




Dalia Stasevska
“The star of the evening was conductor Dalia Stasevska”
(Aamulehti)
Principal Guest Conductor: BBC Symphony Orchestra
Dalia Stasevska is one of the most stratospherically ascendant musicians in classical music today. She has established herself as a commanding musical voice, a boundary-pushing innovator, and a fearless activist and advocate for change. She holds the post of the Principal Guest Conductor of the BBC Symphony Orchestra.
The 2025/26 season features concerts with the New York Philharmonic, The Cleveland Orchestra, Rotterdam Philharmonic, Munich Philharmonic as well as the Toronto Symphony Orchestra, Pittsburgh Symphony Orchestra, Mozarteum Orchestra Salzburg, and the Vienna Symphony at the Bregenz Festival. She will also lead the Philadelphia Orchestra for two weeks with soloists Augustin Hadelich, Yo-Yo Ma, and Carol Jantsch. Further highlights include two periods with the Deutsches-Sinfonieorchester Berlin, Frankfurt Radio Symphony Orchestra, Orchestre National de France, Czech Philharmonic, Helsinki Philharmonic, Oslo Philharmonic, as well as the Netherlands Radio Philharmonic orchestra.
Her recent orchestral engagements have spanned a distinguished array of ensembles, including performances with the Boston Symphony Orchestra at the Tangelwood Festival, Los Angeles Philharmonic, San Francisco Symphony, Orchestre symphonique de Montréal, Royal Stockholm Philharmonic, Finnish Radio Symphony Orchestra, Dresdner Philharmonie, and Orchestre de Paris. She has also made notable debuts with the Berlin Philharmonic, the Orchestra, Choir, and Children’s Voices of the Accademia Nazionale di Santa Cecilia, and the New World Symphony, among others. In the summer of 2025, Dalia conducted twice at the BBC Proms — leading both the National Youth Orchestra of Great Britain and the BBC Symphony Orchestra.
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A passionate opera conductor, this season Dalia debuts at the Los Angeles Opera withPhilipp Glass’s Akhnaten directed by Phelim McDermott, and with Deutsche Oper Berlin with Britten’s Midsummer Night’s Dream directed by Ted Huffman. 2023 saw Dalia’s highly successful debut at the Glyndebourne Opera Festival with a revival of the iconic Peter Halls production of Britten’s A Midsummer Night’s Dream. In previous seasons, she returned to Finnish National Opera and Ballet to conduct a double bill of Poulenc’s La voix humane and Weill’s Songs with Karita Mattila, and to Norske Opera to conduct Madama Butterfly and Lucia di Lammermoor.
Dalia’s acclaimed recordings include her solo debut album with the BBC Symphony Orchestra entitled Dalia’s Mixtape on Platoon, which features the work of 10 contemporary composers, including Judith Weir, Anna Meredith, Caroline Shaw, and several others, capturing some of the freshest sounds in contemporary music. Nominated for a Gramophone Award in the Contemporary category, the album was released track by track over the course of several months, breaking with traditional album release strategy and offering a new approach for the digital age. She was also featured on Thomas de Hartmann Rediscovered, a collaborative album with violinist Joshua Bell, INSO-Lviv Symphony Orchestra, Matt Haimovitz, MDR Leipzig Radio Symphony Orchestra, and Dennis Russell Davies, released on Pentatone, which combines the glowing, cinematic Violin and Cello Concertos of Ukrainian composer de Hartmann, an important compositional voice in his own time. Dalia’s 2023 BIS releases include piano concerti by Rautavaara and Martinů with pianist Olli Mustonen, and Helvi Leiviskä Orchestral Works Vol. 1, hailed by The New York Times as “remarkable” with the paper proclaiming, “Dalia Stasevska and the Lahti Symphony give everything their all.”
Dalia originally studied as a violinist and composer at the Tampere Conservatoire and, subsequently, violin, viola and conducting at the Sibelius Academy. As a conductor, her teachers include Jorma Panula and Leif Segerstam. Dalia was named the “European of the Year” in 2025 by the board of European Movement Finland. The award was presented to her alongside her brothers, documentary filmmaker-cellist Lukas Stasevskij, and journalist-pianist Justas Stasevskij. Dalia and her siblings were recognized for their actions in promoting European values, international cooperation, and democracy. In April 2024, she was featured on the cover of the Gramophone magazine, and in December of 2023, Dalia was named one of The New York Times’ “Breakout Stars of 2023”. She was also granted BBC Music Magazine’s ‘Personality of the Year’ Award in 2023, the 2022 Alfred Kordelin Prize winner, the 2020 recipient of the Royal Philharmonic Society’s Conductor Award, and had the honour of conducting the Royal Stockholm Philharmonic Orchestra at the Nobel Prize Ceremony in Stockholm 2018.
Dalia was bestowed the Order of Princess Olga of the III degree by President Volodymyr Zelenskyy in October 2021 for her significant personal contribution to the development of international cooperation, strengthening the prestige of Ukraine internationally and popularisation of its historical and cultural heritage. Since February 2022, Dalia has been outspoken in her support of Ukraine, speaking about it publicly while also personally delivering aid to the front lines and conducting concerts in Ukraine.
Contacts
Katie Cardell-Oliver Director, Artist Management Jane Brown Senior Director, Co-Head of Artist Management
General Management
Jane Brown Senior Director, Co-Head of Artist Management
General Management
Season Highlights
New World Symphony
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JEAN SIBELIUS: In Memoriam Op. 59
JEAN SIBELIUS: Canzonetta, Op. 62a
JEAN SIBELIUS: The Dryad, Op. 45
JEAN SIBELIUS: Night Ride and Sunrise, Op. 55
JEAN SIBELIUS: Symphony No. 4 in A minor, Op. 63
Houston Symphony
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JOHN ADAMS: Short Ride in a Fast Machine
IGOR STRAVINSKY: Concerto for Violin in D
JEAN SIBELIUS: Symphony No. 5 in E-flat major, Op. 82
Seattle Symphony Orchestra
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ALBERTO GINASTERA: Four Dances from Estancia, Op. 8A, 4. Danza Final (Malambo)
SERGEI PROKOFIEV: Concerto for Violin No. 1 in D major, Op. 19
SILVESTRE REVUELTAS: La Noche de los Mayas
The Philadelphia Orchestra
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MAURICE RAVEL: Pavane pour une infante défunte
WOLFGANG AMADEUS MOZART: Concerto for Piano No. 17 in G major, K453
WITOLD LUTOSŁAWSKI: Symphony No. 4
MAURICE RAVEL: La valse, poème chorégraphique pour orchestre
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San Francisco Symphony
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RALPH VAUGHAN WILLIAMS: Fantasia on a theme by Thomas Tallis
ANNA THORVALDSDOTTIR: Before we fall
JEAN SIBELIUS: Symphony No. 5 in E-flat major, Op. 82
Lahti Symphony Orchestra
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GIUSEPPE VERDI: Messa da Requiem
Marjukka Tepponen, soprano
Tuija Knihtilä, altto
Peter Lodahl, tenor
Matti Turunen, bass
TAMPERE OPERA CHOIR
Bamberger Symphoniker
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MAURICE RAVEL: Pavane pour une infante défunte
LUDWIG VAN BEETHOVEN: Concerto for Violin in D major, Op. 61
JEAN SIBELIUS: Symphony No. 5 in E-flat major, Op. 82
JEAN SIBELIUS: Valse Triste
Los Angeles Philharmonic
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ALBERTO GINASTERA: Four Dances from Estancia, Op. 8A, 4. Danza Final (Malambo)
GEORGE GERSHWIN: Rhapsody in Blue
ANTONIN DVORAK: Symphony No. 9 in E minor, Op. 95 (From the New World)
“Dalia Stasevska brought fire and elan to the action, taking the players from spun-glass delicacy to vigorous bellicosity … was in every sense the concert’s star, amplifying the sense of bravery and defiance that made it a memorable first night.”
“The evening’s engaged and outgoing programming reflected her press-on musical personality … her defiance in the choice of works and the performances was hard to miss, and the impact unerring.”
“Stasevska’s Sibelian credentials are impeccable. From the brass snarls at the beginning, Stasevska led a fierce, defiant account, until the entry of the chorus in the noble central hymn. The BBC SO played out of their skins for Stasevska, her dramatic gestures firing up the explosive timpani and whistling piccolo in the opening tempest.”
“One of the liveliest characterisations came from the pit, where Dalia Stasevska conducted the London Philharmonic Orchestra in a terrific account of Britten’s brilliant score, vividly conjuring up all the danger lurking in the woods, harp and percussion providing shards of moonlight.”
“Dalia Stasevska conducts Britten’s filigree score with bold colours and tougher accents than many, giving this revival its own self- confident air.”
“…Her skill and style on the podium, which make her one of the most intriguing young conductors on the scene today. And as a programming choice, it speaks to an inventiveness from Stasevska that will hopefully be repeated with return engagements.”
“It was the kind of performance that, without trying to, had audience members roaring with applause after the first movement, then, at the end, immediately rising for a standing ovation — one of the most passionate I’ve heard at Geffen Hall this season.”
“Stasevska led a richly colored and boldly projected performance of this kaleidoscopic score.”
“With her inventive and well-conducted program, it’s no surprise that she is turning heads around the world.”
“It’s been years since I’ve seen a conductor so fabulously energised and able to galvanise players to give their all.”
“She was thrilling to watch and ignited the orchestra with sheer force of personality, making for a very exciting performance.”
“This is a conductor who can elicit the finest nuances with her precise directing, the softest moments often preceding great sweeps of her arms as she gathers in all the musicians while equally precisely bringing out one or another group.”
“Stasevska is an important talent. Throughout the program, her time-keeping was rock solid, her cues impeccable, her musical understanding and commitment to these pieces unwavering.”
“Stasevska led what might have been the finest performance this piece has ever had.”
“The best was saved until last. Dalia Stasevska, the young Finnish conductor on the podium, had until this point been content to guide things with skilful modesty. Now suddenly she came alive, shaping a performance of Sibelius’s Second Symphony that had me absolutely on the edge of my seat. The sheer urgency of the music, the way it has to struggle against its own tendency to disintegration and find a path to heroic affirmation has rarely seemed so thrilling.”
“Stasevska’s pacing was masterly – a coiled spring of a performance to push the current uncertainties of the music world from our minds.”
“Stasevska made the intensity ignite immediately. The performance was painted with a large brush, without slipping out of precision. The sound was great and full-bodied. I remember thinking earlier that Stasevska has a special ability to build extremely long phrases. This was emphasized in the interpretation of Fantasy.”
“There is peace in Stasevska’s leading. It also has the exceptional ability to take each work as it is, on its own terms. This is by no means self-evident. It is often easy to hear which work is closest to the conductor himself. Now I can’t say. Stasevska directed all the concert works as if it were just this.”
“Stasevska’s abundant talents delivered one of the best performances of Tchaikovsky’s Pathétique Symphony I’ve heard: fresh, clear, urgent, completely faithful to the score and the composer’s intent. Tempi were bracing and balletic. The 5/4 second movement glided through the hall with ballroom grace and she kept driving the impulsion forward throughout the sobbing finale, where so many conductors tend to drag their feet.”
“She has the real conductor’s gift of establishing pin-drop silence and total concentration in a hall filled with 5,000 people, and there’s a guilelessness and total sincerity in her conducting which is very winning.”
“By the end, laurels won, the packed audience hungry for more, she had the orchestra right behind her, flying triumphant. This was an auspicious Proms debut, expectant and adrenalin-charged.”
“Her international reputation is strongly growing, and after seeing her in concert it is not hard to understand why. She is bursting with musical knowledge and energy.”
“She is full of energy and conducted the chorus with power and control.”
“She’s a real find, making her UK debut with an orchestra clearly having a ball”
“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!”
“The star of the evening was conductor Dalia Stasevska. She made Finnish National Opera’s orchestra sound full with rich colours.”
“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.”
“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.”