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UPCOMING

TivoliVredenburg, Utrecht
Netherlands Radio Philharmonic Orchestra
Kian Soltani, cello
Conductor
karina
canellakis
news
Season finale with Wagner’s “Siegfried” at Bregenz Festival
A final highlight of Karina's 2021/22 season was her return to the Bregenz Festival where she led Act III of Wagner's "Siegfried" with the Vienna Symphony and a stellar cast of singers Ricarda Merbeth, Nadine Weissmann, Andreas Schager and Greer Grimsley. The new Vorarlberger Tageszeitung wrote about the concert: "The Vienna Symphony with their instrumental groups enjoyed this excursion into the Wagner repertoire with great energy, opulence and splendor of sound and were inspired by Canellakis’ clear conducting."
Highly praised return to Tanglewood
After last year's debut Karina returned to Tanglewood in July to conduct the Boston Symphony Orchestra. The program: Wagner's Prelude to Lohengrin, Chopin's piano concerto no. 2 with soloist Emanuel Ax and Rachmaninoff's Symphonic Dances. The Boston Globe hailed: "She is a gifted communicator with a well-honed yet intense podium technique and a knack for harnessing the music’s structural architecture toward larger expressive ends." (Find the link to the full review under "Press") She looks forward to returning to the Boston Symphony in January 2023.
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.
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schedule

Season 2022/23

nov
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
Konzerthaus, Freiburg
London Philharmonic Orchestra
Sol Gabetta, cello
BEETHOVEN
Coriolan Overture
SHOSTAKOVICH
Cello Concerto No. 1
BEETHOVEN
Symphony No. 3
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
Tonhalle, Düsseldorf
London Philharmonic Orchestra
Daniil Trifonov, piano
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 Philadelphia Orchestra
Inon Barnatan, piano
PERRY
Study for Orchestra
MOZART
Piano Concerto No. 24
BEETHOVEN
Symphony No. 3
Kimmel Center, Philadelphia
The Philadelphia 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
Herkulessaal, München
Symphonieorchester des Bayerischen Rundfunks
Augustin Hadelich, violin
JANÁČEK
Žárlivost - Ouverture to Jenůfa«
LIGETI
Violin Concerto
DVOŘÁK
Symphony No. 7
Herkulessaal, München
Symphonieorchester des Bayerischen Rundfunks
Augustin Hadelich, violin
JANÁČEK
Žárlivost - Ouverture to Jenůfa«
LIGETI
Violin Concerto
DVOŘÁK
Symphony No. 7
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).

In the 2022-23 season, Karina is looking forward to exciting debuts with the New York Philharmonic, National Symphony Orchestra, and Pittsburgh Symphony. After starting her season at the BBC Proms, she also returns to the Orchestre de Paris, the Boston and Dallas Symphonies, the Philadelphia Orchestra, San Francisco Symphony as well as the Bavarian Radio Symphony.

As Principal Guest Conductor of the London Philharmonic Orchestra, she will lead an extensive tour of Germany’s most prestigious concert halls with the orchestra and soloist Daniil Trifonov. She also returns to Berlin for concerts in her position as Principal Guest of RSB. Karina continues to present exciting modern pieces as well as well-known masterpieces at the Concertgebouw Amsterdam and TivoliVredenburg in Utrecht with the Netherlands Radio Philharmonic Orchestra, where she holds the title of Chief Conductor.

After the great success of “Kat’a Kabánova” in the previous season, she brings another Janáček opera, The Cunning Little Vixen, to the stage of the Concertgebouw in April 2023. On the opera stage she has conducted critically acclaimed productions of Tchaikovsky’s Eugene Onegin, 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, Cleveland Orchestra, Chicago Symphony, Gewandhausorchester Leipzig, NDR Elbphilharmonie Orchestra, Orchestre Symphonique de Montréal, Munich Philharmonic and the symphony orchestras of Melbourne, Sydney, Toronto, Cincinnati, Minnesota, Detroit and Vienna. She was 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 2022/23 freut sich Karina auf spannende Debüts beim New York Philharmonic, dem National Symphony Orchestra in Washington D.C. sowie dem Pittsburgh Symphony Orchestra. Auf den Saisonstart bei den BBC Proms folgen Wiedereinladungen beim Orchestre de Paris, den Boston und Dallas Symphonies, dem Philadelphia Orchestra, San Francisco Symphony sowie dem Symphonieorchester des Bayerischen Rundfunks.

Als erste Gastdirigentin des London Philharmonic Orchestra steht im März 2023 mit dem Orchester und Solist Daniil Trifonov eine ausgedehnte Tournee durch die renommiertesten Konzertsäle Deutschlands an. In ihrer Position als erste Gastdirigentin des RSB kehrt sie zudem für Konzerte nach Berlin zurück. Mit dem Radio Filharmonisch Orkest präsentiert Karina als Chefdirigentin weiterhin spannende moderne Stücke sowie bekannte Meisterwerke im Concertgebouw Amsterdam und im TivoliVredenburg in Utrecht.

Nach dem großen Erfolg von “Kat’a Kabánova” in der vergangenen Saison bringt sie im April 2023 eine weitere Janáček-Oper, “Das schlaue Füchslein”, auf die Bühne des Concertgebouw. In den vergangenen Spielzeiten dirigierte sie zudem von der Kritik gepriesene Produktionen von Tschaikowskis “Eugen Onegin”, Mozarts “Don Giovanni”, “Die Zauberflöte”, “Le nozze di Figaro”, David Langs “The Loser” und Peter Maxwell Davies’ “The Hogboon”.

Seit dem Gewinn des Sir Georg Solti Dirigierpreises 2016 gastiert Karina bei exzellenten Orchestern weltweit, so u.a. beim London Symphony Orchestra, Cleveland Orchestra, Chicago Symphony Orchestra, Gewandhausorchester Leipzig, NDR Elbphilharmonie Orchester, Orchestre Symphonique de Montréal, den Münchner Philharmonikern und den Sinfonieorchestern von Melbourne, Sydney, Toronto, Cincinnati, Minnesota, Detroit und Wien. 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
“Beethoven and Mahler featured in the concert too. Canellakis had shown how vividly the BBCSO, and its strings especially, respond to her conducting by opening with a fizzing account of Beethoven’s Creatures of Prometheus Overture, while her superbly managed performance of Mahler’s First Symphony, every detail sharply etched and demanding the widest possible range of dynamics, confirmed her command of large-scale musical architecture; everything, whether expressive or vulgar, seemed to be exactly in the right place.”
Andrew Clements, The Guardian
September 6, 2022
“The Vienna Symphony with their instrumental groups enjoyed this excursion into the Wagner repertoire [Siegfried Act III] with great energy, opulence and splendor of sound and were inspired by Canellakis’ clear conducting.”
Katharina von Glasenapp, Neue Vorarlberger Tageszeitung
August 2, 2022
“She is a gifted communicator with a well-honed yet intense podium technique and a knack for harnessing the music’s structural architecture toward larger expressive ends. […] [S]he has a big career ahead.”
Jeremy Eichler, Boston Globe
July 25, 2022
“The Chicago Symphony Orchestra was in its usual incomparably brilliant form Thursday night. Guest conductor Karina Canellakis, in an impressive debut with the orchestra, made a formidable impression.”
Hedy Weiss, WTTW
May 21, 2022
“Canellakis proved an outstanding advocate in the evening’s main work, Richard Strauss’s Ein Heldenleben.”
Lawrence A. Johnson, Chicago Classical Review
May 20, 2022
“With Canellakis at the helm and all instruments being played at once, including the huge brass section, the orchestra sounded like a JMW Turner seascape, complete with waves, mist, and impressions. It was magical.”
Louis Harris, Third Coast Review
May 20, 2022
“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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media
For official high resolution publicity photos, please see contact page and email Opus 3 Artists or Askonas Holt

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contact

European management

Askonas Holt

Profile on askonasholt.com

Celia Willis, Director
celia.willis@askonasholt.com

Fiona Russell
fiona.russell@askonasholt.com

Askonas Holt Limited
15 Fetter Lane
London, EC4A 1BW

General management

Opus 3 Artists

Profile on opus3artists.com

Jonathan Brill, Executive Vice President
jbrill@opus3artists.com

Leiwei Jiang
ljiang@opus3artists.com

Opus 3 Artists
470 Park Avenue South
9th Floor North
New York, NY 10016

Corporate Design, Web Design, Typeface

bracker-baer.de

Social Media Management

Melanie Lechmann
m.lechmann@gmail.com

Terms and Conditions, Privacy Policy

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