Patricia Kopatchinskaja
Violin

“As an interpreter I am most interested in communicating the meaning and inner workings of the music. Curiosity drives me to explore many different musical frontiers.” 
- Patricia Kopatchinskaja

Contacts

Jasper Parrott +44 (0)20 7229 9166
Ariane Levy-Künstler +44 (0)20 3725 9138
Amy Louden +44 (0)20 3725 9101

Biography

Artistic Partner: The Saint Paul Chamber Orchestra

 

Violinist Patricia Kopatchinskaja's versatility shows itself in her diverse repertoire, ranging from baroque and classical often played on gut strings, to new commissions and re-interpretations of modern masterworks.

Highlights of the 2015/16 season include a residency at the Laeiszhalle in Hamburg, performances with the Houston and Seattle Symphony Orchestras and several collaborations with Teodor Currentzis, both with Musica Aeterna - with whom she appeared at Bremen Festspiele and toured across Europe - and with SWR Sinfonieorchester Freiburg und Baden-Baden. Kopatchinskaja also tours with Camerata Salzburg under Langrée, with Chamber Orchestra of Europe and collaborates with Vladimir Jurowski and his State Academic Symphony Orchestra in Moscow. 

In London, Kopatchinskaja appears once again with the London Philharmonic Orchestra under Jurowski and is the central figure of the ‘Marin, Madness and Music’ weekend at the Southbank Centre - where she performs Schumann’s Violin Concerto with the Orchestra of the Age of Enlightment under the baton of Marin Alsop, Kurtág’s Kafka’s Fragments with Anu Komsi and chamber works by Ustvolskaja.

Artistic Partner: The Saint Paul Chamber Orchestra

 

Violinist Patricia Kopatchinskaja's versatility shows itself in her diverse repertoire, ranging from baroque and classical often played on gut strings, to new commissions and re-interpretations of modern masterworks.

Highlights of the 2015/16 season include a residency at the Laeiszhalle in Hamburg, performances with the Houston and Seattle Symphony Orchestras and several collaborations with Teodor Currentzis, both with Musica Aeterna - with whom she appeared at Bremen Festspiele and toured across Europe - and with SWR Sinfonieorchester Freiburg und Baden-Baden. Kopatchinskaja also tours with Camerata Salzburg under Langrée, with Chamber Orchestra of Europe and collaborates with Vladimir Jurowski and his State Academic Symphony Orchestra in Moscow. 

In London, Kopatchinskaja appears once again with the London Philharmonic Orchestra under Jurowski and is the central figure of the ‘Marin, Madness and Music’ weekend at the Southbank Centre - where she performs Schumann’s Violin Concerto with the Orchestra of the Age of Enlightment under the baton of Marin Alsop, Kurtág’s Kafka’s Fragments with Anu Komsi and chamber works by Ustvolskaja.

Kopatchinskaja performs a number of new commission premieres this season including Mark Anthony Turnage’s Dialogue for Violin and Cello with Sol Gabetta; Mauricio Sotelo’s new composition Red Inner Light Sculpture for string orchestra, flamenco dancer and percussion with The Saint Paul Chamber Orchestra, and a new concerto by Michael Hersch.

Last season’s highlights included her debut with the Berliner Philharmoniker performing Peter EötvösDoReMi under the baton of the composer himself. She also performed at the closing concerts of Lincoln Center’s Mostly Mozart Festival, appeared with the London Philharmonic Orchestra at the Edinburgh International and Santander festivals and toured Switzerland with the Royal Stockholm Philharmonic Orchestra under Sakari Oramo.

Chamber music is immensely important to Kopatchinskaja and she performs regularly with artists such as Markus Hinterhäuser, Polina Leschenko and Anthony Romaniuk, appearing at such venues as the Berlin Konzerthaus, London’s Wigmore Hall, Vienna Konzerthaus, Concertgebouw Amsterdam and Bern’s Kultur Casino. Kopatchinskaja is also an Artistic Partner with The Saint Paul Chamber Orchestra and performances with the ensemble regularly, both in Saint Paul and on tour internationally.

A prolific recording artist, the 2015/16 season sees a number of major releases; a CD of Kancheli’s music with Gidon Kremer and the Kremerata Baltica, a disc of duos entitled TAKE TWO on Alpha Classics, a recording of Schumann’s Violin Concerto and Fantasy with WDR Sinfonieorchester Köln under Heinz Holliger for Audite, and Tchaikovsky’s Violin Concerto with Teodor Currentzis and Musica Aeterna on the Sony label. Her release for Naïve Classique featuring concerti by Bartók, Ligeti and Peter Eötvös won Gramophone’s Recording of the Year Award in 2013, an ECHO Klassik Award and a 2014 Grammy nomination.

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Contacts

Jasper Parrott +44 (0)20 7229 9166
Ariane Levy-Künstler +44 (0)20 3725 9138
Amy Louden +44 (0)20 3725 9101

Reviews

“Patricia Kopatchinskaja shows her astonishing artistry on 'Take Two' and 'Chiaroscuro ... Her body and her instrument and the music she makes all seem one. She is ever thrilling alive to the moment ... I don't have to think twice about making my recording of the year." (Mark Swed, Los Angeles Times, November 2015)

“Patricia Kopatchinskaja excels in Thomas Larcher's extraordinary violin concerto; she brings a fiery originality to everything she plays.” ***** (Michael Church, The Independent, October 2015)

“What is beyond argument is her fierce, questing intelligence, allied to a virtuosity that lets her turn her instrument into a thousand different characters in a drama to which only she has the script.” (Richard Morrison, The Times, March 2014)

“Kopatchinskaja’s inimitable range of tonal colours and dynamics came to the fore.” (George Hall, The Guardian, March 2014)

“Patricia Kopatchinskaja shows her astonishing artistry on 'Take Two' and 'Chiaroscuro ... Her body and her instrument and the music she makes all seem one. She is ever thrilling alive to the moment ... I don't have to think twice about making my recording of the year." (Mark Swed, Los Angeles Times, November 2015)

“Patricia Kopatchinskaja excels in Thomas Larcher's extraordinary violin concerto; she brings a fiery originality to everything she plays.” ***** (Michael Church, The Independent, October 2015)

“What is beyond argument is her fierce, questing intelligence, allied to a virtuosity that lets her turn her instrument into a thousand different characters in a drama to which only she has the script.” (Richard Morrison, The Times, March 2014)

“Kopatchinskaja’s inimitable range of tonal colours and dynamics came to the fore.” (George Hall, The Guardian, March 2014)

“Kopatchinskaja's outer movements are full of sharp wit and glitter….. The closing minutes of the Finale are spectacular, each gear change accomplished with devilish glee.” (Graham Rickson, theartsdesk.com, November 2013)

"This is a violinist with something more important to offer than dazzling technique. It’s called character." (Geoff Brown, The Times, October 2013)

“Kopatchinskaja's talent is formidable, her energy boundless, and she infuses the musicians around her with the power of musical possibilities. Like a lithe sapling on stage, she draws musical energy as a tree draws nutrients and translates this deep power through supple movement and expressive bowing into unforgettable shared experiences.” (Canberra Times, July 2013)

“Kopatchinskaja is certainly a performer who puts the fun back into music making.” (Steve Moffatt, The (Australian) Telegraph, July 2013)

“The symphony was preceded by an irresistible performance of Prokofiev’s Second Violin Concerto. The young, bare-footed, tousle-headed Patricia Kopatchinskaja, from Moldova, made it very much her own. No high-gloss virtuosity here, but an elusive, unpredictable and wonderfully imaginative performance of great sweetness and great strength.” (Hilary Finch, The Times, May 2013)

“There are so many young violinists making waves today, but no-one more exciting than Patricia Kopatchinskaja…” (Leslie Wright, MusicWeb International, March 2013)

“In everything I’ve heard her play Patricia Kopatchinskaja marries consummate technical brilliance and an amazing aural imagination with a capacity to bring completely new interpretative perspectives to some very familiar music.” (Erik Levi, BBC Music Magazine, February 2013)

“Despite the huge technical challenges thrown at her, Patricia Kopatchinskaja plays with a deep and selfless understanding of each score.” (The Sunday Times, January 2013)

"In the culminating cadenza - which Ligeti asked the soloist to devise - Kopatchinskaja’s violin comes close to disintegrating under the force of her spectacular display". (Arnold Whittall, Gramophone, December 2012)

The notes seem to tumble from the young Moldavian - for some time now an additional star in the violinist sky - like coloured garlands. Her playing is quasi weightless, even if the piece is as complex as Bartóks second violin concerto. (Frankfurter Neue Presse, July 2012)

"It quickly becomes clear that for Kopatchinskaja only one thing is of importance: music. She devotes herself to Tchaikovsky’s violin concerto with an unrestrained performance at the verge of obsession. If she does not play herself, she sings and swings with the music. But when she plays she seems to merge with her instrument." (Südkurier, April 2012)

The Moldovan violinist Patricia Kopatchinskaja is endowed with an explosive technique. She can reach every possible colour of tone and conjure captivatingly beautiful cantilenas. (Deister und Weserzeitung, March 2012)

"The 34-year-old Moldavian's interpretation Beethoven's Violin Concerto was so incredibly outrageous, so lively and so original that one could only marvel. It was one of the most exciting performances of Beethoven's Solitaire, one has ever heard in the concert hall.” (Ruhr Nachrichten, May 2011)

"Gifted Moldovan violinist Patricia Kopatchinskaja has slimmed her tone to a fragile finesse…the freshness of this interpretation is exhilarating." (Geoff Brown, The Times, November 2009)

Patricia Kopatchinskaja's warmly recorded account of the Beethoven Violin Concerto must be one of the most stimulating and provocative that has ever been committed to disc.  Studying the composer's autograph has inspired her to provide a radically different interpretation of the work to the one with which most people will be familiar. (BBC Music Magazine, December 2009)