VeronikaEberle
Contact
For availability and general enquiries:
Edward Pascall
For contracts, logistics and press:
Joy Pidsley
For availability and enquiries in Germany and Austria:
Alexander Hollensteiner
Representation
About Veronika
Veronika Eberle’s exceptional talent and the poise and maturity of her musicianship have been recognised by many of the world’s finest orchestras, venues and festivals, as well as by some of the most eminent conductors.
Sir Simon Rattle’s introduction of Veronika aged just 16 to a packed Salzburg Festpielhaus at the 2006 Salzburg Easter Festival in a performance of the Beethoven Concerto with the Berliner Philharmoniker, brought her to international attention. Key orchestra collaborations since then include the London Symphony (Rattle), Concertgebouw (Holliger), New York Philharmonic (Gilbert), Montreal Symphony (Nagano), Munich Philharmonic and Gewandhaus Orchestras (Louis Langrée), Rundfunk Sinfonieorchester Berlin (Janowski), Hessischer Rundfunk Sinfonieorchester (P. Järvi), Bamberger Symphoniker (Robin Ticciati, Nott), Tonhalle Orchester Zurich (M.Sanderling), NHK Symphony (Kout, Stenz, Norrington) and Rotterdam Philharmonic (Rattle, James Gaffigan, Yannick Nézet-Seguin).
Recent concerto highlights include Deutsches Symphonie-Orchester Berlin, Swedish Radio Symphony Orchestra, Orchestre National de Lille, Chamber Orchestra of Europe and a tour with London Symphony Orchestra. Recent chamber music projects include performances at the Gstaad Menuhin Festival with Sol Gabetta and Antoine Tamestit and Schubertiade with Steven Isserlis and Connie Shih amongst others.
Upcoming highlights in the 2023/24 season include debuts with Budapest Festival Orchestra (Fischer), Orchestre National Capitole Toulouse (Nathalie Stutzmann), Karajan-Akademie (Jockel) and Detroit Symphony (Afkham). This season will also see Veronika return to Wigmore Hall as Artist-in-Residence and to Symphonieorchester des Bayerischen Rundfunks (Rattle), Bournemouth Symphony (Fischer) and Atlanta Symphony (Stutzmann).
Veronika Eberle plays the 1693 “Ries” Stradivarius, which is on generous loan from the Reinhold Würth Musikstiftung gGmbH.
Representation
Season Highlights
Audio
- Veronika Eberle, RTÉ National Symphony Orchestra & Nathalie Stutzmann: Brahms Violin Concerto in D Major, Movement 1Credit: RTÉ National Symphony Orchestra
- Veronika Eberle, RTÉ National Symphony Orchestra & Nathalie Stutzmann: Brahms Violin Concerto in D Major, Movement 3Credit: RTÉ National Symphony Orchestra
- Veronika Eberle, Helsinki Philharmonic & John Stogårds: Sibelius Violin Concerto, Movement 2Credit: Mecklenberg Vorpommern Festspiele
- Veronika Eberle, LSO & Sir Simon Rattle: Beethoven Violin Concerto, Movement 1Credit: London Symphony Orchestra
Selected Repertoire
| Bartok | Concerto No.1 • Rhapsody No.1 • Rhapsody No.2 |
|---|---|
| Beethoven | Concerto in D major, Op.61 • Concerto in C major (fragment) WoO5 • Triple Concerto, Op.56 • Romance No.2 in F major, Op.50 |
| Berg | Violin Concerto • Chamber Concerto |
| Brahms | Concerto in D major, Op.77 • Double Concerto in A minor, Op.102 |
| Britten | Violin Concerto, Op.15 |
| Dvorak | Concerto in A minor, Op.53 |
| Elgar | Violin Concerto |
| Hartmann | Concerto Funebre |
| Haydn | Concerto in C, Hob.VIIa:1 • Concerto in G, Hob VIIa:4 |
| Henze | Violin Concerto |
| Hosokawa | Violin Concerto (commissioned for Veronika Eberle) |
| Korngold | Concerto in D major, Op. 35 |
| Mendelssohn | Concerto in E minor, Op.64 |
| Mozart | Concerto No. 3 in G major, K.216 • Concerto No.4 in D major, K.218 • Concerto No. 5 in A major, K.219 • Sinfonia Concertante in E flat major, K.364 |
| Prokofiev | Concerto No.1 in D major, Op.19 |
| Rozsa | Violin Concerto, Op.24 |
| Schoeck | Quasi Una Fantasia |
| Schumann | Concerto in D minor, WoO 23 |
| Shostakovich | Concerto No.1 |
| Sibelius | Concerto in D minor, Op.47 |
| Stravinsky | Violin Concerto |
| Tchaikovsky | Concerto in D major, Op.35 |
News
Press
Beethoven Violin Concerto
Marvao International Music FestivalJul 2024When Eberle entered with her opening solo, rich in colors yet simple in line, her intimately reflective attitude shone through. Eberle’s dialogue with the bassoons in thirds was intense and lapidary, her sense of quiet before the big striding triplets was deeply affecting and her triplets against the long lines of the strings were captivating. She navigated Fritz Kreisler’s cadenza with finesse, toning down the pyrotechnics in favor of warmth and sentiment, as if it had been written by Beethoven himself. She played the big arching passages exquisitely and the cadenza was spontaneous, after which she had a special sweetness left for her last upward phrases before Poppen and the orchestra ended with a tremendous shout, and the grandeur of the whole performance was complete.
- Seen and Heard International
- 20 July 2024
