Winner of the 2005 Sibelius Competition, Alina Pogostkina’s recent concert tours have seen her perform at some of the world’s most renowned festivals and venues.
Praised for her “deeply moving” performances (Hamburger Abendblatt), Alina Pogostkina, winner of the 2005 Sibelius Competition in Helsinki, performs at many of the world’s most renowned festivals and concert venues. She has collaborated with conductors such as Vladimir Ashkenazy, Gustavo Dudamel, David Zinman, Jonathan Nott, Paavo Järvi, Michael Sanderling, David Afkham, Robin Ticciati, Thomas Hengelbrock and John Storgårds.
Highlights of this season include debuts with L’Orchestra dell’Accademia Nazionale di Santa Cecilia and Mikko Franck, Rundfunk-Sinfonieorchester Berlin and Osmo Vänskä and Budapest Festival Orchestra with Marin Alsop. Alina Pogostkina will open the BBC Symphony Orchestra concerts season at the Barbican Centre performing Berg’s violin concerto under the baton of Sakari Oramo. She will return to RTÉ National Symphony Orchestra with Clemens Schuldt and the Royal Stockhom Philharmonic Orchestra with Karl-Heinz Steffens.
Alina Pogostkina performs at festivals such as Schleswig-Holstein, Mecklenburg-Vorpommern and Bergen, Salzburger Festspiele, Edinburgh International Festival, Grafenegg Festival, Istanbul Music Festival, Rheingau Musik Festival and Easter Festival Aix-en-Provence.
Following studies of the baroque violin with Reinhard Goebel at Mozarteum Salzburg, Alina Pogostkina displays impressive versatility in diverse and wide-ranging repertoire from baroque and classical, often played on gut strings, to the modern masterworks.
Alina Pogotskina- Sibelius: Concerto for Violin in D (excerpt), Budapest Festival Orchestra, Marin Alsop, October, 2017, Müpa B
“The most delicate, exquisite account I think I’ve heard of Beethoven’s Violin Concerto…heart-stopping in its beauty.”
“Alina Pogostkina impressed with her huge, vibrant sound, created a magical atmosphere in the second movement of Korngold’s violin concerto, with its dreamlike moments reminiscent of Korngold’s sublime opera Die Tote Stadt, and positively exploded in the technical fireworks of the third movement with a stunning display of virtuosity that could only be described as electrifying.”
(San Diego Reader)
“Pogostkina is appropriately passionate but never overstates things.”