2004 she received the "New Talent - SPP Award" of the European Broadcasting Union (EBU) and 2006 the "Förderpreis Deutschlandfunk". Both her Australian tours in 2007 and 2010 as soloist and leader of the Australian Chamber Orchestra were voted "best chamber music production of the year" by the readers of the music-magazine "Limelight". Patricia Kopatchinskajas approach and her broad scope of interest is documented by her discography: This includes the Beethoven concerto (Naive) for which she secured historical advice by Prof. Robin Stowell, the worlds foremost expert for this concerto (Stowell: Beethoven Violin Concerto, Cambridge Music Handbooks) and teamed up with Philippe Herreweghe and his Orchestre des Champs Elysées. In the view of The STRAD this is the "best authentic version".
It won critical acclaim and the award of the BBC music magazine 2010. For the Kreutzer Sonata with Fazil Say (Naive) she let herself inspire by the testimonies of Beethovens pupil Karl Cerny and other contemporaries who wrote that the fast movements have to be wildly agitated throughout, that the piece is bizarre, very grotesque and full of the most strange excesses, the whole amounting to "aesthetic or artistic terrorism". This CD also contains works of Bartok, Ravel and Fazil Say. It caused surprise and got rave reviews and the ECHO-Klassik award 2009. Her most recent CD (Naive) is built around the third sonata of Enescu with Mihaela Ursuleasa and explores the roots of Enescus music with examples of authentic Moldovan and Roumanian folklore played with her parents. It also presents pieces of Kurtag and a version of Ravels Tzigane, both with her father at the cymbalon.
This CD is BBC music choice in december 2010 (category chamber music), editors choice of the British magazine "Gramophone" and just won the supersonic award of the "Pizzicato" Magazine Luxemburg. Patricia Kopatchinskaja has recorded several violin concertos written for and premiered by her: The highly successful concerto of Fazil Say (Naive), the concertos by Gerd Kühr, Gerald Resch and Otto Zykan (Con Legno) and the concerto of Johanna Doderer (Edition Zeitton). Other recordings include contemporary chamber music by Nikolai Korndorf and Dmitri Smirnov (Megadisc) as well as string quatuors by Boris Yoffe (Bella-Musica). Patricia Kopatchinskaja has worked with leading orchestras (e.g. Philharmonia Orchestra, Vienna Philharmonic Orchestra, Vienna Symphonic Orchestra, Deutsches Symphonieorchester Berlin, Staatskapelle Berlin, SWR-Radiosymphonieorchester Stuttgart, Deutsche Kammerphilharmonie, Orchestre Philharmonique de Radio France, Tschaikowsky Symphony Orchestra Moscow, Russian State Symphony Orchestra, NHK Symphony Orchestra Tokyo) and conductors (e.g.
Ashkenazy, Boreyko, Fedoseyev, Goodman, Herreweghe, Jansons, Neeme and Paavo Järvi, Phlippe Jordan, Nelsons, Norrington, Oramo, Penderecki, Schiff). She has appeared in important concert halls, e.g. Carnegie Hall and Lincoln Center New York, Wigmore Hall and Royal Festival Hall London, Sidney Opera House, Berliner Philharmonie, Musikverein Wien, Concertgebouw Amsterdam, Great Hall of the Moscow Conservatory, Suntory Hall Tokyo and she is regularly invited to significant festivals. Piano partners include Polina Leschenko, Fazil Say, Mihaela Ursuleasa and Henri Sigfridsson.
With him and the cellist Sol Gabetta she forms occasionally a piano trio. Highlights in 2011 include the concert for the 80. anniversary of the Tschaikovsky Symphonic orchestra in Moscow, a tour in Australia as leader and soloist of the Australian Chamber Orchestra, concerts in London, Berlin, Paris, Rome, Zürich, Barcelona, Budapest, Tokyo, Mexico City and participation at the festivals of Salzburg, Schwetzingen and Gstaad. Patricia Kopatchinskaja is especially pleased to revisit the Beethoven concerto with Sir Roger Norrington, with Sakari Oramo and Gerard Korsten as conductors as well as the violin concertos of Peter Eötvös and of Esa-Pekka Salonen with the composers conducting. Patricia Kopatchinskaja composes occasionally herself and this may explain her ability to make contemporary music understandable to a broad public. Patricia Kopatchinskaja plays a violin made in 1834 by Giovanni Francisco Pressenda, according to The STRAD magazine "a colourful-sounding instrument, whose viola-like quality lends her playing exceptional tonal interest".
Acting as good-will ambassador for the charity Terre des Hommes, Patricia Kopatchinskaja especially supports projects for children in Moldova. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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