Orchestra Hall, Chicago
Chicago Symphony Orchestra
Kirill Gerstein, piano
THOMAS
Brio
SCHUMANN
Piano Concerto
R. STRAUSS
Ein Heldenleben
Orchestra Hall, Chicago
Chicago Symphony Orchestra
Kirill Gerstein, piano
THOMAS
Brio
SCHUMANN
Piano Concerto
R. STRAUSS
Ein Heldenleben
jun
TivoliVredenburg, Utrecht
Netherlands Radio Philharmonic Orchestra
Sonja Šarić, soprano
Karen Cargill, mezzo-soprano
Mario Bahg, tenor
Riccardo Fassi, bass
Netherlands Radio Choir
VERDI
Requiem
Konzerthaus Berlin
Rundfunk-Sinfonieorchester Berlin
Nicola Benedetti, violin
STRAVINSKY
"Chant funèbre" for Orchestra
BOULANGER
"D'un soir triste" for Orchestra
SZYMANOWSKI
Concert for Violin and Orchestra No. 1
SKRIJABIN
"Le Poème de l’extase" Symphony No. 4
Philharmonie Berlin
Rundfunk-Sinfonieorchester Berlin
Nicola Benedetti, violin
STRAVINSKY
"Chant funèbre" for Orchestra
BOULANGER
"D'un soir triste" for Orchestra
SZYMANOWSKI
Concert for Violin and Orchestra No. 1
SKRIJABIN
"Le Poème de l’extase" Symphony No. 4
jul
Tanglewood
Boston Symphony Orchestra
Emanuel Ax, piano
WAGNER
Prelude to Lohengrin, Act 1
CHOPIN
Piano Concerto No. 2
RACHMANINOFF
Symphonic Dances
Festspielhaus, Bregenz
Vienna Symphony
Andreas Schager, Siegfried
Greer Grimsley, Wanderer
Nadine Weissmann, Erda
Ricarda Merbeth, Brünnhilde
BEETHOVEN
Leonore Ouverture No. 3
WAGNER
Siegfried Act III
sept
Royal Albert Hall, London
BBC PROMS
Nicolas Hodges, piano
BBC Symphony Orchestra
BEETHOVEN
The Creatures of Prometheus – overture
BETSY JOLAS
bTunes for Nicolas (world premiere)
MAHLER
Symphony No. 1
TivoliVredenburg, Utrecht
Netherlands Radio Philharmonic Orchestra
Julie Boulianne, mezzo-soprano
Julien Behr, tenor
Jean-Sébastien Bou, baritone
Netherlands Radio Choir
JACOBTV
Paradiddle
L. BOULANGER
Faust et Hélène
VERDI
Quattro Pezzi Sacri
Concertgebouw, Amsterdam
Netherlands Radio Philharmonic Orchestra
Simone Lamsma, violin
WANTENAAR
Concerto for Violin and Orchestra (world premiere)
BRUCKNER
Symphony No. 8
oct
Royal Festival Hall, London
London Philharmonic Orchestra
Emanuel Ax, piano
DVOŘÁK
The Wild Dove
DEAN
Three Memorials
BRAHMS
Piano Concerto No. 1
Royal Festival Hall, London
London Philharmonic Orchestra
August Hadelich, violin
SIBELIUS
Violin Concerto
BEETHOVEN
Symphony No. 3
The Dome, Brighton
London Philharmonic Orchestra
August Hadelich, violin
SIBELIUS
Violin Concerto
BEETHOVEN
Symphony No. 3
Saffron Hall, Saffron Walden
London Philharmonic Orchestra
Johan Dalene, violin
SIBELIUS
Violin Concerto
BEETHOVEN
Symphony No. 3
nov
TivoliVredenburg, Utrecht
Netherlands Radio Philharmonic Orchestra
Ella van Poucke, cello
PIJPER
Six symphonic epigrams
TCHAIKOVSKY
Rococo Variations
BRUCKNER
Symphony No. 9
Concertgebouw, Amsterdam
Netherlands Radio Philharmonic Orchestra
BRUCKNER
Symphony No. 9
Concertgebouw, Amsterdam
Netherlands Radio Philharmonic Orchestra
Sarah Brady, soprano
Thomas E. Bauer, baritone
Netherland Radio Choir
National Children's Choir
WIDMAN
Arche
Kennedy Center, Washington D.C.
National Symphony Orchestra
Cédric Tiberghien, piano
DEAN
Three Memorials
RAVEL
Piano Concerto for the Left Hand
BARTÓK
Concerto for Orchestra
Kennedy Center, Washington D.C.
National Symphony Orchestra
Cédric Tiberghien, piano
DEAN
Three Memorials
RAVEL
Piano Concerto for the Left Hand
BARTÓK
Concerto for Orchestra
dec
TivoliVredenburg, Utrecht
Netherlands Radio Philharmonic Orchestra
Kian Soltani, cello
KATE MOORE
Splintered Rivers
SCHUMANN
Cello Concerto
BARTÓK
Concert for Orchestra
Concertgebouw, Amsterdam
Netherlands Radio Philharmonic Orchestra
Kian Soltani, cello
SCHUMANN
Cello Concerto
BARTÓK
Concert for Orchestra
Philharmonie de Paris
Orchestre de Paris
Gil Shaham, violin
BRAHMS
Violin Concerto
WEBERN
Six Pieces for Orchestra
LUTOSŁAWSKI
Concerto for Orchestra
Philharmonie de Paris
Orchestre de Paris
Gil Shaham, violin
BRAHMS
Violin Concerto
WEBERN
Six Pieces for Orchestra
LUTOSŁAWSKI
Concerto for Orchestra
jan
Concertgebouw, Amsterdam
Netherlands Radio Philharmonic Orchestra
Leila Josefowicz, violin
DE RAAFF
Sfera
HELEN GRIME
Violin Concerto
BRAHMS
Symphony No. 2
Symphony Hall, Boston
Boston Symphony Orchestra
Nicola Benedetti, violin
DVOŘÁK
Wood Dove
SZYMANOWSKI
Violin Concerto No. 2
LUTOSŁAWSKI
Concerto for Orchestra
Symphony Hall, Boston
Boston Symphony Orchestra
Nicola Benedetti, violin
DVOŘÁK
Wood Dove
SZYMANOWSKI
Violin Concerto No. 2
LUTOSŁAWSKI
Concerto for Orchestra
Symphony Hall, Boston
Boston Symphony Orchestra
Nicola Benedetti, violin
DVOŘÁK
Wood Dove
SZYMANOWSKI
Violin Concerto No. 2
LUTOSŁAWSKI
Concerto for Orchestra
Meyerson Symphony Center, Dallas
Dallas Symphony Orchestra
Randall Goosby, violin
DVOŘÁK
The Wood Dove
TCHAIKOVSKY
Violin Concerto
LUTOSŁAWSKI
Concerto for Orchestra
Meyerson Symphony Center, Dallas
Dallas Symphony Orchestra
Randall Goosby, violin
DVOŘÁK
The Wood Dove
TCHAIKOVSKY
Violin Concerto
LUTOSŁAWSKI
Concerto for Orchestra
Meyerson Symphony Center, Dallas
Dallas Symphony Orchestra
Randall Goosby, violin
DVOŘÁK
The Wood Dove
TCHAIKOVSKY
Violin Concerto
LUTOSŁAWSKI
Concerto for Orchestra
feb
Philharmonie Berlin
Rundfunk-Sinfonieorchester Berlin
Augustin Hadelich, violin
BEETHOVEN
Creatures of Prometheus Overture
LIGETI
Violin Concerto
LUTOSLAWSKI
Concerto for Orchestra
TivoliVredenburg, Utrecht
Netherlands Radio Philharmonic Orchestra
MAHLER
Symphony No. 6
mar
Isarphilharmonie, Munich
London Philharmonic Orchestra
Daniil Trifonov, piano
BEETHOVEN
Coriolan Overture
PROKOFIEV
Piano Concerto No. 3
TCHAIKOVSKY
Symphony No. 5
Isarphilharmonie, Munich
London Philharmonic Orchestra
Daniil Trifonov, piano
BEETHOVEN
Coriolan Overture
PROKOFIEV
Piano Concerto No. 3
TCHAIKOVSKY
Symphony No. 5
Alte Oper, Frankfurt
London Philharmonic Orchestra
Daniil Trifonov, piano
BEETHOVEN
Coriolan Overture
PROKOFIEV
Piano Concerto No. 3
TCHAIKOVSKY
Symphony No. 5
©KölnMusik/Guido Erbring
Philharmonie, Cologne
London Philharmonic Orchestra
Daniil Trifonov, piano
BEETHOVEN
Coriolan Overture
PROKOFIEV
Piano Concerto No. 3
BEETHOVEN
Symphony No. 3
Royal Festival Hall, London
London Philharmonic Orchestra
Daniil Trifonov, piano
BEETHOVEN
Coriolan Overture
PROKOFIEV
Piano Concerto No. 3
TCHAIKOVSKY
Symphony No. 5
apr
Concertgebouw, Amsterdam
Netherlands Radio Philharmonic Orchestra
JANÁČEK: THE CUNNING LITTLE VIXEN
Elena Tsallagova, soprano
Jana Kurucová, mezzo-soprano
Iris van Wijnen, mezzo-soprano
James Kryshak, tenor
Roland Wood, baritone
Markus Eiche, bass
James Platt, bass
Jeannette van Schaik, soprano
Esther Kuiper, mezzo-soprano
Aylin Sezer, soprano
Netherlands Radio Choir
JANÁČEK
The Cunning Little Vixen
Heinz Hall, Pittsburgh
Pittsburgh Symphony Orchestra
Kirill Gerstein, piano
BEETHOVEN
Piano Concerto No. 1
SHOSTAKOVICH
Symphony No. 10
Heinz Hall, Pittsburgh
Pittsburgh Symphony Orchestra
Kirill Gerstein, piano
BEETHOVEN
Piano Concerto No. 1
SHOSTAKOVICH
Symphony No. 10
Kimmel Center, Philadelphia
The Philhadelphia Orchestra
Inon Barnatan, piano
PERRY
Study for Orchestra
MOZART
Piano Concerto No. 24
BEETHOVEN
Symphony No. 3
Kimmel Center, Philadelphia
The Philhadelphia Orchestra
Inon Barnatan, piano
PERRY
Study for Orchestra
MOZART
Piano Concerto No. 24
BEETHOVEN
Symphony No. 3
David Geffen Hall, New York City
New York Philharmonic
Christian Tetzlaff, violin
BRAHMS
Violin Concerto
DI CASTRI
Lineage
LUTOSŁAWSKI
Concerto for Orchestra
David Geffen Hall, New York City
New York Philharmonic
Christian Tetzlaff, violin
BRAHMS
Violin Concerto
DI CASTRI
Lineage
LUTOSŁAWSKI
Concerto for Orchestra
David Geffen Hall, New York City
New York Philharmonic
Christian Tetzlaff, violin
BRAHMS
Violin Concerto
DI CASTRI
Lineage
LUTOSŁAWSKI
Concerto for Orchestra
jun
TivoliVredenburg, Utrecht
Netherlands Radio Philharmonic Orchestra
Siobhan Stagg, soprano
Lauren Urguhart, soprano
Sophie Rennert, mezzo-soprano
Sebastian Kohlhepp, tenor
Linard Vrielink, tenor
Netherlands Radio Choir
SCHUMANN
Das Paradies und die Peri
Konzerthaus Berlin
Rundfunk-Sinfonieorchester Berlin
Behzod Abduraimov, piano
JANÁČEK
Jealousy Overture
PROKOFIEV
Piano Concerto No. 3
DVOŘÁK
Symphony No. 7
Philharmonie Berlin
Rundfunk-Sinfonieorchester Berlin
Behzod Abduraimov, piano
JANÁČEK
Jealousy Overture
PROKOFIEV
Piano Concerto No. 3
DVOŘÁK
Symphony No. 7
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about

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

Internationally acclaimed for her emotionally charged performances, technical command and interpretive depth, Karina Canellakis has become one of the most in-demand conductors of her generation. She is the Chief Conductor of Netherlands Radio Philharmonic Orchestra, the Principal Guest Conductor of the London Philharmonic Orchestra, as well as the Principal Guest Conductor of the Rundfunk-Sinfonieorchester Berlin (RSB).

The 2021/22 season features concerts with some of the finest European and US orchestras, including her debuts with the Gewandhausorchester Leipzig, the Chicago Symphony Orchestra, and the HR-Sinfonieorchester (Frankfurt Radio), and returns to the Symphonieorchester des Bayerischen Rundfunks (Bavarian Radio), Los Angeles Philharmonic, San Francisco Symphony, and Orchestre de Paris. During the summer of 2021, she made debuts with the Boston Symphony at Tanglewood, the Cleveland Orchestra at the Blossom Festival, the Orchestre National de France at the St. Denis Festival, and performed Beethoven Symphony No. 9 with the Wiener Symphoniker as the culminating performance of “9 Beethoven Symphonies from 9 different European cities” live on ARTE.

On the operatic stage, Karina will conduct a new production of Tchaikovsky’s Eugene Onegin at the Théâtre des Champs-Élysées in Paris, with the Orchestre National de France. She enjoys doing opera-in-concert and will lead the Netherlands Radio Orchestra at the Concertgebouw for Janáček’s Kát’a Kabanová, the second act of Wagner’s Tristan und Isolde with the Royal Stockholm Philharmonic, and the Wiener Symphoniker at the Bregenzer Festspiele in the third act Wagner’s Siegfried. In the past few seasons, she has conducted critically acclaimed productions of Mozart’s Don Giovanni, Die Zauberflöte, Le Nozze di Figaro, David Lang’s the loser and Peter Maxwell Davies’ The Hogboon.

Since winning the Sir Georg Solti Conducting Award in 2016 Karina has become a guest conductor with leading orchestras around the world, including the London Symphony Orchestra, Philadelphia Orchestra, NDR Elbphilharmonie Orchestra, Orchestre Symphonique de Montréal, and the symphony orchestras of Melbourne, Sydney, Toronto, Cincinnati, Minnesota, and Detroit. She happened to be the first woman to conduct the First Night of the BBC Proms in London in 2019, with the BBC Symphony Orchestra. She was also the first woman to ever conduct the Nobel Prize Concert with the Royal Stockholm Philharmonic in 2018.

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. She performed for many years as a soloist, guest leader, and chamber musician, spending her summers at the Marlboro Music Festival, until conducting eventually became her focus. Karina was born and raised in New York City.

Karina Canellakis

Chefdirigentin, Radio Filharmonisch Orkest

Erste Gastdirigentin, London Philharmonic Orchestra

Erste Gastdirigentin, Rundfunk-Sinfonieorchester Berlin

Karina Canellakis nimmt unter den Dirigentinnen und Dirigenten ihrer Generation eine herausragende Rolle ein und wird international für ihre emotionsgeladenen Auftritte, ihre technische Brillanz und ihre interpretatorische Tiefe gefeiert. Sie ist Chefdirigentin des niederländischen Radio Filharmonisch Orkest sowie Erste Gastdirigentin des London Philharmonic Orchestra und des Rundfunk-Sinfonieorchesters Berlin.

In der Saison 2021/22 dirigiert sie einige der renommiertesten Orchester in Europa und den USA, wobei sie ihre Debüts beim Gewandhausorchester Leipzig, dem hr-Sinfonieorchester und dem Chicago Symphony Orchestra gibt. Zudem kehrt sie zum Symphonieorchester des Bayerischen Rundfunks, dem Orchestre de Paris, dem Los Angeles Philharmonic und der San Francisco Symphony zurück. Im Sommer 2021 war sie erstmals beim Boston Symphony Orchestra in Tanglewood, beim Cleveland Orchestra im Blossom Festival sowie im Rahmen des Festival de Saint-Denis beim Orchestre National de France zu Gast und dirigierte zudem die Wiener Symphoniker als krönenden Abschluss des ARTE-Projektes „Mit Beethoven durch Europa: 9 Symphonien, 9 Orchester, 9 Städte“ in einer Live-Übertragung von Beethovens Neunter.

Im Opernbereich übernimmt Karina Canellakis 2021/22 die musikalische Leitung einer neuen Produktion von Tschaikowskys „Eugen Onegin“ am Théâtre des Champs-Élysées in Paris mit dem Orchestre National de France. Gerne widmet sie sich auch konzertanten Opernaufführungen und bringt in dieser Form Janáčeks „Katja Kabanowa“ mit dem Radio Filharmonisch Orkest im Concertgebouw Amsterdam, den zweiten Akt von Wagners „Tristan und Isolde“ mit dem Royal Stockholm Philharmonic und den dritten Akt von Wagners „Siegfried“ mit den Wiener Symphonikern bei den Bregenzer Festspielen auf die Bühne. In den vergangenen Spielzeiten dirigierte sie bereits von der Kritik gepriesene Produktionen von Mozarts „Don Giovanni“, „Die Zauberflöte“, „Le nozze di Figaro“ sowie von David Langs „the loser“ und Peter Maxwell Davies’ „The Hogboon“.

Seit dem Gewinn des Sir Georg Solti Dirigierpreises 2016 gastiert Karina Canellakis bei exzellenten Orchestern weltweit, so u.a. beim NDR Elbphilharmonie Orchester, dem London Symphony Orchestra, dem Philadelphia Orchestra, dem Orchestre symphonique de Montréal sowie den Symphonieorchestern von Melbourne, Sydney, Toronto, Cincinnati, Minnesota und Detroit. Als erste Frau leitete sie 2018 das Nobelpreis-Konzert mit dem Royal Stockholm Philharmonic Orchestra und 2019 die First Night of the Proms mit dem BBC Symphony Orchestra in London.

Karina Canellakis war in der Musikwelt zunächst für ihr virtuoses Violinspiel bekannt und wirkte als Solistin, Gastkonzertmeisterin und Kammermusikerin, u.a. im Rahmen des Marlboro Music Festival. Während ihrer Zeit in der Karajan-Akademie der Berliner Philharmoniker wurde sie von Sir Simon Rattle ermutigt, sich stärker der Orchesterleitung zu widmen. Diesen Rat nahm die gebürtige New Yorkerin begeistert an und konnte ihren beruflichen Fokus schon bald und höchst erfolgreich auf das Dirigieren legen.

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press
“Welch hungriger Schachtelteufel in ihr steckt, der allerdings mit beiden Beinen fest im Boden verankert ist, erschließt sich bei Bartóks Opus Magnum. Wie sie bereits in der Introduzione die Celli zu gewaltigem Aufschwung anstachelt, wie sie im Allegro vivace dem wuchtigen Blech die Bühne freiräumt, wie sie die Verlorenheit der Elegia nachzeichnet und schließlich im finalen Presto rhythmische Präzision einfordert: Was für ein Debüt!”
Bettina Boyens, Frankfurter Neue Presse
April 4, 2022
“Karina Canellakis, together with the Radio Philharmonic Orchestra and the Netherlands Radio Choir, proved to be a fantastic advocate for Janácek’s lively, compelling and musically surprising drama. Those who had to miss it can fortunately still listen to the miracle via NPORadio4.nl.”
Erik Voermanns, Het Parool
March 26, 2022
“With her well-known, but still improbable accuracy, Hannigan sang the technically demanding part as if it were a Schubert song and Canellakis conjured up all the accompanying sound brilliance with the orchestra. An achievement for the annals.”
Erik Voermans, Het Parool
February 12, 2022
“The New York-born conductor showcased a genuine rapport with one of Europe’s finest orchestras.”
Nick Kimberley, The Evening Standard
January 20, 2022
“It was a programme that Haitink would have relished — he recorded Shostakovich’s Tenth Symphony, played here, with the LPO — and I think he would also have found an affinity with the perceptive, unobtrusive conducting of the orchestra’s principal guest conductor, Karina Canellakis.”
Neil Fisher, The Times
December 2, 2021
“Karina Canellakis lève sa baguette souple et élégante sur le prélude, et l’on est immédiatement frappé par la sonorité flatteuse de l’Orchestre national de France, cordes veloutées et solos d’instruments à vent à ravir.”
Christian Merlin, Le Figaro
November 12, 2021
“Élevée dans une famille de musiciens, violoniste à ses débuts, elle est désormais courtisée de Londres à Los Angeles. À Paris, ces jours-ci, elle dirige l’Orchestre national de France dans « Eugène Onéguine », de Tchaïkovski, mis en scène par Stéphane Braunschweig. « C’est à mes yeux une œuvre parfaite. »”
Philippe Noisette, Paris Match
November 8, 2021
“Unter ihrem eleganten, präzisen, souveränen und oft in ganzen Takten Zügel lassenden Schlag entfalten sich die vier Sätze dieser Sinfonie ganz aus sich selbst heraus. Als absolute Musik, die keiner Geschichte, keiner Heldenverehrung, keines Überbaus bedarf, um menschlichen Schöpfergeist zu neuen Gipfeln zu führen. So weit vorn dirigiert nur mit, wer sich im vollen Bewusstsein des eigenen Könnens in herrschaftlicher Demut einem Werk unterordnet, das vom Kleinsten bis zum Ganzen durchdrungen ist. Und am Ende nicht in selbstgefälliger Detailhuberei die Maserung jedes Ziegels zeigen will, sondern Beethovens Kosmos, der sich aus fast nichts fortwährend selbst zeugt und bereichert. Ganz natürlich, selbstverständlich, logisch – schön.”
Peter Korfmacher, Leipziger Volkszeitung
October 8, 2021
“The great thing about musicians such as Canellakis and Lewis […] is that they are so honest and competent. They are really concerned with the music itself, which they render with empathy, subtlety and nuance.”
Wenneke Savenije, De Nieuwe Muze
September 30, 2021
“Conductor Karina Canellakis brings a refreshing energy to Minnesota Orchestra”
Rob Hubbard, Star Tribune
August 28, 2021
“Karina Canellakis makes a strong impression in her debut with The Cleveland Orchestra.”
Timothy Robson, bachtrack
August 16, 2021
“Canellakis led an audacious and outstanding performance of Tchaikovsky’s Fourth Symphony, from the opening brass fanfare to the closing pages of the finale, which built in force like a powerful wave.”
Jeremey Eichler, The Boston Globe
August 9, 2021
“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, 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
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Askonas Holt

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Opus 3 Artists

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