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

In 2015/16 Dalia Stasevska made highly successful debuts with Oslo Philharmonic Orchestra, Trondheim Symfoniorkester, Orchestre Philharmonique de Strasbourg and 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 and Lauri Porra.

In the 2016/17 season Dalia will appear twice with the Trondheim Symfoniorkester and other engagements include the Deutsches Symphonie-Orchester Berlin, Royal Stockholm Philharmonic and Gothenburg Symphony, Malmö Symfoniorkester, Tapiola Sinfonietta and a return to Lahti Symphony Orchestra. Further ahead sees her return to the Oslo Philharmonic Orchestra.

In 2015/16 Dalia Stasevska made highly successful debuts with Oslo Philharmonic Orchestra, Trondheim Symfoniorkester, Orchestre Philharmonique de Strasbourg and 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 and Lauri Porra.     

In the 2016/17 season Dalia will appear twice with the Trondheim Symfoniorkester and other engagements include the Deutsches Symphonie-Orchester Berlin, Royal Stockholm Philharmonic and Gothenburg Symphony, Malmö Symfoniorkester, Tapiola Sinfonietta and a return to Lahti Symphony Orchestra. Further ahead sees her return to the Oslo Philharmonic Orchestra.

A passionate opera conductor, Dalia made a triumphant debut with Finnish National Opera in the 2014/15 season conducting a new production of The Cunning Little Vixen and has been reinvited for a revival of the production in autumn 2017. Last season she made her debut with Umeå’s Norrlandsoperan with a new production of the same opera.

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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)