Alena Baeva
Teodora Masi
Elise Jennings
Paul Littlewood
Artist-in-Residence: Bournemouth Symphony Orchestra
Described as “a magnetic presence” and “a constantly fascinating sound technician” (New York Classical Review), violinist Alena Baeva is considered one of the most exciting, versatile, and captivating soloists active on the world stage today, working with leading conductors including Gustavo Gimeno, Paavo Järvi, Marek Janowski, Vladimir Jurowski, Tomáš Netopil and Riccardo Minasi.
Possessing a passionate musical curiosity, Baeva holds an already vast and rapidly expanding active repertoire, including over fifty violin concerti. She is a champion of lesser-known works alongside the more mainstream violin literature, with recent performances promoting such composers as Bacewicz, Karaev, Karłowicz, and Silvestrov.
Baeva’s career as an international soloist of the highest renown has grown at an extraordinary pace over recent seasons, performing with orchestras including New York Philharmonic Orchestra, Hong Kong Philharmonic Orchestra, NHK Symphony Orchestra, Tonhalle-Orchester Zürich, London Philharmonic Orchestra, Die Deutsche Kammerphilharmonie Bremen, Gürzenich-Orchester Köln and Göteborgs Symfoniker. She enjoys a long-standing and rewarding relationship with the Orchestra of the XVIII Century, performing and recording a variety of repertoire on period instruments.
See more
Chamber music holds a particularly special place in her musical life, where she enjoys collaborations with such esteemed artists as Yuri Bashmet, Daishin Kashimoto, Misha Maisky, Jean-Guihen Queyras, and the Belcea Quartet. Her regular sonata partner is the celebrated Ukrainian pianist Vadym Kholodenko, with whom she has had a dedicated musical partnership for more than a decade.
Baeva records exclusively for leading label Alpha Classics, and the first project of her multi-disc deal with the label Fantasy with Vaydm Kholodenko was released in February 2024. Baeva’s wider discography is extensive and reflects the impressive breadth of her repertoire. Recordings include Wieniawski Violin Concerto No.2 (with Orchestra of the XVIII Century, 2021); the Karłowicz Violin Concerto (with Royal Philharmonic Orchestra, 2018); and the Schumann Violin Concerto and original (1844) version of the Mendelssohn Violin Concerto (for Melodiya Records, 2020).
Born in Kyrgyzstan with Slavic-Tatar ancestry, Baeva took her first violin lessons at the age of five under renowned pedagogue Olga Danilova in Kazakhstan before studying with Professor Eduard Grach in Russia. She also took lessons with Mstislav Rostropovich, Boris Garlitsky, and Shlomo Mintz, and took part in the Seiji Ozawa International Academy Switzerland, focused on string quartet repertoire. Naturalised Luxembourgish, Alena Baeva has resided in Luxembourg since 2010.
Alena Baeva plays on the “ex-William Kroll” Guarneri del Gesù of 1738 – on a generous loan from an anonymous patron, with the kind assistance of J&A Beares.
HarrisonParrott represents Alena Baeva for worldwide general management.
Gallery
“Baeva was in total command, bringing refinement to the score’s jagged edges and playing with poise and heartfelt expression. There was bravura and mystery too, with an alertness to the composer’s waltz-like gestures.“
“[…] in this captivating account Baeva showcased technical prowess and expressive phrasing, whilst also projecting a sweetness of tone that soared over the formidably complex orchestral writing.“
“Britten’s Violin Concerto followed, marking the New York Philharmonic debut of Alena Baeva. Immediately her sweetness of tone captured the ear and she proved herself to be an artist possessing both elegance and power. She addressed Britten’s virtuosic runs, double-stops, up-bow spiccato and all manner of technical challenges with precision and flair. Even in the most technically daunting moments, Baeva was completely in control of sound production, tone colour and phrasing, skilfully navigating Britten’s challenges with playing full of purpose and character. The way she pulled sound out of the violin was utterly captivating, and throughout the work, her poise and precision carried through. A standing ovation from many.”
“Presented in different tones in each piece of this unexpected programme, the notion of ‘fantasy’ seems as limitless as the art of the violinist who performs it. Franz Schubert’s kaleidoscopic opus 159 provides a primer of exceptional quality: Alena Baeva makes the melody emerge from a translucent horizon like a mirage which will gradually take shape. The understanding between Baeva and Kholodenko is such that we have the impression that, even when silent, the violin continues to express itself in the piano playing. The duo subsequently multiplies their tightrope walking feats: the bewitching virtuosity of Igor Stravinsky and the whispered dreaminess of Robert Schumann prepare the ground for the mystical exaltation of Olivier Messiaen.”
“Alena Baeva, making her New York Philharmonic debut, played with assertive beauty and vibrato so quick, at times, that it seemed to disappear. With her understated legato and handsomely voiced harmonies, she made things sound easy. In guttural passages, she indicated Britten’s intentions without compromising her ability to return to lyricism.”
“A mesmerizing performance by violinist Alena Baeva and spectacular playing from the New York Philharmonic Orchestra.”
“Mesmerizing performance by violinist Alena Baeva and spectacular playing from the New York Philharmonic Orchestra.”
“Transfixing playing from Baeva, rendered with searing intensity and purity of tone.”
“Baeva’s performance under the direction of Minasi, which created a revolutionary new Beethoven sound with dynamic contrasts and a wonderfully free choice of tempo, was a great moment for Ensemble Resonanz.”
“Alena Baeva does everything, using the freedom in the tempo that Minasi gives her and throwing herself into the contrasts that he demands. The spectrum of her playing ranges from angular fortissimo to the most heartfelt singing. At some points it was as if she were playing just for herself: wonderfully quiet and tender.”
“Violinist Alena Baeva sparked storms of enthusiasm in Hamburg’s Elbphilharmonie: a breath-taking performance. Baeva is completely absorbed in her art but does not lose herself in self-expression, instead constantly maintaining dialogue with the orchestra. A brilliant soloist: you are almost afraid that the violin will catch fire! A fantastic performance that will not be forgotten.”
“You cannot fault Alena Baeva in her formidable interpretation of Shostakovich’s Violin Concerto No.2: dazzling technique, and appropriate colours for the composer, whose sound world demands a certain roughness in some passages and cadences.”
“There are soloists who distance themselves from this somber work, but Alena Baeva’s attitude towards Shostakovich’s Violin Concerto No.2 was so vital, dedicated, and warm that it maintained all its purity and all its expressiveness.”
“The opportunity to listen to a work such as Shostakovich’s Violin Concerto No.2 is always an important occasion and, from the first moment, it was clear that Alena Baeva was without question the correct choice of soloist. She has a powerful sound and a suitably dark tonality, and demonstrated a warm phrasing that gave superb results as a whole.”
“Special mention should be made of the great violinist Alena Baeva, who was faced with a work in which technical mastery must be combined with character and sensitivity. Baeva brought dazzling sparks to this individual work, imbuing every note with clarity and individual meaning.”
“In the hands of an artist like Baeva, apparently anything sounds interesting. Her playing is mesmerising…”
“Baeva charms – sensual and lyrical…. Her technique and tone polish every note and send it out to the audience like a lustrous gem. She possesses awe-inspiring technique, and a tone that is soaring and entrancing.”
“Thoroughly captivating … a showcase of commanding technique, brilliant clarity, and jam-packed with heart and soul.”
“The sheer musical brilliance of Alena Baeva’s collaboration with the Orchestra of the 18th Century makes their performance essential listening.”
“Utterly ravishing and full of melody, Alena Baeva immediately impressed with her tone. I can see why Järvi (among others) is a keen champion of her skills and musicianship – we shall certainly see and hear a lot more of this excellent young artist. Baeva had made her mark with great aplomb.”
Baeva brings sweetness of tone, flowing hauntingly before taking off with exciting virtuosity.
“Alena Baeva is a violinist of proven musicality and impeccable intonation…. In the cadenza [of the Britten Violin Concerto], she created one of the most attractive moments in concert history. In a work full of connections, Baeva gave an entire articulatory lesson: you could not help but get carried away…”
“Exuberant – Alena Baeva’s interpretation is impassioned and passionate, inexorably leading to a standing ovation from the audience of the RAI Auditorium. She reveals her personal imprint through an ever brilliant and light sound, accompanied by an enviable variety in vibrato and impeccable technical mastery.”
“The musical empathy between Baeva & Jurowski was evident, not just in tempos and moment-to-moment detail, but in the very character of the piece. There were muscularity and thrilling virtuosity aplenty, but there was also gentle, intimate playing, drawing the audience into passages with the emotional complexity of chamber music. […] In the second movement, Baeva became a delicate, distant voice, poetic and captivating. In the Finale she let rip – swaggering, heroic, and full of personality.”
“Fine technique and imaginative phrasing…. In the Canzonetta, her beautiful violin tone and her lovely shaping of Tchaikovsky’s song-like melodies marked her out as an outstanding player, and her account of the Finale was not only strikingly virtuosic but had a compelling quality of joyous abandon.”
