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Daniele Gatti graduated as a composer and orchestra conductor at the Conservatorio Giuseppe Verdi in Milan. He is Music Director of the Orchestra Mozart, Artistic Advisor of the Mahler Chamber Orchestra and Chief Conductor of the Teatro del Maggio Musicale Fiorentino. From 2024 he will be Chief Conductor of the Sächsische Staatskapelle Dresden.
He was Music Director of the Teatro dell’Opera di Roma and he previously held prestigious roles at important musical institutions like the Accademia Nazionale di Santa Cecilia, the Royal Philharmonic Orchestra, the Orchestre National de France, the Royal Opera House of London, the Teatro Comunale di Bologna, Zurich’s Opernhaus and the Royal Concertgebouw Orchestra in Amsterdam.
The Berliner Philharmoniker, the Wiener Philharmoniker, the Symphonieorchester des Bayerischen Rundfunks, and the Orchestra Filarmonica della Scala are just a few of the renowned symphonic institutions he works with.
Some of the numerous and important new productions he has conducted include Falstaff staged by Robert Carsen (in London, Milan, and Amsterdam); Parsifal staged by Stefan Herheim opening the 2008 Bayreuther Festspiele (one of the very few Italian conductors to have been invited to the Wagnerian festival); Parsifal staged by François Girard at the Metropolitan Opera in New York; four operas at the Salzburger Festspiele (Elektra, La bohème, Die Meistersinger von Nürnberg, Il Trovatore).
To celebrate Verdi’s anniversary, in 2013 he conducted La Traviata at the season opening of the Teatro alla Scala, where he also opened the 2008 season with Don Carlo, and performed other titles including Lohengrin, Lulu, Die Meistersinger von Nürnberg, Falstaff, and Wozzeck.
More recent engagements include Pelléas et Mélisande at the Maggio Musicale Fiorentino, Tristan und Isolde at the Théâtre des Champs-Élysées in Paris, and the 2016/2017 opening of the Teatro dell’Opera di Roma where he conducted the same Wagnerian opera.
Since 2016 he has taught conducting at the Accademia Chigiana in Siena and in the same year a three-year concert cycle named “RCO meets Europe” started. It involved 28 member states of the European Union and it included the project “Side by Side”, a project allowing musicians from local youth orchestras to perform the first musical number of the program next to the members of the Royal Concertgebouw Orchestra conducted by Maestro Gatti, thus fostering an incredibly fruitful human and musical exchange. In June 2017 he conducted the RCO in an opera production: Salome at the Nationale Opera of Amsterdam.
The 2017/2018 Season saw him conducting the Berliner Philharmoniker at the Philharmonie Berlin, the Orchestra and Chorus of the Teatro alla Scala in Milan interpreting Mahler’s Second Symphony, the Royal Concertgebouw Orchestra in Europe, South Korea, Japan, and at the Carnegie Hall in New York, all being side events to Amsterdam’s traditional season.
He opened several seasons of the Teatro dell’Opera di Roma: La Damnation de Faust (2017-2018), Rigoletto (2018-2019), Les Vêpres Siciliennes (2019-2020), Il barbiere di Siviglia (2020-2021) and the world premiere of Battistelli’s Julius Caesar (2021-2022). He has recently conducted new productions of I Capuleti e i Montecchi, Zaide, La traviata (broadcasted on Rai3) and Giovanna d’Arco at the Teatro Costanzi; Rigoletto and Il trovatore at the Circo Massimo. He interpreted Verdi’s Requiem at the Palau de Les Arts in Valencia. He also conducted concerts leading the Orchestra dell’Opera di Roma at the Quirinale Gardens (broadcasted on Rai1), at the MAXXI Museum and at the Galleria Borghese.
In 2022, as part of the 84th Festival of the Maggio Musicale Fiorentino, he conducted Orphée et Eurydice – the inaugural title of the Festival – and Ariadne auf Naxos.
In 2022-2023 he conducts Il Barbiere di Siviglia, the first title of the opera season 2022/23 of the Teatro del Maggio, and interprets the Quattro pezzi sacri at the Verdi Festival and at the Maggio Musicale Fiorentino where he also conducts Don Carlo and The Rake’s Progress on the occasion respectively of the Autumn and Carnival Festivals. In summer 2025 he will return to the Bayreuth Festival for the new production of Die Meistersinger von Nürnberg.
He regularly leads the Philharmonia Orchestra, the Orchestra dell’Accademia Nazionale di Santa Cecilia, the Orchestra del Maggio Musicale Fiorentino, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Orchestra Sinfonica Nazionale della Rai, the Orchestre National de France, the Orchestra Mozart, the Gustav Mahler Jugendorchester, the Dresdner Festspielorchester, the Münchner Philharmoniker, the Mahler Chamber Orchestra and the Orchestre de la Suisse Romande.
Daniele Gatti was awarded the Premio “Franco Abbiati” from Italian music critics as best conductor in 2015, in 2016 he was awarded the Chevalier de la Légion d’Honneur from the French Republic for his work as Music Director of the Orchestre National de France and he was also awarded the Grand Officer of Merit of the Italian Republic.
Under Sony Classical he has recorded works by Debussy and Stravinsky with the Orchestre National de France, and a DVD of Wagner’s Parsifal staged at the Metropolitan Opera in New York. Under the label RCO Live he has recorded Berlioz’s Symphonie Fantastique, Mahler’s First, Second and Fourth Symphonies, a DVD of Stravinsky’s Le Sacre du Printemps together with Debussy’s Prélude à l’Après-midi d’un Faune and La Mer, a DVD of Strauss’s Salome performed at the Dutch National Opera, a CD of Bruckner’s Symphony n. 9 together with the Prelude and the Karfreitagszauber (Good Friday Music) from Wagner’s Parsifal. In November 2019 a DVD of Wagner’s Tristan und Isolde, staged at the Teatro dell’Opera di Roma, was released by C Major.
Neeme Järvi first studied music with his brother Vallo before entering the Tallinn School of Music, where he studied percussion and choral conducting. Having made his public conducting debut in Tallinn in 1954, he continued his studies between 1955 and 1960 at the Leningrad Conservatory, where his teachers in symphonic and operatic conducting included Nicolai Rabinovich and Yevgeny Mravinsky. Both made a great impression upon him, as he recalled: ‘Rabinovich was all beautiful hands and upbeats and everything that conductors need.’ Jarvi has also noted that these mentors were in turn highly influenced by the Jewish conductors who were seeking refuge from Nazi Germany during the 1930s: ‘Bruno Walter and Otto Klemperer conducted in Leningrad every year, and these young Rabinovichs and Mravinskys looked (at them) every day, as I looked at Mravinsky and Rabinovich thirty years later.’
Following graduation from the Leningrad Conservatory in 1960, Järvi played as a percussionist in the Estonian Radio Symphony Orchestra, being subsequently appointed chief conductor of this orchestra in 1963, as well as chief conductor and artistic director of the State Opera and Ballet Theatre of the Estonian Soviet Socialist Republic (renamed the Estonian National Opera Theatre after independence was restored to Estonia). In the same year he co-founded the Estonian Chamber Orchestra in Tallinn and became its artistic director. During the 1960s Järvi began to gain an international reputation through his regular appearances with the Leningrad Philharmonic Orchestra and the major Moscow orchestras, as well as with guest appearances elsewhere in the former Soviet Union and Eastern Europe. Having made his operatic conducting debut with Bizet’s Carmen at the Kirov Theatre in Leningrad, he later conducted the Soviet Union’s first-ever performances of Der Rosenkavalier, Porgy and Bess and Il Turco in Italia.
In 1971 Järvi took first prize at the Accademia Nazionale di Santa Cecilia Conducting Competition in Rome. This opened the door to invitations to conduct in Western Europe (Great Britain, Sweden, Holland, Germany) and further afield (Argentina, Canada and Japan), and in 1973 and 1977 he made his first appearances in the USA, on tour with the Leningrad Philharmonic and the Leningrad Symphony Orchestras. His debut at the Metropolitan Opera, New York came in 1979, when he conducted Eugene Onegin to considerable critical acclaim. Järvi had relinquished his position at the head of the Estonian State Opera in 1976, when he was appointed the chief conductor of the newly-formed Estonian State Symphony Orchestra, but following a performance he gave in Estonia of Arvo Pärt’s Credo, which contained words from the Bible, members of the Estonian State Symphony Orchestra were sacked from their posts by the authorities. As a result, in 1980 Järvi decided to emigrate with his family to America.
Two major agencies, International Concert Management and Columbia Artists, offered to represent him and he decided to work with the latter. Soon he was conducting the major American orchestras, including the Cincinnati Symphony, New York Philharmonic and Philadelphia Orchestras, developing in particular a close association with the orchestras of Chicago, Los Angeles, San Francisco and Detroit. In addition appointments with European orchestras quickly followed. Järvi worked alongside Simon Rattle as principal guest conductor of the City of Birmingham Symphony Orchestra between 1981 and 1984, and following an appearance at the Royal Opera House in Sweden conducting Richard Strauss’s Salome he became chief conductor of the Gothenburg Symphony Orchestra in 1982, holding this appointment until 2004 when he became the orchestra’s conductor emeritus. Similarly, he was chief conductor of the Scottish National Orchestra between 1984 and 1988, then becoming that orchestra’s conductor emeritus in 1990. Having become an American citizen in 1987, Järvi was appointed chief conductor of the Detroit Symphony Orchestra in 1990: as with the Gothenburg Orchestra, he developed a long relationship with this ensemble, stepping down only in 2005, when he became conductor emeritus of this orchestra too, as well as the chief conductor of the New Jersey Symphony Orchestra and of The Hague Residentie Orchestra. Throughout the period of his Detroit appointment, Järvi also accepted numerous guest engagements, appearing in Europe and the USA regularly as both a symphonic and operatic conductor, as well as being the principal guest conductor of the Japan Philharmonic Orchestra.
Järvi has a superlative conducting technique through which he strives for close communication with orchestral players: ‘…you have to talk with your hands with the musicians. You have to explain with every gesture, like you’re breathing. If you’re not breathing you’re not alive. This kind of a relationship – always showing what you want – works so beautifully, and American orchestras are the best to work with as a conductor, because they are so professional. Just show them and it’s done. If you are not showing, nothing comes. You are just beating, no music.’ In addition he is a conductor who is frequently highly spontaneous in performance, giving his interpretations notable freshness and immediacy. This aspect of conducting is often in the forefront of his teaching. At the annual conducting course in which he participates at Pärnu, a resort town on Estonia’s southern coast, Järvi has been known to both censure and encourage students with comments such as: ‘Boring music-making! Do something with it! If you are in the middle of a piece and want to do something, do it.’ Those who have played with Järvi praise highly his collaborative style of music-making. A member of the Detroit Symphony Orchestra, violinist Beatriz Budinszky, has commented in interview, ‘Neeme is proof that a conductor can be a gentleman… he has that charisma, that contagious enthusiasm.’
Järvi is also unusual in that he is constantly searching out and performing neglected works by both popular and lesser-known composers. This philosophy developed early in his career: when he was active in Estonia he presented many new works by fellow countrymen Eduard Tubin and Arvo Pärt, long before they had achieved the international distinction which they now enjoy. These three characteristics – a highly communicative conducting technique, consistent spontaneity and the constant search for new repertoire – have made Järvi an ideal recording conductor. During the course of his career he has recorded well over three hundred and fifty discs for the Deutsche Grammophon, Chandos, BIS, Orfeo, EMI and BMG labels, as well as for the Detroit Symphony Orchestra’s own label. He has recorded complete symphonic cycles of Swedish composers Wilhelm Stenhammar and Hugo Alfvén; Danish composers Niels Gade and Carl Nielsen; Finnish composer Jean Sibelius (his complete orchestral music); Johannes Brahms and Franz Schmidt; Czech composers Bohuslav Martinů and Antonín Dvořák; Estonian composers Arvo Pärt and Eduard Tubin; Russian composers Glazunov, Prokofiev and Shostakovich; and many others. With the Detroit Symphony Orchestra, he has recorded thirty-six discs for the Chandos label, including an important American series with works by Samuel Barber, Amy Beach, Charles Ives, George Chadwick, Duke Ellington and William Grant Still. In addition, notably with the Gothenburg Orchestra, Järvi has revived several important works by Russian composers which have vanished undeservedly from the concert repertoire, such as Maximilian Steinberg’s Symphony No. 1 and Myaskovsky’s Symphony No. 6.
The considerable influence exerted by recordings is acknowledged by Järvi, who has commented, ‘I think that the orchestras that I lead should become known in the world. It’s not possible to travel around the world with them that much, and thus I can introduce them via the records. Gothenburg is a small Swedish town and the Gothenburg orchestra would have remained unknown had we not recorded for Deutsche Grammophon. The Gothenburg Symphony Orchestra’s almost one hundred records have given it considerable recognition.’ Neeme and Liilia Järvi’s three children are all musicians: his two sons Paavo and Kristjan are both distinguished conductors, while his daughter Maarika is a flautist of note.
Le chef d’orchestre estonien primé aux Grammy Awards, Paavo Järvi, est largement reconnu comme le « musicien des musiciens », et collabore étroitement avec les meilleurs orchestres du monde. Il occupe les postes de chef principal de l’Orchestre Tonhalle de Zurich et de l’Orchestre symphonique NHK de Tokyo, ainsi que directeur artistique de la Deutsche Kammerphilharmonie de Brême et de l’Estonian Festival Orchestra, dont il est également le fondateur. Il est également chef émérite du Frankfurt Radio Symphony, directeur musical émérite du Cincinnati Symphony Orchestra et conseiller artistique de l’Orchestre national d’Estonie.
En dehors de ses postes permanents, Järvi est très sollicité en tant que chef invité, se produisant régulièrement avec le Berliner Philharmoniker, le Philharmonia Orchestra de Londres, le Münchner Philharmoniker, la Staatskapelle de Dresde et l’Orchestre de Paris, dont il fut le directeur musical de 2010 à 2016.
Chaque saison se termine par une semaine de concerts et de masterclasses de direction au Pärnu Music Festival en Estonie, que Paavo Järvi a fondé en 2011 avec son père, Neeme Järvi. Le succès du festival et de son ensemble résident – l’Estonian Festival Orchestra – a valu de nombreuses invitations de prestige, notamment des performances récentes aux BBC Proms, à l’Elbphilharmonie de Hambourg et une tournée au Japon.
Avec une vaste discographie, les récentes publications de Paavo Järvi incluent un album de musique orchestrale méconnue de Messiaen avec l’Orchestre Tonhalle de Zurich ; le troisième et dernier volume du cycle des Symphonies de Brahms avec la Deutsche Kammerphilharmonie de Brême ; et l’enregistrement en première mondiale de la 9e Symphonie d’Erkki-Sven Tüür, Mythos, avec l’Estonian Festival Orchestra.
En 2019, Paavo Järvi a été nommé Chef d’orchestre de l’année par l’Opus Klassik en Allemagne et a reçu le prix de musique du Rheingau pour ses réalisations artistiques avec la Deutsche Kammerphilharmonie de Brême dans le paysage orchestral et culturel allemand. Parmi ses autres récompenses, citons un Grammy Award pour son enregistrement des Cantates de Sibelius avec l’Orchestre national d’Estonie, Artiste de l’année pour Gramophone (Royaume-Uni) et Diapason (France) en 2015, ainsi que le titre de Commandeur de l’Ordre des Arts et des Lettres du ministère français de la Culture pour sa contribution musicale en France. Défenseur acharné de la culture estonienne, il a reçu l’Ordre de l’Étoile Blanche par le président de l’Estonie en 2013, et en 2015, il s’est vu décerner la Médaille Sibelius en reconnaissance de son travail pour faire connaître la musique du compositeur finlandais.
Né à Tallinn, en Estonie, Paavo Järvi a étudié les percussions et la direction d’orchestre à l’École de musique de Tallinn. En 1980, il s’est installé aux États-Unis, où il a poursuivi ses études à l’Institut Curtis de Musique et à l’Institut Philharmonique de Los Angeles sous la direction de Leonard Bernstein.
Universally acclaimed as both conductor and pianist, and renowned for the breadth of his repertoire and the depth of his interpretations, Christoph Eschenbach belongs firmly to his native Germany’s intellectual line of tradition, yet combines this with a rare emotional intensity. Currently Musical Director of the Konzerthausorchester Berlin, his previous appointments include musical directorships at the Washington National Symphony Orchestra, the Orchestre de Paris and the Philadelphia Orchestra. His tireless support of young talent includes being Artistic Advisor and lecturer at the Kronberg Academy. Among his awards garnered over five decades of recording are the German Record Critics’ Prize, the MIDEM Classical Award and a GRAMMY. He has been awarded the Chevalier de la Légion d’Honneur, and is a Commandeur des Arts et des Lettres, a holder of the German Federal Cross of Merit and a winner of the Leonard Bernstein Award.
Leonardo García-Alarcón, argentin d’origine, s’est installé en Europe en 1997 pour étudier au Conservatoire de Genève auprès de la claveciniste Christiane Jaccottet. Son parcours dans la musique baroque a commencé avec Gabriel Garrido, et peu après, il a fondé son ensemble Cappella Mediterranea. En 2010, il devient directeur artistique du Chœur de chambre de Namur et forme le Millenium Orchestra pour accompagner le chœur. Leonardo García-Alarcón partage son temps entre Genève, où il enseigne à la Haute Ecole de Musique, et diverses villes européennes, dont la France, où il est une figure emblématique du Festival d’Ambronay et artiste en résidence à l’Opéra de Dijon. Il retourne également occasionnellement en Amérique du Sud.
Leonardo García-Alarcón est reconnu pour avoir fait revivre les opéras de Cavalli, notamment Elena et Erismena au Festival d’Aix-en-Provence, Eliogabalo lors de l’ouverture de la saison 2016 de l’Opéra de Paris, Il Giasone à Genève et La Finta Pazza à Dijon. Il a également dirigé la redécouverte d’El Prometeo d’Antonio Draghi en 2018. En tant que chef d’orchestre et claveciniste, Leonardo García-Alarcón est invité dans de prestigieux festivals et salles de concert du monde entier. En 2018, il a dirigé l’Orfeo de Monteverdi au Staatsoper de Berlin, et en 2019, il a triomphé avec Les Indes Galantes de Rameau à l’Opéra Bastille, à l’occasion du 350e anniversaire de la Royal Academy of Music. Il a été reconnu comme le meilleur chef d’orchestre dans le Palmarès 2019 de Forum Opéra.
En 2020, malgré les perturbations dues à la pandémie, Leonardo García-Alarcón a adapté ses programmes de concerts et a participé à des festivals virtuels. Il a dirigé Il Palazzo Incantato de Rossi dans un enregistrement vidéo qui a été amplement loué. Sa discographie encensée comprend I 7 Peccati Capitali (2016), De vez en cuando la vida (2018) et El Prometeo (2018). En 2021, il a enregistré Rebirth avec la soprano Sonya Yoncheva, Lamenti & Sospiri avec les sopranos Mariana Flores et Julie Roset, Orfeo de Monteverdi et Le violon selon Bach avec la violoniste Chouchane Siranossian.
Leonardo García-Alarcón est un Chevalier de l’Ordre des Arts et des Lettres.
Teodor Currentzis est né en Grèce, où il débute ses études musicales. En 1994, il entre au Conservatoire d’État de Saint-Pétersbourg pour étudier avec le légendaire professeur Ilya Musin.
Avec ses ensembles, Teodor Currentzis effectue régulièrement des tournées en Europe et dans le monde, se produisant dans de nombreuses salles prestigieuses telles que le Konzerthaus de Vienne, la Philharmonie de Berlin, l’Elbphilharmonie de Hambourg, la Philharmonie de Munich, la Philharmonie de Paris, la Kölner Philharmonie, l’Auditorio Nacional, le Festspielhaus de Baden-Baden et la Scala de Milan. En tant que chef d’orchestre et directeur musical, Teodor Currentzis a travaillé avec les plus grandes maisons d’opéra, notamment l’Opéra de Paris, le Bayerische Staatsoper, l’Opernhaus Zürich, le Teatro Real et le Théâtre Bolchoï.
Il a également collaboré avec les figures clés du théâtre occidental moderne : Robert Wilson, Romeo Castellucci, Peter Sellars, Dmitri Tcherniakov, Theodoros Terzopoulos, etc. Teodor Currentzis est artiste résident au festival de Salzbourg ainsi qu’au festival RUHRtriennale, aux festivals de Lucerne et d’Aix-en-Provence.
Les œuvres de Mozart, Mahler, Beethoven, Tchaïkovski, Rameau et Stravinsky publiées par Teodor Currentzis sous le label Sony Classical ont reçu de nombreuses récompenses musicales internationales : ECHO Klassik, Edison Klassiek, Japanese Record Academy Award et BBC Music Magazine’s Opera Award. Teodor Currentzis a reçu le prestigieux prix KAIROS de la Fondation Toepfer. Il a également été décoré de l’Ordre grec du Phénix et du prix international Musikfest Bremen.
Salvatore Accardo made his debut in recital at the age of 13 playing Paganini’s Capricci.Two years later he won the Geneva Competition and in 1958 the Paganini Competition in Genoa.
His repertoire ranges from pre-Bach to post-Berg; composers like Sciarrino, Donatoni, Piston, Piazzolla, Colasanti and Xenakis wrote for him.
In addition to playing with the world’s leading orchestras and conductors, Accardo performs in recital and particularly loves chamber music.
In 1992 he founded the Accardo Quartet and in 1986 the Walter Stauffer Academy together with Giuranna, Filippini and Petracchi in Cremona, where they regularly give master classes. In 1971 he founded the Settimane Musicali Internazionali in Naples, where rehearsals were open to the audience, and the Cremona String Festival.
Accardo has also dedicated part of his activities to conducting important European and American Orchestras. He recorded as conductor with the Philharmonia Orchestra of London. Since 1987 he conducts also opera (Rossini Festival with Ponnelle, Rome Opera House, Monte Carlo Opera, Lille and Naples Opera House).
In 1992 for the 200th anniversary of Rossini’s birth, he conducted in Pesaro Festival and in Rome the first modern edition of the Messa di Gloria (recorded live by Warner Fonit), that did again in 1995 in Vienna with the Wiener Symphoniker.
He recorded for DGG Paganini Capricci and Concertos for violin with Charles Dutoit , for Philips several recordings (Bach Sonatas and Partitas, Max Bruch works for violin and orchestra with Kurt Masur, Čajkovskij, Dvořák and Sibelius Concerts with Colin Davis, Mendelssohn Concert with Charles Dutoit, Brahms and Beethoven Concerts with Kurt Masur). He also recorded for ASV, Dynamic, EMI, Sony Classical, Collins Classic and Foné. Among these recordings are: Beethoven Concerto in D major and 2 Romances with Accademia della Scala Orchestra conducted by Carlo Maria Giulini for Sony Classical; Brahms Sonatas for violin and piano, Schubert Quartets, Paganini Capricci and Homage to Heifetz and Homage to Kreisler for FONÉ playing the legendary violins from the Cremona collection; for Dynamic Accardo played Paganini’s violin. Recently Foné re-masterised the Mozart Complete works for violin in 13 CDs in high quality technology.
Accardo has been awarded in Italy with Abbiati Prize by the Italian Musical Critics in recognition of the exceptional standard of his playing and interpretation and with the Italian highest honour “Cavaliere di Gran Croce”. In 1996 the Beijing Conservatoire named him « most honourable Professor », in 1999 he was named »Commandeur dans l’ordre du mérit culturel » in Monaco and in 2002 he received « A Life for the Music » Award, and this year he was awarded by the Kennedy Center of New York with the Gold Medal in the Arts.
In 1996 Accardo recreated the Orchestra da Camera Italiana (OCI), whose members are the best pupils of Cremona « Walter Stauffer Academy” and recorded two CDs with them: The virtuoso violin in Italy and Masterpieces for violin and strings for Warner Fonit Cetra. In 1999 Accardo and OCI recorded the complete Paganini Concerti for violin and orchestra for EMI Classics, the “Concerto per la Costituzione” and in 2003 the complete Astor Piazzolla works for violin in 3 SACDs for Foné.
Accardo and OCI do every year many concerts together especially in Italy, where they play every season for the most important concert Societies and Theaters.
Starting in 2007 he realized until now for Foné the second recording of J. S. Bach’s Sonatas and Partitas for solo violin, the third recording of Paganini’s 24 Capricci (Urtext) and the third recording of Vivaldi’s Four Seasons with OCI (Urtext).
Salvatore Accardo plays a violin Guarneri del Gesù “Reade”- 1734.
Violinist, violist and conductor Julian Rachlin is one of the most exciting and respected musicians of our time. In the first thirty years of his career, he has performed as soloist with the world’s leading conductors and orchestras. Mr. Rachlin is Principal Guest Conductor of the Royal Northern Sinfonia, Turku Philharmonic Orchestra and Kristiansand Symphony Orchestra. He also leads the « Julian Rachlin & Friends Festival » in Palma de Mallorca.
Highlights of Mr. Rachlin’s 2018/19 season include performances with the St. Petersburg Philharmonic and Mariss Jansons, Montreal Symphony Orchestra and Christoph Eschenbach, Boston Symphony Orchestra and Juanjo Mena, Pittsburgh Symphony Orchestra and Manfred Honeck, as well as the KBS Symphony Orchestra and Myung-Whun Chung. Alongside soloist Sarah McElravy and the Royal Northern Sinfonia, he will perform the UK premiere of Penderecki’s Double Concerto for Violin and Viola, which is dedicated to him. Additionally, Mr. Rachlin will conduct among others the Vienna Symphony Orchestra, Berlin Konzerthaus Orchestra, Naples Philharmonic, Moscow Philharmonic, St. Petersburg Symphony, Essen Philharmonic, Strasbourg Philharmonic, Slovenian Philharmonic, Zagreb Philharmonic and Trondheim Symphony Orchestra.
Julian Rachlin’s recent highlights include a residency at the Prague Spring Festival and his own cycle at the Vienna Musikverein. He also performed with the St. Petersburg Philharmonic Orchestra and Yuri Temirkanov, Filarmonica della Scala and Riccardo Chailly, Munich Philharmonic and Zubin Mehta, Philharmonia Orchestra and Jakub Hrůša, Orchestra del Maggio Musicale and Vladimir Ashkenazy, as well as the Vienna Symphony Orchestra and Lahav Shani. As conductor, he toured Europe with the English Chamber Orchestra, and led the Royal Northern Sinfonia across South America and Japan. Additionally, he conducted the State Academic Symphony Orchestra of Russia, Hungarian National Philharmonic, Royal Liverpool Philharmonic Orchestra, Orchestra della Svizzera Italiana, National Taiwan Symphony Orchestra, Prague Philharmonia, and made his USA conducting debut at the Grand Teton Music Festival.
In recital and chamber music, Mr. Rachlin performs regularly with Itamar Golan, Denis Kozhukhin, Denis Matsuev, Mischa Maisky, Sarah McElravy, Vilde Frang and Janine Jansen.
Born in Lithuania, Mr. Rachlin immigrated to Vienna in 1978. He studied violin with Boris Kuschnir at the Vienna Conservatory and with Pinchas Zukerman. After winning the « Young Musician of the Year » Award at the Eurovision Competition in 1988, he became the youngest soloist ever to play with the Vienna Philharmonic, debuting under Riccardo Muti. At the recommendation of Mariss Jansons, Mr. Rachlin studied conducting with Sophie Rachlin. Since September 1999, he is on the violin faculty at the Music and Arts University of Vienna. His recordings for Sony Classical, Warner Classics and Deutsche Grammophon have been met with great acclaim. Mr. Rachlin, a UNICEF Goodwill Ambassador, is committed to educational outreach and charity work.
Julian Rachlin plays the 1704 « ex Liebig » Stradivari and a 1785 Lorenzo Storioni viola, on loan to him courtesy of the Dkfm. Angelika Prokopp Privatstiftung. His strings are kindly sponsored by Thomastik-Infeld.
Kent Nagano figure parmi les chefs d’orchestre les plus remarquables, tant dans le répertoire lyrique qu’orchestral. Il a connu ses premiers grands succès avec le Boston Symphony Orchestra en 1984, lorsque Messiaen l’a nommé assistant du chef d’orchestre Seiji Ozawa pour la première de son opéra Saint François d’Assise. Les nominations européennes ne tardent pas à suivre : Directeur musical de l’Opéra national de Lyon (1988-1998) et Directeur musical du Hallé Orchestra (1991-2000). Nagano est devenu le premier directeur musical de l’Opéra de Los Angeles en 2003, après avoir déjà occupé le poste de Premier Chef d’orchestre pendant deux ans. Depuis 2015, il est Directeur musical général de l’Opéra d’État de Hambourg et Chef d’orchestre principal du Philharmonisches Staatsorchester Hamburg et, de 2006 à 2020, il a été directeur musical de l’Orchestre symphonique de Montréal, dont il a été nommé Conductor Emeritus en 2021. Kent Nagano s’est produit pour la dernière fois au Verbier Festival en 2022