
Simone Lamsma
“Simone Lamsma played splendidly, with crisp clarity and brightly radiant sound, conveying both the rhapsodic fervor and intriguing pensiveness of the music.“
The New York Times, December 2018
Hailed for her “brilliant… polished, expressive and intense” (Cleveland Plain Dealer) and “absolutely stunning” (Chicago Tribune) playing, Dutch violinist Simone Lamsma is respected by critics, peers and audiences as one of classical music’s most striking and captivating musical personalities.
With an extensive repertoire, Simone has been the guest of many of the world’s leading orchestras such as New York Philharmonic, Los Angeles Philharmonic, Chicago Symphony, London Symphony, London Philharmonic, Royal Concertgebouw, Rotterdam Philharmonic, Dutch Radio Philharmonic, Orchestre Philharmonique de Radio France, Orchestre symphonique de Montréal, Orchestra dell’Accademia Nazionale di Santa Cecilia, Konzerthausorchester Berlin, Rundfunk Sinfonieorchester Berlin, Wiener Symphoniker, Tonkünstler Orchester, Deutsche Kammerphilharmonie Bremen, Helsinki Philharmonic, Orchestra Sinfonica Nazionale della Rai, MDR-Sinfonieorchester, National Symphony, Detroit Symphony, Pittsburgh Symphony, Dallas Symphony, Oslo Philharmonic, Stavanger Symphony, Iceland Symphony, Antwerp Symphony, Finnish Radio Symphony, Les Siécles, Orchestre Philharmonique du Luxembourg, Belgian National, Beethoven Orchester Bonn, hr-Sinfonieorchester, Cincinnati Symphony, Yomiuri Nippon Symphony, Seoul Philharmonic, San Francisco Symphony, Hong Kong Philharmonic, Royal Stockholm Philharmonic, City of Birmingham Symphony, BBC Philharmonic, BBC Symphony, The Hallé, Melbourne Symphony, and Sydney Symphony.
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Simone performs with eminent conductors such as Jaap van Zweden, Antonio Pappano, Paavo Järvi, Gianandrea Noseda, Tarmo Peltokoski, Yannick Nézet-Séguin, Vladimir Jurowski, Rafael Payare, Louis Langrée, Gustavo Gimeno, Karina Canellakis, Jonathon Heyward, Stanislav Kochanovsky, Kazuki Yamada, Marc Albrecht, Stéphane Denève, Vassily Petrenko, Domingo Hindoyan, Michael Francis, Simone Young, François-Xavier Roth, Olari Elts, Fabien Gabel, Duncan Ward, Juraj Valcuha, John Storgards, Omer Meir-Wellber, Edward Gardner, Kent Nagano, Jukka-Pekka Saraste, James Gaffigan, Sir Mark Elder, Daniel Raiskin, Edo de Waart, Andris Poga, Jun Märkl, Kevin John Edusei, Markus Stenz, Antony Hermus, Jaime Martin, Case Scaglione, Alexander Shelley, Jader Bignamini, Mark Wigglesworth, Asher Fisch and Petr Popelka.
In the 2025/26 season, Simone will return, among several engagements, to the Orchestre Symphonique de Montréal with Rafael Payare, Seoul Philharmonic with Jaap van Zweden, Rotterdam Philharmonic with Tarmo Peltokoski, Sydney Symphony with Simone Young, RAI Symphony with Alpesh Chauhan, Baltimore Symphony with Jonathon Heyward, Antwerp Symphony at the Enescu Festival with Emmanuel Tjeknavorian, BBC Philharmonic with John Storgards, Liverpool Philharmonic with Domingo Hindoyan and debut with Singapore Symphony under Hannu Lintu, Seattle Symphony Orchestra under Sunny Xia and Orchestra della Svizzera Italiana under Pierre Bleuse. She will also play recitals with pianist Jonathan Fournel at the Concertgebouw Amsterdam, Wigmore Hall and Heidelberger Frühling Festival. In 2025 Simone premiered a work by leading Dutch composer Joey Roukens at the Tivoli Vredenbrug Utrecht and a piece by Danish composer Thomas Agerfeldt Olesen co-commissioned by the Danish National Symphony and Vancouver Symphony Orchestras.
In 2022 her most recent recording was released to great acclaim, featuring late works by Rautavaara, including a world première, with the Malmö Symphony and Robert Trevino for the Ondine label. Other recordings include Shostakovich’s first Violin Concerto and Gubaidulina’s In Tempus praesens with the Netherlands Radio Philharmonic under James Gaffigan and Reinbert de Leeuw on Challenge Classics, and a recital album of works by Mendelssohn, Janáček and Schumann with pianist Robert Kulek, also on Challenge Classics.
In 2019, Simone was made a Fellow of the Royal Academy of Music in London, an honour limited to 300 former Academy students, and awarded to those musicians who have distinguished themselves within the profession.
Simone Lamsma plays the 1703 ‘Aurora ex-Foulis’ Stradivarius, on generous loan to her by a benefactor.
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Season Highlights
Teatro San Carlo Naples
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LUDWIG VAN BEETHOVEN: Concerto for Violin in D major, Op. 61
Casino Bern, Großer Saal
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ERICH WOLFGANG KORNGOLD: Concerto for Violin in D major, Op.35
DR-Byen
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Stavanger Konserthus
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BENJAMIN BRITTEN: Concerto for Violin, Op. 15
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Vancouver Symphony Orchestra
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Melbourne Symphony Orchestra
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“Lamsma, who previously played Korngold’s violin concerto with the orchestra last November, proved herself more than a match for Shostakovich’s strenuous and symphonic creation…”
“An encore from Lamsma – the Largo from Bach’s Sonata for Solo Violin in C, BWV1005, hypnotic and a moment of stillness much needed after the Shostakovich. Perfectly chosen; and perfectly executed, with the loveliest purity of tone and line…”
The Canzonetta opened to the gentlest of entries, the first horn softly supportive in the background and a gurgling clarinet conjuring up the heat haze of a summer’s day. It was her effortless capacity for allowing the violin to speak, with all the time in the world, as she had already done in the first movement cadenza, which most impressed here. There was plenty of pedal to the metal in the Finale, where Noseda perfectly matched the flexibility of Lamsma’s tempi, the sparkle of the LSO textures allied to the soloist’s scintillating playing. But there was another quality here which I have rarely encountered elsewhere: an impishness and delight in unabashed playfulness, most evident in the little extra touches of rubato and delicious slides…..”
“Essentially an all-Russian affair, this was an exemplary performance from Lamsma, Noseda and the LSO
…Lamsma is a highly-regarded artist, having garnered excellent notices from her performances with some of the most high-ranking orchestras across the globe, and on the evidence of this coruscating interpretation of Tchaikovsky’s homage to the violin it is not hard to see why.
Overflowing with exuberance, Lamsma stamped her personality across the whole score. The extended first movement, which in lesser hands can often meander due to its lack of contrasts, here held the listener spellbound. Warmth, vitality, and energy suffused her playing, which even at times dared to exude a sultry feel. The first movement’s cadenza not only highlighted her faultless technique, but her superb interpretative qualities as well – and despite producing virtuosic fireworks, none of her playing was showy or ostentatious – it all stemmed from the natural ebb and flow of the piece.
There was an unhurried, almost elegiac feel to the second movement’s Canzonetta, its melancholic theme faultlessly traced by Lamsma, mirrored superbly by the London Symphony Orchestra’s attentive woodwind section. Indeed it is rare that both the soloist and orchestra inexorably breathe as one, yet this musical chemistry was evident between both throughout. Lamsma was playful, skittish almost, in the vivacious third movement, setting the seal on an exemplary interpretation.”
“It is a long time since I have heard such a confident statement of personality in this work and such an unashamed tribute to the Romantic spirit. The magic was there from the start, her smoky, smouldering tone drawing the listener in, robust and earthy in the lowest register, a strong and passionate sound where it mattered but equally capable of the tenderest whispers above the stave. You sensed the lungs slowly opening to the maximum extent, the diaphragm tightening and flattening to absorb all the ambient oxygen, Lamsma’s powerful bowing arm extracting every tonal shading and dynamic variation.
The Canzonetta opened to the gentlest of entries, the first horn softly supportive in the background and a gurgling clarinet conjuring up the heat haze of a summer’s day. It was her effortless capacity for allowing the violin to speak, with all the time in the world, as she had already done in the first movement cadenza, which most impressed here. There was plenty of pedal to the metal in the Finale, where Noseda perfectly matched the flexibility of Lamsma’s tempi, the sparkle of the LSO textures allied to the soloist’s scintillating playing. But there was another quality here which I have rarely encountered elsewhere: an impishness and delight in unabashed playfulness, most evident in the little extra touches of rubato and delicious slides…”
[…]Simone Lamsma delivered with gusto…
…..Lamsma took on the challenge with a bright timbre, almost brassy against the percussion. Controlled but ardent, exuberant but vexed, she triumphed over its physical hurdles and demonstrated an innate understanding of the historical complexities undergirding the work…