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Nicola Benedetti is one of the most sought after violinists of her generation.  Her ability to captivate audiences with her innate musicianship and dynamic presence, coupled with her wide appeal as a high profile advocate for classical music, has made her one of the most influential classical artists of today. With concerto performances at the heart of her career, Nicola is in much demand with major orchestras and conductors across the globe. Highlights of Nicola’s 14/15 schedule include engagements with the London Symphony Orchestra, London Philharmonic, Orchestra of the Mariinsky Theatre, Verdi Orchestra Milano, Berlin Konzerthausorchester, Camerata Salzburg, Danish National Symphony Orchestra, Royal Scottish National Orchestra, Malmo Symphony, Iceland Symphony Orchestra, Orchestre Capitole du Toulouse, Toronto Symphony Orchestra, Atlanta Symphony, Pittsburgh Symphony, Simon Bolivar Orchestra and Melbourne Symphony Orchestra. This season will also see Nicola furthering her passion for music of the Italian Baroque and historical performance realised in collaborations with Andrea Marcon and WDR Cologne, Venice Baroque Orchestra and a European tour with La Cetra Barokorchester Basel. Most recently Nicola enjoyed collaborations with the New York Philharmonic, London Symphony Orchestra, Frankfurt Radio Symphony, Orchestra del Teatro La Fenice, Czech Philharmonic, European Soloists Luxembourg, Bergen Philharmonic, Beethovenorchester Bonn,

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Nicola Benedetti is one of the most sought after violinists of her generation.  Her ability to captivate audiences with her innate musicianship and dynamic presence, coupled with her wide appeal as a high profile advocate for classical music, has made her one of the most influential classical artists of today.

With concerto performances at the heart of her career, Nicola is in much demand with major orchestras and conductors across the globe. Highlights of Nicola’s 14/15 schedule include engagements with the London Symphony Orchestra, London Philharmonic, Orchestra of the Mariinsky Theatre, Verdi Orchestra Milano, Berlin Konzerthausorchester, Camerata Salzburg, Danish National Symphony Orchestra, Royal Scottish National Orchestra, Malmo Symphony, Iceland Symphony Orchestra, Orchestre Capitole du Toulouse, Toronto Symphony Orchestra, Atlanta Symphony, Pittsburgh Symphony, Simon Bolivar Orchestra and Melbourne Symphony Orchestra.

This season will also see Nicola furthering her passion for music of the Italian Baroque and historical performance realised in collaborations with Andrea Marcon and WDR Cologne, Venice Baroque Orchestra and a European tour with La Cetra Barokorchester Basel.

Most recently Nicola enjoyed collaborations with the New York Philharmonic, London Symphony Orchestra, Frankfurt Radio Symphony, Orchestra del Teatro La Fenice, Czech Philharmonic, European Soloists Luxembourg, Bergen Philharmonic, Beethovenorchester Bonn, Strasbourg Philharmonic, Orchestre National d’Ile de France, BBC Scottish Symphony, Scottish Chamber Orchestra, Philadelphia Orchestra, San Francisco Symphony, National Symphony of Washington D.C, Cincinnati Symphony, Vancouver Symphony, Hong Kong Philharmonic and also undertook an extensive performance and outreach tour to India with the BBC Scottish Symphony.

Conductors whom Nicola has worked and will work with include Vladimir Ashkenazy, Jiří Bělohlávek, Stéphane Denève, Christoph Eschenbach, James Gaffigan, Hans Graf, Valery Gergiev, Alan Gilbert, Jakub Hrusa, Kirill Karabits, Louis Langrée, Andrew Litton, Kristjan Järvi, Neeme Jaarvi, Paavo Järvi, Vladimir Jurowski, Cristian Macelaru, Andrea Marcon, Sir Neville Marriner, Diego Matheuz, Peter Oundjian, Vasily Petrenko, Donald Runnicles, Thomas Sondergard, Yan Pascal Tortelier, Krzysztof Urbanski, Juraj Valcua, Pinchas Zukerman, and Jaap van Zweden.

With her regular duo partner, pianist Alexei Grynyuk, Nicola frequently performs recitals in the world’s leading concert halls and festivals with most recent and future highlights including Royal Albert Hall, Wigmore Hall, Cheltenham Festival, Sydney Opera House Utzon Room, Seoul Performing Arts Centre, the Sapienza in Rome, Innsbruck Tiroler Konzervatorium, Trieste Politeama Rossetti, Sociedad Filamonica de Bilbao, Subculture New York, Gardner Museum Boston and Schwetzingen and Dresden Musikfestpieles.  Nicola is also a devoted chamber musician and collaborates with cellist Leonard Elschenbroich and pianist Alexei Grynyuk, who have been performing as a trio since 2008.  Recent and future performances include Royal Albert Hall London, Amsterdam Concertgebouw, Birmingham Symphony Hall, Edinburgh Usher Hall, Glasgow Royal Concert Hall, LSO St. Luke's, Frankfurt Alte Oper, Die Glocke Bremen, Hong Kong City Hall, two tours of South America, and at the Edinburgh, Ravinia, Schloss Elmau and Cheltenham Festivals.

Fiercely committed to music education and to developing young talent, Nicola has formed associations with education establishments including schools, music colleges and local authorities.  In 2010, she became Sistema Scotland’s official musical ‘Big Sister’ for the Big Noise project; a music initiative partnered with Venezuela’s El Sistema (Fundación Musical Simón Bolívar).   As a board member and teacher, Nicola embraces her position of role model to encourage young people to take up music and work hard at it, and she continues to spread this message in school visits and masterclasses, not only in Scotland, but all around the world.

In addition, Nicola recently developed her own education and outreach initiative entitled The Benedetti Sessions. Established in March 2013 at Glasgow’s City Halls, these sessions give hundreds of aspiring young string players the opportunity to rehearse, undertake and observe masterclasses culminating in a performance alongside Nicola.  She has also presented The Benedetti Sessions at the Royal Albert Hall and Cheltenham Festival and has plans to develop this exciting initiative on an international scale.

Winner of Best Female Artist at both 2012 and 2013 Classical BRIT Awards, Nicola records exclusively for Decca (Universal Music).  The enormous success of Nicola's most recent recording, Homecoming; A Scottish Fantasy, made Nicola the first solo British violinist since the 1990s to enter the Top 20 of the Official UK Albums Chart.  The Silver Violin, also enjoyed a similar success in reaching No. 30 in the UK Albums Chart simultaneously to topping the classical charts.  Her past six recordings on Universal/Deutsche Grammophon include a varied catalogue of works including the Szymanowski Concerto (London Symphony Orchestra/Daniel Harding), newly commissioned works by Tavener and The Lark Ascending (London Philharmonic/Andrew Litton), a disc of virtuosic works (Royal Liverpool Philharmonic/Vasily Petrenko), Tchaikovsky and Bruch Concertos (Czech Philharmonic Orchestra/Jakub Hrusa) and most recently Vivaldi, Tartini and Veracini Concerti (Scottish Chamber Orchestra/Christian Curnyn).

Nicola attracts an enormous amount of worldwide media attention following the various facets of her extraordinary career and her international television appearances have been wide and varied including performing at the Opening Ceremony of the 2014 Commonwealth Games to a live audience of approximately 40,000 and TV viewing audience of 9.4million people.
Nicola was appointed as a Member of the Most Excellent Order of the British Empire (MBE) in the 2013 New Year Honours, in recognition of her international music career and work with musical charities throughout the U.K. In addition, Nicola has received five honorary degrees to date.
Born in Scotland of Italian heritage, Nicola began violin lessons at the age of five with Brenda Smith.  In 1997, she entered the Yehudi Menuhin School, where she studied with Natasha Boyarskaya.  Upon leaving, she continued her studies with Maciej Rakowski and then Pavel Vernikov, and continues to work with multiple acclaimed teachers and performers.
Nicola plays the Gariel Stradivarius (1717), courtesy of Jonathan Moulds.

  www.nicolabenedetti.co.uk  facebook.com/NicolaBenedettiViolin  twitter.com/NickyBenedetti

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Reviews

"Ms. Benedetti’s sound in the stratosphere of her register is almost improbably pure and gleaming; at times it resembled the supernatural song of a theremin… Ms. Benedetti’s violin soared with luminous grace."

New York Times

"Sensational speed, clarity, articulation, depth, humanity and unerring sense of idiom and style... I realised, from close observation ... her massive drawing power. Every generation sat in that hall. ... You could have heard the proverbial pin drop as she prepared to play. I was awestruck by the influence of the young violinist...As for this breathtaking artist: she has consistently gone from strength to strength; ...she comprehensively revivified [Vivaldi's Four Seasons]; what she achieved was genuinely astonishing, and priceless."

Michael Tumelty, Herald Scotland

"Joshua Bell may be the only violinist under the age of 50 more widely known than Benedetti. … [The] concert was entirely triumphant. Benedetti didn't merely prove that she's shed her former status as a youthful novelty. She's clearly become an important artist of significant merit."

The Kansas City Star

"Benedetti’s trademark is her tone: sweet and clear in the upper register, honeyed in mid-range, and velvety in her low notes."

Classical Voice America

"Benedetti is the type of passionate artist who can help popularize classical music with a new generation."

Pop Culture Classics

"Benedetti keeps ornamentation delicate and rapid, and allows her phrasing to move buoyantly with the music’s dance rhythms rather than weighted down in grandiose Romantic gestures. Against spruce and vigorous accompaniment from the Scottish Chamber Orchestra, her sound is significantly streamlined."

Kate Molleson, Herald Scotland (Italia)

"The shorter phrasing demanded by the use of a baroque bow, and the more sparing use of vibrato demanded by baroque style, are constraints which merely increase her expressivity and force her to new heights of intensity."

Warwick Thompson, The Metro (Italia)

"She has a sumptuous tone. She digs into a phrase with plenty of intensity and clearly enjoys showing off her technique, but she never crosses the line to showiness. An admirable violinist, Benedetti [has] certainly earned the right to be taken seriously."

Mark Swed, Los Angeles Times

"From the diamond-cut opening to her high-octane charging of the orchestral batteries through to the cadenza that dominates the first movement, Benedetti played to her very limits."

Hilary Finch, The Times

"She brings ... a degree of heat, subtlety and quicksilver colours only achieved by the world’s best. "

Geoff Brown, The Times (Fantasie)

"Benedetti has a very expressive and sweet tone, reaching out with spirit."

Harald Eggebrecht, Süddeutsche Zeitung

"Benedetti draws an exceptionally rich and full-bodied sound from her Stradivarius instrument. Her vibrato was ample without being excessive, and her bowing has character."

Mark Kanny, Pittsburgh Tribune

"From her first note, it was clear that Benedetti’s artistry is impressive. She projected a sweet, stunning sound on her Stradivarius, played with a fresh spirit and clearly had something to say."

Janelle Gelfand, Cincinnati Enquirer

"Young violinist Nicola Benedetti simply owns this piece [Szymanowski First Violin Concerto]. Her utter self-confidence and very strong technique keep everything marvellously free and spontaneous, but there is real rigour in her work and real commitment. This is a knockout performance."

David Gordon Du, The Vancouver Sun

"Without falling into sentimentality, her flowing legato can be traced to the finest opera and lieder singers."

Marc Geelhoed, Time Out Chicago

"Her approach to the Tchaikovsky is both full-blooded and sensitive. She rides the first movement’s emotional storms with utter confidence and complete command of old Romantic tricks – the portamento glide, the cliff-edge hesitations of rubato."

Geoff Brown, The Times (Tchaikovsky and Bruch: Violin Concertos)

"Her magically sustained pianissimos deserve an Oscar."

Geoff Brown, The Times (Tchaikovsky and Bruch: Violin Concertos)

"...It’s a reading of poised beauty... Benedetti deserves her glory. "

Geoff Brown, The Times (Fantasie)

"It makes and excellent coupling, and Benedetti’s interpretations have much that is individual in them, notably that more regularly than most great virtuosos on disc she uses very often the gentlest of whispered pianissimo, with impressive effect. She establishes that quality in the long first movement of the Tchaikovsky, where so many artists in the lyrical second subject play with a big, fat tone. Her phrasing too is freely expressive, but her regular use of extreme rubato rarely if ever sounds contrived, always spontaneous and from the heart."

Edward Greenfield, Gramophone Magazine (Tchaikovsky and Bruch: Violin Concertos)

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Discography