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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.
Né à Moscou en 1969, Boris Berezovsky étudie au conservatoire d’Etat de sa ville natale avec Elisso Virsaladzé et prend des cours avec Alexander Satz. En 1987, il est lauréat du Concours international de piano de Leeds (Royaume-Unis). Après de fulgurants débuts en récital au Wigmore Hall de Londres en 1988, il obtient en 1990 la médaille d’or du concours Tchaïkovski de Moscou où il joue avec l’Orchestre philharmonique de Leningrad, sous la direction de Yuri Temirkanov aux côtés d’Itzhak Perlman, Yo-Yo Ma et Jessye Norman. En 1991, Boris Berezovsky fait ses débuts américains à Fort Worth au Texas et en France à l’Auditorium du Louvre à Paris. Depuis il se produit en récital sur les plus grandes scènes internationales : Londres, Paris, Rome, Zurich, Munich, Salzbourg, Amsterdam, Montréal, Vienne, Berne, Budapest, Prague ou Tokyo. Il tourne, en outre, régulièrement au Japon en récital, en concerto ou en musique de chambre L’année 2016 marque son retour à New-York sur la scène de Carnegie Hall. . En 2006, il est nommé « Meilleur instrumentiste de l’année » lors des BBC Music Magazine Awards.
Boris Berezovsky est l’invité régulier des festivals de Gstaad, la Roque d’Anthéron, Verbier, Bergamo et Brescia, Salzbourg, Bratislava, Folle Journée de Nantes et Japon ; des orchestres symphoniques de Dallas, de Birmingham, du Concertgebouw d’Amsterdam ; des orchestres philharmoniques de Berlin, Saint-Pétersbourg, Los Angeles, Radio France, Monte-Carlo, New York et Munich, des orchestres de la NDR de Hambourg, d’Ulster, de la Staatskapelle de Dresde, du Théâtre Mariinsky ou de l’Orchestre national symphonique de la radio du Danemark, l’Orchestre national de France, l’Orchestre de la radio de Francfort, le Philharmonia Orchestra ou l’Orchestre de Paris. Il joue sous la direction d’Antonio Pappano, Yuri Temirkanov, Alexander Vedernikov, Leif Segerstam, Dmitri Kitaenko, Wolfgang Sawallisch, Leonard Slatkin, Dimitri Liss et Kurt Masur.
Très attaché à la musique de chambre, il a partagé la scène avec Vadim Repin, Julian Rachlin, Alexandre Gindin, Henri Demarquette, Dmitri Makhtin, Alexander Kniazev et avec les quatuors Borodine, Britten et Takacs. Il a été le partenaire fidèle de Brigitte Engerer durant de nombreuses années.
Son imposante discographie, couronnée de nombreuses récompenses (Diapason d’Or, Choc de la Musique, Gramophone, Echo Klassik Preis), chez Teldec Classics International, Philips, Simax, Mirare et Warner Classics, comprend des œuvres de Chopin, Schumann, Rachmaninov, Ravel, Moussorgski, Balakirev, Liadov, Tchaïkovski, Chostakovitch, Medtner, Liszt, Beethoven ainsi que les deux trios de Mendelssohn avec Dmitri Makhtin et Alexander Kniazev. Son dernier album, dédié aux concertos de Brahms et Stravinsky, qu’il a enregistré sans chef avec l’Orchestre symphonique d’État de Russie-Evgeny Svetlanov, est paru chez Mirare le 26 janvier 2018.
Dernièrement, il se présente dans une configuration qu’il expérimente et affectionne particulièrement, à savoir des concerts avec orchestre sans chef. Il se produit notamment sous cette forme dans les concertos de Brahms, Stravinsky ou Beethoven. En novembre 2018, invité du Festival Univers Svetlanov, il triomphe avec l’Orchestre Symphonique d’Etat de Russie – Evgueny Svetlanov, dans le Concerto pour piano n°1 de Tchaïkovski. Il remporte le même succès, à Budapest avec le Concerto Budapest dans les concertos n°1 de Brahms, n°1 de Prokofiev et n°2 de Chostakovitch.
En juin 2018, son récital au Théâtre des Champs-Elysées marque les esprits. Resmusica qualifie le pianiste de « souverain dans tout ce qu’il touche » et d’« artiste discret par rapport à d’autres, mais au combien supérieur à nombre d’entre eux. »
En 2019-2020, il effectue notamment une tournée de récitals en France et se produit à Toulouse, Nancy, Annecy et au Théâtre des Champs-Elysées à Paris. Il se produit également en concerto au Théâtre des Champs-Elysées, avec l’Orchestre Philharmonique de Saint-Petersbourg et Yuri Temirkanov.
Avec l’Orchestre symphonique de Saint-Petersbourg, il est à la Philharmonie de Saint-Petersbourg pour interpréter deux concertos de Chopin, sans chef.
Toujours dans une configuration de concertos sans chef, il est tournée en Espagne avec l’Orchestre Symphonique d’Etat de Russie dans le concerto n°1 de Brahms et le concerto n°21 Mozart.
Some musicians are destined to forge artistic paths that will open up new horizons for future generations. Yuri Bashmet is undoubtedly one of them, since it is he that established the viola as a leading instrument on the contemporary concert stage. Born in the Russian city of Rostov-on-Don in 1953, Yuri Bashmet studied at the Moscow Conservatory with Vadim Borisovsky and Feodor Druzhinin. On winning first prize in the International Music Competition in Munich, he embarked on an unparalleled world career in 1976. He has performed as a soloist with the world’s leading orchestras, including the Berliner Philharmoniker, Deutsches Symphonie-Orchester Berlin, Symphonieorchester des Bayerischen Rundfunks, New York Philharmonic Orchestra, San Francisco Symphony Orchestra, Chicago Symphony Orchestra, Boston Symphony Orchestra, Vienna Philharmonic and the Orchestre National de France. Contemporary composers, among them Alfred Schnittke, Sofia Gubaidulina, Edisson Denissow, Mikael Tariverdijev, John Tavener, Giya Kancheli and Alexander Tchaikovsky, have composed and dedicated a total of over 50 works for and to him.
Yuri Bashmet took up the conducting baton in 1982. In 1992, he founded the Moscow Soloists Chamber Orchestra comprising highly talented young graduates of the Moscow Conservatory. Together, Yuri Bashmet and the soloists of this group became the first Russian ensemble to win a Grammy Award in 2008. Yuri Bashmet has been the artistic director and principal conductor of the New Russia State Symphony Orchestra since 2002. Film and television broadcasters in several different countries have documented his artistic work, and he himself is the creator and host of the TV programme Station of Dreams.
Yuri Bashmet enjoyed a longstanding artistic friendship with Svjatoslav Richter and, following Richter’s death, took over from him as artistic director of the renowned “December Nights” festival in Moscow. Bashmet is also the founder and chairman of the Yuri Bashmet International Viola Competition in Moscow, and likewise founded an international charitable fund, which led to creation of the Dmitri Shostakovich Prize awarded for special artistic achievement. Its winners include Gidon Kremer, Thomas Quasthoff, Viktor Tretjakov, Valery Gergiev, Anne-Sophie Mutter, Olga Borodina, Irina Antonova, Natalja Gutman, Yevgeny Kissin, Maxim Vengerov, Alexei Ratmansky, Yefim Bonfman, Denis Mazuyev and Tan Dun. Further to these achievements, Yuri Bashmet has participated in a great number of important charitable events.
Norwegian violinist Henning Kraggerud is Artistic Director of the Arctic Philharmonic Chamber Orchestra. His extraordinary reach as an artist is a result of his versatility and passion for music, as well as the genuine quality to his playing and the beauty of his performances. His teaching and educational writings provide fascinating insights into his multi-faceted approach to music-making, while his composing, arranging and improvising – frequently bringing his own works into the concert hall – recall the spirit of the old masters such as Josef Suk and Eugène Ysaÿe.
In the 18/19 season, Henning is Artist in Residence with the Kristiansand Symphony Orchestra in Norway and the Poznan Philharmonic Orchestra in Poland. His eminence as a soloist and play/director have led to invitations time and again to many of the world’s most significant orchestras, most recently the Toronto Symphony, Baltimore Symphony, Danish National Symphony, Tonkünstler Vienna, BBC Scottish Symphony, Tasmanian Symphony and Macao orchestras. Highlights of the current season include debuts with the Deutsche Kammerakademie Neuss am Rhein, Orchestra della Toscana, Royal Danish Opera orchestra and Kuopio Symphony. Henning also returns to Helsingborg Symphony and Vancouver Symphony orchestras and appears with Camerata Salzburg and Janine Jansen at the Salzburg Mozartwoche and on tour in Germany.
Henning is a prolific composer whose works are performed by many prominent musicians and orchestras around the globe. His largest-scale work to date is entitled Equinox: 24 Postludes in All Keys for Violin and String Orchestra. Commissioned, premiered and recorded by the Arctic Philharmonic Chamber Orchestra with Henning as soloist, the work was composed as a musical counterpart to a story specially written by world-famous author Jostein Gaarder, and has been hailed as “a fascinating composition to return to over and over again” (MusicWeb International). In 2017, Henning composed a violin/piano version of Equinox, which was premiered in Norway in 2018 with pianist Clare Hammond and Jostein Gaarder narrating.
Henning’s output as a composer also includes Preghiera, commissioned and performed by the Brodsky Quartet in 2012, and The Last Leaf, given its first performance in 2014 by the Britten Sinfonia, as well as cadenzas for two of Haydn’s cello concertos commissioned by Clemens Hagen in 2015 and Victimae Paschali for choir and orchestra commissioned by the Trondheim Chamber Music Festival. In 2017, the Ostrobothnian Chamber Orchestra commissioned and performed Topelius Variations for string orchestra, which Henning performed again later that year in an extensive national tour with the Australian Chamber Orchestra.
With his ever-present spirit of discovery, Henning gave the 21st century premiere of the Johan Halvorsen Violin Concerto with the Norwegian Chamber Orchestra at the 2016 Risør Chamber Music Festival. Originally premiered in 1909, the concerto was subsequently considered lost until its re-discovery over 100 years later. Henning went on to play the work with the Oslo and Bergen Philharmonic orchestras, and in 2017 released a recording on the Naxos label with the Malmö Symphony Orchestra and Bjarte Engeset, leading BBC Radio 3’s Record Review to comment, “It’s difficult to imagine more ardent advocates for this sleeping beauty of a piece”. In the current season, Henning gives the first ever performances of the work in Poland with the Poznan Philharmonic and in Finland with the Kymi Sinfonietta.
Henning regularly performs on both violin and viola at major festivals and venues; recent collaborations have taken place at Wigmore Hall, King’s Place, Bruges Concertgebouw, Berlin Konzerthaus and Budapest’s kamara.hu festival, with artists such as Steven Isserlis, Joshua Bell, Lawrence Power, Leif Ove Andsnes, Håvard Gimse, Kathryn Stott, Natalie Clein, Christian Ihle Hadland, Christian Poltéra and Jeremy Menuhin. In the 18/19 season, Henning tours the UK with Adrian Brendel and Imogen Cooper, including a return to Wigmore Hall.
In 2015, Henning became International Chair in Violin at the Royal Northern College of Music in Manchester, and in 2017 received a Fellowship. Passionate about musical education, Henning is a Professor at the Barratt Due Institute of Music in Oslo, and in 2018 was a jury member at the Menuhin Competition in Geneva, where he also performed the opening concert with Orchestre de la Suisse Romande under Marin Alsop. This season, he is a jury member at the Leeds Piano Competition.
Henning’s eclectic discography includes many recordings on the Naxos label. His Naxos recording of Mozart Concertos Nos. 3, 4 and 5 with the Norwegian Chamber orchestra included Henning’s own cadenzas, and was awarded an ECHO Klassik Award as well as chosen as Classic FM’s Album of the Week, NDR Kultur’s CD of the Week, Editor’s Choice in Classical Music Magazine, Recommended in The Strad, and featured on BBC Radio 3’s Record Review.
On the Simax label, Henning’s most recent release is a collaboration with the Arctic Philharmonic Orchestra and world-famous author Erik Fosnes Hansen. Entitled Between the Seasons, the disc features Vivaldi’s The Four Seasons interspersed with Henning’s own compositions. Also for Simax, Henning has recorded the complete solo sonatas of Ysaÿe, on a disc which won the prestigious Spellemann CD award. On the ACT label, he released a disc entitled Last Spring which explored improvisations on Norwegian folk music with jazz pianist Bugge Wesseltoft. This season, the two artists re-join for a performance at Jazz at Berlin Philharmonic.
Born in Oslo in 1973, Henning studied with Camilla Wicks and Emanuel Hurwitz. He is a recipient of the Grieg Prize, the Ole Bull Prize and the Sibelius Prize.
Henning Kraggerud plays on a 1744 Guarneri del Gesù, provided by Dextra Musica AS. This company is founded by Sparebankstiftelsen DNB.
Né aux Etats Unis en 1970, Nicholas Angelich donne son premier concert à 7 ans et entre à 13 ans au Conservatoire National Supérieur de Paris et étudie avec Aldo Ciccolini, Yvonne Loriod, Michel Beroff. Il travaille aussi avec Marie-Françoise Bucquet, Leon Fleischer, Dmitri Bashkirov et Maria Joao Pires. Il remporte à Cleveland le 2ème Prix du Concours International R.Casadesus, le 1er Prix du Concours International Gina Bachauer. Sous le parrainage de Leon Fleischer, il reçoit en Allemagne le prix des jeunes talents du « Klavierfestival Ruhr ». Aux Victoires de la Musique Classique, il reçoit la Victoire du « Soliste Instrumental de l’Année. » en 2013 et en 2019.
Grand interprète du répertoire classique et romantique, il donne l’intégrale des Années de Pèlerinage de Liszt. Il s’intéresse également à la musique du vingtième siècle : Messiaen, Stockhausen, Pierre Boulez, Eric Tanguy, Bruno Mantovani dont il crée Suonare, Pierre Henry dont il crée le Concerto sans orchestre pour piano ainsi que le concerto de Baptiste Trotignon, Different Spaces (CD chez Naïve). En mai 2003, il fait ses débuts avec le New York Philharmonic et Kurt Masur (Beethoven n°5). Toujours sous sa direction, mais avec l’Orchestre National de France, il effectue une tournée au Japon (Brahms n°2). Vladimir Jurowski l’invite en octobre 2007 à faire l’ouverture de la saison à Moscou avec l’Orchestre National de Russie.
Nicholas Angelich s’est produit avec le Boston Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, les orchestres d’Atlanta, Indianapolis, Saint-Louis, Cincinnati, Pittsburg, Symphonique de Montréal, Toronto Symphony, les orchestres de Bordeaux, Lyon, Lille, Strasbourg, Toulouse, Montpellier, Monte-Carlo, Orchestre National de France, Orchestre Philharmonique de Radio France, Orchestre de Paris, Orchestre de Chambre de Lausanne, Orchestre de la Suisse italienne, Frankfurter Hessischer Rundfunk, Orchestre de la Radio de Stuttgart, Philharmonique de Dresde, SWR Baden-Baden, Royal Philharmonic Orchestra, London Phiharmonic, London Symphony, Royal Scottish National Orchestra, Scottish Chamber Orchestra, Seoul Philharmonic, Japan Philharmonic, Hong Kong Sinfonietta, Orchestre National d’Espagne, Rotterdam Philharmonic, Orchestre de la Radio de Stockholm, Mahler Chamber Orchestra, Chamber Orchestra of Europe, Orchestre du Théâtre Mariinsky, Tonhalle de Zurich, Gustav Mahler Jugendorchester, Philharmonique de Liège, Monnaie de Bruxelles, sous la direction de : Charles Dutoit, Vladimir Jurowski, Yannick Nézet-Seguin, Tugan Sokhiev, Lionel Bringuier, Xu Zhong, Jun Märkl, Louis Langrée, Stéphane Denève, Christian Zacharias, David Robertson, Michael Gielen, Marc Minkowski, Gianandrea Noseda, David Afkham, Paavo et Kristian Järvi, Kurt Masur, Myung-Whun Chung, Daniel Harding, Sir Colin Davis, Valery Gergiev, Jérémie Rohrer, John Nelson, Lawrence Foster, Michael Sanderling, Krzysztof Urbanski, Jaap Van Zweden …
En récital et en musique de chambre il joue à Paris, Lyon, Bordeaux, La Roque d’Anthéron, Piano aux Jacobins à Toulouse, Aix-en-Provence, Nantes, Genève, Bruxelles, Munich, Luxembourg, Brescia, Crémone, Rome, Milan, Florence, Lisbonne, Bilbao, Madrid, Tokyo, Londres, Amsterdam, Verbier, Festival Martha Argerich de Lugano, Mostly Mozart de New York. En musique de chambre, il joue avec Martha Argerich, Gil Shaham, Yo-Yo Ma, Joshua Bell, Maxim Vengerov, Akiko Suwanai, Renaud et Gautier Capuçon, Jiang Wang, Daniel Müller-Schott, Leonidas Kavakos, Julian Rachlin, Gérard Caussé, Antoine Tamestit, Paul Meyer, les Quatuors Ebène, Modigliani, Ysaye, Prazak, Pavel Haas…
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.
Cellist Leonard Elschenbroich has performed as a soloist with the world’s leading orchestras.
He gave his Vienna Musikverein debut on a European Tour with the Staatskapelle Dresden, his US debut with the Chicago Symphony Orchestra, his Asian debut at Suntory Hall in Tokyo, and appeared five times at the Royal Albert Hall for the BBC Proms.
A committed performer of contemporary music, Elschenbroich has commissioned several new works from composers including Mark-Anthony Turnage, Luca Lombardi, Arlene Sierra and Suzanne Farrin. He gave the world premiere of Mark Simpson’s first Cello Concerto – written for him – with the BBC Philharmonic Orchestra at Bridgewater Hall, and Brian Elias’ first Cello Concerto at the BBC Proms.
In 2012 he co-founded the Orquesta Filarmonica de Bolivia, the first orchestra to perform a Mahler Symphony in the nation’s history. Elschenbroich returns to Bolivia on a regular basis to lead educational projects and develop the orchestra. This commitment led Elschenbroich to explore the field of conducting with various orchestras across Latin America and the UK. He gave his London conducting debut, leading The Telegraph to write “Elschenbroich gave a performance of Brahms’ 1st Symphony that at times touched the heights.”
Elschenbroich has worked with a number of eminent conductors including Semyon Bychkov, Christoph Eschenbach, Sir Mark Elder, Charles Dutoit, Manfred Honeck, Kirill Karabits, Dmitri Kitajenko, Andrew Litton, Juanjo Mena, Yan-Pascal Tortelier, Vasily Sinasiky, and Edo De Waart. As soloist he has performed with the London Philharmonic, Royal Philharmonic, Royal Scottish National Orchestra, BBC Philharmonic, BBC Symphony, Royal Liverpool Phiharmonic, Hallé, Bournemouth Symphony, WDR Symphony Orchestra Cologne, Konzerthaus Orchester Berlin, Dresden Staatskapelle, Swedish Radio Symphony, Vienna Tonkünstler Orchestra, Basel Symphony Orchestra, Stavanger Symphony, St. Petersburg Philharmonic Orchestra, Netherlands Philharmonic, Residentie Orchestra, Nagoya Philharmonic, Japan Philharmonic, New Zealand Symphony Orchestra, Tasmanian Symphony Orchestra, National Symphony Orchestra Washington, Pacific Symphony, Minnesota Orchestra and Chicago Symphony Orchestra.
Elschenbroich’s first three albums for Onyx Classics focused on 20th century Russian repertoire, from Rachmaninov to Schnittke. 2016 saw the release of “Siécle”, a portrait of a century of French music from Saint-Saëns to Dutilleux, recorded with the BBC Scottish Symphony. They have received 5-star reviews from The Telegraph, The Guardian, The Financial Times, as well as receiving Editor’s Choice in Gramophone. This year, after a decade worldwide performances together with Alexei Grynyuk, Onyx Classics released their recording of the complete Beethoven Cello Sonatas. The album received wide critical acclaim, including Editor’s Choice in Gramophone, Album of the Month in BBC Music Magazine, and is also available on vinyl.
His many awards include the Leonard Bernstein Award, Förderpreis Deutschlandfunk and Borletti Buitoni Trust Award. In 2012 he was named BBC Radio 3 New Generation Artist, he was Artist-in-Residence of Deutschlandfunk for the 2014-15 season, and Artist-in-Residence at the Philharmonic Society Bremen from 2013-2016.
Born in 1985 in Frankfurt, Elschenbroich received a scholarship, aged ten, to study at the Yehudi Menuhin School in London. He later studied with Frans Helmerson at the Cologne Music Academy.
He plays a cello made by Matteo Goffriller “Ex-Leonard Rose-Ex-Alfredo Piatti’ (Venice, 1693), on private loan.
Le contre-ténor Philippe Jaroussky a conquis une place prééminente dans le paysage musical international, comme l’ont confirmé les Victoires de la Musique (Révélation Artiste lyrique en 2004 puis Artiste Lyrique de l’Année en 2007 et 2010) et, récemment, les prestigieux Echo Klassik Awards en Allemagne, lors de la cérémonie 2016 à Berlin (Chanteur de l’Année, titre qu’il avait déjà remporté en 2008).
Avec une maîtrise technique qui lui permet les nuances les plus audacieuses et les pyrotechnies les plus périlleuses, Philippe Jaroussky a investi un répertoire extrêmement large dans le domaine baroque, des raffinements du Seicento italien avec des compositeurs tels que Monteverdi, Sances ou Rossi jusqu’à la virtuosité étourdissante des Händel ou autres Vivaldi, ce dernier étant sans doute le compositeur qu’il a le plus fréquemment servi ces dernières années. Défricheur de partitions infatigable, il a brillamment contribué à mettre en lumière la musique de compositeurs tels que Caldara, Porpora, Steffani, Telemann ou Johann Christian Bach.
Philippe Jaroussky a aussi exploré les mélodies françaises, accompagné du pianiste Jérôme Ducros. Il a récemment proposé sa vision des Nuits d’Été d’Hector Berlioz, qu’il a chantées à l’Auditorium national de Madrid puis à l’Elbphilharmonie de Hambourg.
Le domaine contemporain prend une place croissante, avec la création d’un cycle de mélodies composées par Marc André Dalbavie sur des sonnets de Louise Labbé, ou avec l’opéra Only the Sound remains de Kaija Saariaho (création mondiale spécialement composée à son intention, à l’Opéra d’Amsterdam, mars 2016)
Philippe Jaroussky est sollicité par les meilleures formations baroques actuelles et collabore avec les plus grands chefs d’orchestre, se produisant fort logiquement dans les salles et les festivals les plus prestigieux du monde.
En 2002, Philippe fonde l’Ensemble Artaserse, qui se produit partout en Europe.
Détenteur d’une discographie impressionnante, Philippe Jaroussky a aussi pris une part importante dans l’Edition Vivaldi de Naïve aux côtés de Jean-Christophe Spinosi et l’Ensemble Matheus.
Néanmoins, depuis plusieurs années, Philippe Jaroussky entretient, pour ses disques-récitals, des relations très étroites avec Erato-Warner Classics, son label exclusif, pour lequel il a signé des disques qui ont tous reçu de nombreuses distinctions.
Après une résidence d’un an en 2016-2017 à la nouvelle Philharmonie de l’Elb à Hambourg (résidence qui suit celle au Konzerthaus de Berlin), et notamment une participation très remarquée au concert d’ouverture, Philippe se consacrera à une vaste tournée dédiée à Händel à l’automne 2017, avec plus de 25 concerts, tournée accompagnant la sortie du disque enregistré pour Erato-Warner Classics. Il reprendra, pour la saison 2017/2018, deux productions prestigieuses à Paris, Only the Sound Remains de Saariaho (à l’Opéra de Paris) et Alcina d’Händel (au Théâtre des Champs-Élysées). En fin de saison, il endossera le rôle d’Orfeo de Gluck de nouveau au Théâtre des Champs-Élysées.
Philippe Jaroussky vient de concrétiser un projet lui tenant particulièrement à coeur : l’Académie Philippe Jaroussky. Cette institution vise à démocratiser l’accès à la musique classique en accueillant des jeunes en situation d’éloignement culturel à travers un enseignement original, soutenu et exigeant. L’Académie est installée au sein de La Seine Musicale sur l’Île Seguin, à Boulogne-Billancourt.
Il a été fait Chevalier des Arts et des Lettres en 2009.
Pianiste et compositeur, Jérôme Ducros est un artiste aux multiples facettes, se produisant aussi bien en soliste qu’en musique de chambre, dans un répertoire très large allant jusqu’à la musique d’aujourd’hui, notamment avec ses propres œuvres.
Chambriste très recherché, il est le partenaire régulier en concert et au disque de Renaud et Gautier Capuçon, Philippe Jaroussky, Jérôme Pernoo, Bruno Philippe… Il se produit ainsi sur les plus grandes scènes telles que le Théâtre des Champs-Elysées, la Philharmonie de Berlin, le Musikverein et Konzerthaus de Vienne, les Wigmore Hall et Barbican Center de Londres, le Concertgebouw d’Amsterdam, le Carnegie Hall, le Liceu de Barcelone, le Théâtre Marinsky de Saint-Pétersbourg, la Salle Tchaïkovsky de Moscou, le KKL de Lucerne, l’Opéra de Tokyo… Il collabore aussi avec Augustin Dumay, Michel Portal, Michel Dalberto, Nicholas Angelich, Antoine Tamestit, Paul Meyer, Gérard Caussé, Tabea Zimmermann, Jean-Guihen Queyras, Henri Demarquette, le Quatuor Ébène ou avec les chanteurs Dawn Upshaw, Diana Damrau, Angelika Kirchslager, Ian Bostridge, Mojca Erdmann, Laurent Naouri, Nora Gubisch…
Confidentielle il y a encore quelques années, la musique écrite par Jérôme Ducros s’est peu à peu fait connaître et reconnaître par un nombre croissant de musiciens, notamment depuis la publication de son Trio pour deux violoncelles et piano en 2006 (Billaudot, coll. Gautier Capuçon). Depuis, ses œuvres ont été jouées par de nombreux interprètes tels que Sergey Malov, Sarah et Deborah Nemtanu, Alina Ibragimova, Gérard Caussé, Adrien Boisseau, Jérôme Pernoo, Henri Demarquette, Gautier Capuçon, Bruno Philippe, Georgi Anichenko, Raphaël Sévère, Nora Gubisch, Laurent Naouri, Antoine Tamestit… C’est ainsi qu’au gré des commandes il a eu l’occasion d’écrire des œuvres de virtuosité (Encore pour violoncelle et piano), de musique de chambre (trios, quintette), vocales (La mort du poète, Deux poèmes de Verhaeren…), ou symphoniques. En 2013 est paru chez DECCA un premier CD monographique consacré à sa musique de chambre. En 2016, un double concerto pour violoncelle, piano et orchestre est créé avec l’Orchestre de Pau, Fayçal Karoui et Jérôme Pernoo. Il a par ailleurs produit un certain nombre de travaux plus théoriques sur le langage musical et son évolution, notamment lors d’une conférence au Collège de France, donnée en 2012 à l’invitation de Karol Beffa, et qui a suscité un débat nourri dans les milieux artistiques.
Parmi la discographie de Jérôme Ducros, on peut citer l’œuvre pour piano et orchestre de Fauré avec l’Orchestre de Bretagne dirigé par Moshe Atzmon (Timpani, 2008) ; « Capriccio », récital avec Renaud Capuçon (Virgin Classics, 2008) ; « Opium », mélodies françaises, en compagnie de Philippe Jaroussky, Renaud et Gautier Capuçon et Emmanuel Pahud (Virgin Classics, 2009) ; l’œuvre de Beethoven pour piano et violoncelle avec Jérôme Pernoo (Ligia-Digital, 2009) ; la musique de chambre de Guillaume Connesson (Collection Pierre Bergé, 2012 – Rééd. Sony, 2017) ; « En aparté », œuvres de musique de chambre de Jérôme Ducros (Decca, 2013) ; « Green », mélodies françaises avec Philippe Jaroussky et le quatuor Ébène (Erato, 2015) ; « Intuition », pièces pour violoncelle et piano avec Gautier Capuçon (Erato, 2018) ; Rachmaninov, Miaskovsky, œuvres pour violoncelle et piano avec Bruno Philippe (Harmonia Mundi, 2019).
Né en 1974, Jérôme Ducros a étudié le piano avec François Thinat, Gérard Frémy et Cyril Huvé et suivi les masterclasses de Léon Fleisher, Gyorgy Sebök, Davitt Moroney et Christian Zacharias. Lauréat du concours International de Piano Umberto Micheli organisé par Maurizio Pollini à la Scala de Milan, il s’est produit dans de nombreuses salles à traves le monde et en soliste aux côtés d’orchestres tels que le Johannesbourg Philharmonic Orchestra, l’Orchestre National de Lyon, l’Orchestre de Chambre de Lausanne, l’Orchestre National de Lille, l’Ensemble Orchestral de Paris, l’Orchestre Français des Jeunes ou le Rotterdam Philharmonic Orchestra, avec des chefs tels que Alain Altinoglu, Paul Meyer, James Judd, Emmanuel Krivine, Marc Minkowski, Christopher Hogwood…
Susan Graham – hailed as “an artist to treasure” by the New York Times – rose to the highest echelon of international performers within just a few years of her professional debut, mastering an astonishing range of repertoire and genres along the way. Her operatic roles span four centuries, from Monteverdi’s Poppea to Sister Helen Prejean in Jake Heggie’s Dead Man Walking, which was written especially for her. A familiar face at New York’s Metropolitan Opera, she also maintains a strong international presence at such key venues as Paris’s Théâtre du Châtelet, Santa Fe Opera and the Hollywood Bowl. She won a Grammy Award for her collection of Ives songs, and has also been recognized throughout her career as one of the foremost exponents of French vocal music. Although a native of Texas, she was awarded the French government’s prestigious “Chevalier de la Légion d’Honneur,” both for her popularity as a performer in France and in honor of her commitment to French music.
This season, Graham makes her role debut as Herodias in Francisco Negrin’s production of Richard Strauss’s Salome at Houston Grand Opera and reprises her celebrated portrayal of Mrs. Patrick De Rocher, mother of the convicted murderer, in Lyric Opera of Chicago’s company premiere of Dead Man Walking. In concert, she sings Berlioz’s La mort de Cléopâtre and excerpts from Les Troyens with Donald Runnicles and the orchestra of the Deutsche Oper Berlin at the Berlin Musikfest, revisits her signature interpretation of the composer’s Les nuits d’été with the Vancouver Symphony, and headlines the Jacksonville Symphony 2020 Gala. To complete the season, she graces a “Beyond the Aria” concert in Chicago’s Millennium Park and partners with pianist Malcolm Martineau for recitals of Mahler’s Rückert-Lieder in Berkeley’s Cal Performances series and of her Schumann-inspired Frauenliebe und -leben: Variations program in Fort Worth’s Cliburn Concert Series and at New York’s Lincoln Center.
Last season, Graham joined Andris Nelsons and the Boston Symphony for Mahler’s Third Symphony at London’s BBC Proms and in Berlin, Leipzig, Vienna, Lucerne, and Paris. She made her role debut as Humperdinck’s Witch in Hansel and Gretel at LA Opera, hosted “An Evening with Susan Graham” at Dallas’s Meyerson Symphony Center, sang Canteloube’s Chants d’Auvergne with David Robertson and the Sydney Symphony, headlined the Mayshad Foundation’s season-closing gala concert in Marrakech, and returned to Carnegie Hall, first with the Orchestra of St. Luke’s and then with Alec Baldwin and Leonard Slatkin for the Manhattan School of Music’s Centennial Gala Concert. To mark the 150th anniversary of Berlioz’s death, she performed Les nuits d’été with the Houston Symphony and made her New Zealand debut in La mort de Cléopâtre with the New Zealand Symphony under Edo de Waart. Other highlights of recent seasons include starring in Trouble in Tahiti at Lyric Opera of Chicago to honor the Bernstein Centennial, making her title role debut opposite James Morris in Marc Blitzstein’s 1948 opera Regina at Opera Theatre of Saint Louis, and appearing alongside Anna Netrebko, Renée Fleming and a host of other luminaries to celebrate the Metropolitan Opera’s five decades at its Lincoln Center home.
Graham’s earliest operatic successes were in such trouser roles as Cherubino in Mozart’s Le nozze di Figaro. Her technical expertise soon brought mastery of Mozart’s more virtuosic roles, like Sesto in La clemenza di Tito, Idamante in Idomeneo and Cecilio in Lucio Silla, as well as the title roles of Handel’s Ariodante and Xerxes. She went on to triumph in two iconic Richard Strauss mezzo roles, Octavian in Der Rosenkavalier and the Composer in Ariadne auf Naxos. These brought her to prominence on all the world’s major opera stages, including the Met, Lyric Opera of Chicago, San Francisco Opera, Covent Garden, Paris Opera, La Scala, Bavarian State Opera, Vienna State Opera and the Salzburg Festival, among many others. In addition to creating the role of Sister Helen Prejean at San Francisco Opera, she starred in Washington National Opera’s recent revival of Dead Man Walking, making her triumphant role debut as the convict’s mother. She also sang the leading ladies in the Met’s world premieres of John Harbison’s The Great Gatsby and Tobias Picker’s An American Tragedy, and made her Dallas Opera debut as Tina in a new production of The Aspern Papers by Dominick Argento. As Houston Grand Opera’s Lynn Wyatt Great Artist, she starred as Prince Orlofsky in the company’s first staging of Die Fledermaus in 30 years, before heading an all-star cast as Sycorax in the Met’s Baroque pastiche The Enchanted Island and making her rapturously received musical theater debut in a new production of Rodgers & Hammerstein’s The King and I at the Théâtre du Châtelet in Paris.
It was in an early Lyon production of Berlioz’s Béatrice et Bénédict that Graham scored particular raves from the international press, and a triumph in the title role of Massenet’s Chérubin at Covent Garden sealed her operatic stardom. Further invitations to collaborate on French music were forthcoming from many of its preeminent conductors, including Sir Colin Davis, Charles Dutoit, James Levine and Seiji Ozawa. New productions of Gluck’s Iphigénie en Tauride, Berlioz’s La damnation de Faust and Massenet’s Werther were mounted for the mezzo in New York, London, Paris, Chicago, San Francisco and beyond. More recently, she made title role debuts in Offenbach’s comic masterpieces La belle Hélène and The Grand Duchess of Gerolstein at Santa Fe Opera, as well as proving herself the standout star of the Met’s star-studded revival of Les Troyens, which was broadcast live to cinema audiences worldwide in the company’s celebrated “Live in HD” series. Graham’s affinity for French repertoire has not been limited to the opera stage, also serving as the foundation for her extensive concert and recital career. Such great cantatas and symphonic song cycles as Berlioz’s La mort de Cléopâtre and Les nuits d’été, Ravel’s Shéhérazade and Chausson’s Poème de l’amour et de la mer provide opportunities for collaborations with the world’s leading orchestras, and she makes regular appearances with the New York Philharmonic, Boston Symphony, Orchestre de Paris and London Symphony Orchestra.
Graham recently expanded her distinguished discography with Nonesuch Records’ DVD/Blu-ray release of William Kentridge’s new treatment of Berg’s Lulu, which captures her celebrated role debut as Countess Geschwitz at the Met. She has also recorded all the works described above, as well as appearing on a series of lauded solo albums, including Virgins, Vixens & Viragos on the Onyx label, featuring songs and arias by composers from Purcell to Sondheim; Un frisson français, a program of French song recorded with pianist Malcolm Martineau, also for Onyx; C’est ça la vie, c’est ça l’amour!, an album of 20th-century operetta rarities on Erato; and La Belle Époque, an award-winning collection of songs by Reynaldo Hahn with pianist Roger Vignoles, from Sony Classical. Among the mezzo’s numerous honors are Musical America’s Vocalist of the Year and an Opera News Award, while Gramophone magazine has dubbed her “America’s favorite mezzo.”