Dalia Stasevska
Conductor

“The star of the evening was conductor Dalia Stasevska” (Aamulehti)

Contacts

Katie Cardell-Oliver +44 (0)20 3725 9149
Alexandra Aimard +44 (0)20 3725 9139

Biography

Recent engagements have included Royal Stockholm Philharmonic Orchestra, Gothenburg Symphony, Deutsches Symphonie-Orchester Berlin and, last Summer, Dalia opened the 2016 Helsinki Festival where she conducted both the Helsinki Philharmonic and the Finnish Radio Symphony orchestras in a programme featuring two new commissions by Magnus Lindberg (Two Episodes) and Lauri Porra.

In 2017/18 Dalia will return to the Oslo Philharmonic, Gothenburg Symphony orchestra to celebrate the Finnish 100th Independence Anniversary, and will debut with Gürzenich-Orchester Köln, Swedish Radio Symphony Orchestra, BBC National Orchestra of Wales, Orchestra of Opera North and Aalborg Symphony Orchestra. She will also continue her relationship with the Trondheim Symfoniorkester. 

Recent engagements have included Royal Stockholm Philharmonic Orchestra, Gothenburg Symphony, Deutsches Symphonie-Orchester Berlin and, last Summer, Dalia opened the 2016 Helsinki Festival where she conducted both the Helsinki Philharmonic and the Finnish Radio Symphony orchestras in a programme featuring two new commissions by Magnus Lindberg (Two Episodes) and Lauri Porra.

In 2017/18 Dalia will return to the Oslo Philharmonic, Gothenburg Symphony orchestra to celebrate the Finnish 100th Independence Anniversary, and will debut with Gürzenich-Orchester Köln, Swedish Radio Symphony Orchestra, BBC National Orchestra of Wales, Orchestra of Opera North and Aalborg Symphony Orchestra. She will also continue her relationship with the Trondheim Symfoniorkester. 

A passionate opera conductor, Dalia will return to Finnish National Opera in autumn 2017 for a revival of The Cunning Little Vixen following her triumphant debut there. She will also make her debut with Norwegian Opera in spring 2018 conducting Lucia di Lammermoor directed by David Alden. In 2016/17 she conducted the Finnish National Ballet and their production of Seven Brothers by Eero Ojanen. 

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Contacts

Katie Cardell-Oliver +44 (0)20 3725 9149
Alexandra Aimard +44 (0)20 3725 9139

Reviews

“Stasevska knows how to shout and to whisper. [...] From the very beginning it was clear that her approach never sees classical music as a 'charming entertainment'. Instead she comes across as a fully mature artist whose interpretations have real power and vision. She conducts with immense intensity and control, but at the same time has understanding for small nuances. [...] Let us follow Stasevska's career very attentively and hopefully for a long time!” (Etelä-Suomen Sanomat, 2015)

“The star of the evening was conductor Dalia Stasevska. She made Finnish National Opera's orchestra sound full with rich colours.” (Aamulehti, 2015)

“Dalia Stasevska conducted with dedication. From the very beginning, she almost seemed to be an inseparable part of Janáček's music, its freshness and naturalness.” (Etelä-Suomen Sanomat, 2015)

“Stasevska knows how to shout and to whisper. [...] From the very beginning it was clear that her approach never sees classical music as a 'charming entertainment'. Instead she comes across as a fully mature artist whose interpretations have real power and vision. She conducts with immense intensity and control, but at the same time has understanding for small nuances. [...] Let us follow Stasevska's career very attentively and hopefully for a long time!” (Etelä-Suomen Sanomat, 2015)

“The star of the evening was conductor Dalia Stasevska. She made Finnish National Opera's orchestra sound full with rich colours.” (Aamulehti, 2015)

“Dalia Stasevska conducted with dedication. From the very beginning, she almost seemed to be an inseparable part of Janáček's music, its freshness and naturalness.” (Etelä-Suomen Sanomat, 2015)

“A young, creative and energetic Dalia Stasevska created a fresh and alive, but at the same time very sensitive interpretation. Her grip to the music was rhythmic, insightful and fresh. Many details emerged from the orchestra which often remain unheard in the overall texture of other interpretations. […] From the very opening bars, the music sounded soft and sweet, the piani in the Lacrimosa were touchingly quiet, like a soft comforting touch of fingertips. She showed the same delicacy in the handling of the choir. Stasevska lets fortes ring out for a moment, only to quickly pull them back, to give space to the next one. Mozart's rich tapestry sparkled and lived like in a kaleidoscope.” (Itä-Savo, 2015)