Winner of the 2015 Echo Klassik Award for Newcomer of the Year, Serbian-French violinist Nemanja Radulović has taken the classical music world by storm with his thrilling virtuosity, depth of expression, and adventurous programming, both in the recording studio and on the concert stage. An exclusive Deutsche Grammophon artist, his most recent album, Baïka, features his evocative interpretations of Khachaturian’s Violin Concerto as well as Rimsky-Korsakov’s Scheherazade, arranged for solo violin and chamber orchestra.
Fresh off a hotly-anticipated, ‘magical’ (Barry Creasy, musicOMH) BBC Proms debut featuring the Bournemouth Symphony Orchestra, Kirill Karabits, and a Barber Violin Concerto whose ‘lyric delicacy and last-movement super-virtuosity were caught to near perfection’ (The Times), Radulović ’s recent and forthcoming highlights include an extensive European tour with the Russian State Academic Symphony and Andrey Boreyko; debut engagements with the Gothenburg Symphony, Philharmonia Orchestra, Sydney Symphony, MDR Leipzig Radio Symphony, Dusseldorf Symphony, RTE National Symphony Dublin, Orquesta Sinfonica de Valencia, 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.Read more
An artist who seeks to broaden the boundaries of classical music, Radulović champions the power of music to bring people together with his unique energy and candour. He 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, Salzburg Camerata, 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, Gävle Symphony, Royal Philharmonic Orchestra, Copenhagen Phil, Geneva Camerata, Queensland Symphony, Macao Orchestra, Malaysian Philharmonic, Cadaqués Orchestra, and the Bilbao Orkestra Sinfonikoa.
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.
Word count: 673
Current as at 1 Sep 2019, please destroy all previously dated materials.
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...
Violinist Nemanja Radulović's latest recording on Deutsche Grammophon, Baïka, has topped the iTunes and French FNAC Classical charts. This Oriental album includes a newly arranged “Scheherezade” as well as Khachaturian‘s highly virtuosic violin concerto. Nemanja’s a...
The latest recording by violin virtuoso Nemanja Radulović, Tchaikovsky: Violin Concerto and Rococo Variations, has been released on Deutsche Grammophon. The album features Tchaikovsky's seminal Violin Concerto with the Borusan Philharmonic Orchestra and conducted by...
“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.”Aliya Al-Hassan
“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.”