Serbian-French violinist Nemanja Radulović champions the power of music to bring people together with his unique energy and candour, thrilling virtuosity, depth of expression, and adventurous programming. His hotly-anticipated, ‘magical’ (Barry Creasy, musicOMH) BBC Proms debut in 2019 with the Bournemouth Symphony Orchestra and Kirill Karabits featured a Barber Violin Concerto whose ‘lyric delicacy and last-movement super-virtuosity were caught to near perfection’ (The Times).
Winner of the 2015 Echo Klassik Award for Newcomer of the Year, Radulović is an artist who seeks to broaden the boundaries of classical music and has amassed a legion of loyal fans around the world who have enjoyed his performances with many of the world’s leading orchestras, including the Munich Philharmonic, Deutsches Symphonie-Orchester Berlin, Staatskapelle Dresden, Royal Liverpool Philharmonic, Tokyo Symphony, Yomiuri Nippon Symphony in Tokyo, Orchestre Symphonique de Montréal, Orquesta Nacional de España, Netherlands Radio Philharmonic, NDR Radiophilharmonie in Hanover, WDR Sinfonieorchester in Cologne, Orchestre Philharmonique de Radio France, Belgian National Orchestra, Orchestre National de Lille, Orchestra Sinfonica Nazionale della RAI in Turin, Orchestra della Toscana, Tampere Philharmonic, Royal Philharmonic Orchestra, Copenhagen Phil, Geneva Camerata, Queensland Symphony, Macao Orchestra, Malaysian Philharmonic, and the Bilbao Orkestra Sinfonikoa.Read more
Signed as an exclusive recording artist to Warner Classics in 2021, Radulović’s recent and forthcoming highlights include an extensive European tour with the Russian State Academic Symphony and Andrey Boreyko; sold-out performances with his ensemble Double Sens at such celebrated festivals as the Folle Journée de Nantes and the Chorégies d’Orange; debut engagements with the Los Angeles Chamber Orchestra, Gothenburg Symphony, Philharmonia Orchestra, Sydney Symphony, Dusseldorf Symphony, RTE National Symphony in Dublin, and Orchestre Philharmonique de Strasbourg; the season opening of the Jeunesse Musicale series at the Vienna Konzerthaus; a play/direct performance of the Beethoven Violin Concerto with the Munich Chamber Orchestra (resulting in an immediate re-invitation and on-going relationship with the ensemble); and a special collaboration with clarinettist Andreas Ottensamer, accordionist Ksenija Sidorova, and pianist Laure Favre-Kahn, performing to audiences at festivals across Germany, Switzerland and France.
Radulović has an equal passion for the intimacy of chamber music, and is an increasingly active recitalist on the international circuit. He has performed at such notable venues as New York’s Carnegie Hall, the Amsterdam Concertgebouw, Berlin Philharmonie, both the Salle Pleyel and the Théâtre des Champs-Élysées in Paris, the Athens Megaron, Tokyo’s Suntory Hall, Teatro Colón in Buenos Aires, and the Melbourne Recital Centre in Australia. His many recital partners include Marielle Nordmann, Laure Favre-Kahn, and Susan Manoff, the latter with whom he has also recorded a disc of Beethoven Sonatas released on the Decca/Universal Music label.
Radulović also regularly undertakes a play/direct role with his infectious, high-energy ensemble The Devil’s Trills – noted for their ‘immense purity, artistic force, passion, intimacy, and exquisite dynamic choices, leaving the audience in complete astonishment’ (Johannes Seifert, Augsburger Allgemeine) – and his chamber orchestra, Double Sens, which was recently celebrated for their recordings of Bach and Rimsky-Korsakov, as well as The 5 Seasons, a piece that combines Vivaldi’s Four Seasons with a new composition, Spring in Japan, by Aleksandar Sedlar and dedicated to the Japanese tsunami victims in 2011. Their other recent recordings include Paganini Fantasy (2013), Journey East (2014), BACH (2016), Tchaikovsky (2017), and most recently Baïka (2018).
Radulović’s recognition for his work in classical music includes International Revelation of the Year by the Victoires de la musique classique in 2005, an Honorary Doctorate from the University of Arts in Niš, Serbia, and an ELLE Style Award for Musician of the Year in 2015. He is the winner of several international violin competitions, such as Joseph Joachim in Hanover, George Enescu in Bucharest, and Stradivarius in Cremona.
Born in Serbia in 1985, Nemanja Radulović studied at the Faculty of Arts and Music in Belgrade, the Saarlandes Hochschule für Musik und Theater in Saarbrücken, the Stauffer Academy in Cremona with Salvatore Accardo, and the world-renowned Conservatoire de Paris with Patrice Fontanarosa.
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Current as at 30 Sep 2021, please destroy all previously dated materials.
IMG Artists is thrilled to announce that star violinist Nemanja Radulović has signed an exclusive recording contract with Warner Classics. His debut on the label will be released in 2022. For this project, conceived during the lockdown of 2020, he invites his...
Nemanja Radulović will perform live at the opening ceremony of the Adria Charity ATP Tour on 12 June in Belgrade. He was invited by world #1 men’s singles tennis icon, and fellow Serbian, Novak Djokovic. Radulović will perform live in front of the sold-out, 1,000...
Violinist Nemanja Radulović made a sensational debut at the BBC Proms performing Barber’s Violin Concerto, Op. 14 with the Bournemouth Symphony Orchestra and frequent collaborator, conductor Kirill Karabits. The 21 July programme also features Adams’ Short...
“Radulović was wonderful throughout, but excelled in the tricky and controversial third section. The finale was deemed too difficult to play when debuted, but Radulović tackled the piece with breath-taking skill and a truly virtuoso performance.”
“He’s an engaging performer – swaying, dancing, and in complete communication with the orchestra, catching the eye of each section that accompanies him, as though sharing a special moment. […] Radulović, though, packed a punch when it was needed, and the final movement was full of virtuosic sawing that elicited a well-deserved roar from the audience at its completion.”
“Firstly, his sound is utterly beautiful, exactly what the long lines of Barber’s concerto require. His technique is boundless, heard initially in terms of the sure tuning of his stopping and, later, in that perilous finale.”
“It was in Ravel’s fiendish Tzigane that Radulović really caught fire, attacking the opening cadenza with gritty heft, before backing off suddenly for soft brushes of melody, the violinist embracing the improvisatory style of the composer’s gypsy-inspired work with natural showmanship and virtuosity.”