VeronikaEberle

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  • Violin

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.

In the 2025-26 season, Veronika makes her Carnegie Hall debut in a tour of Europe and the USA with the Chamber Orchestra of Europe and Yannick Nézet-Séguin. Other notable debuts include Konzerthausorchester Berlin (Søndergård), Helsinki Philharmonic (Bihlmaier), Tokyo Metropolitan Symphony (Storgårds), Hyogo PAC Orchestra (Ottensamer) and Royal Scottish National Orchestra (Widmann). She also makes returns to Dresdner Philharmonie (Albrecht), BBC National Orchestra of Wales (Bloch), Gürzenich Orchestra (Bihlmaier) and Brussels Philharmonic (Ono).

Recent highlights include US debuts with New York Philharmonic Orchestra (Canellakis), Boston Symphony Orchestra (Stutzmann), Cleveland Orchestra (Popelka) and returns to the LA Philharmonic (Rustioni), Orchestre Symphonique de Montréal (Nagano) and Budapest Festival Orchestra (Fischer).

Veronika plays the 1693 “Ries” Stradivarius, which is on generous loan from the Reinhold Würth Musikstiftung gGmbH.

Veronika is based in Munich

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Contact

For availability and general enquiries:

Edward Pascall

Edward Pascall

Associate Director

For contracts, logistics and press:

Joy Pidsley

Joy Pidsley

Associate Artist Manager

For availability and enquiries in Germany and Austria:

Alexander Hollensteiner

Alexander Hollensteiner

Managing Director/Geschäftsführer (Berlin)

Representation

Worldwide general management with Askonas Holt (excl. Italy, Spain, Switzerland & Japan) Partner managers: Italy: Toret Artist Management Spain: e-imusica Switzerland: M&P Artistic Management Japan: Artists Management M Hirasa

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Season Highlights

Sep 2025
Kulturpalast Dresden
Beethoven, Violin Concerto in D major Marc Albrecht, Conductor Dresdner Philharmonie
Sep 2025
Konzerthaus Berlin
Brahms, Violin Concerto in D major, Op. 77 Thomas Sondergard, Conductor Konzerhausorchester
Sep 2025
Sala Sao Paulo
Hartmann, Violin Concerto Sao Paulo State Symphony Thierry Fischer, conductor
Oct 2025
Tokyo Metropolitan Theatre
Beethoven, Violin Concerto in D major Tokyo Philharmonic Orchestra John Storgards, conductor
Oct 2025
Konserttisali, Helsinki
Hartmann, Violin Concerto Helsinki Philharmonic Orchestra Anja Bihlmaier, conductor
Dec 2025
Europe & US Tour
Brahms, Double Concerto in A minor, Op. 102 Jean Guihen Queyras, Cello Yannick Nézet-Séguin, Conductor Chamber Orchestra of Europe
Feb 2026
Usher Hall, Edinburgh
Beethoven, Violin Concerto in D major Jorg Widmann, Conductor Royal Scottish National Orchestra
Mar 2026
Flagey, Brussels
Hosokawa, Violin Concerto Kazushi Ono, Conductor Brussels Philharmonic

Audio

  • Veronika Eberle, RTÉ National Symphony Orchestra & Nathalie Stutzmann: Brahms Violin Concerto in D Major, Movement 1
    Credit: RTÉ National Symphony Orchestra
  • Veronika Eberle, RTÉ National Symphony Orchestra & Nathalie Stutzmann: Brahms Violin Concerto in D Major, Movement 3
    Credit: RTÉ National Symphony Orchestra
  • Veronika Eberle, Helsinki Philharmonic & John Stogårds: Sibelius Violin Concerto, Movement 2
    Credit: Mecklenberg Vorpommern Festspiele
  • Veronika Eberle, LSO & Sir Simon Rattle: Beethoven Violin Concerto, Movement 1
    Credit: 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

    Kulturpalast Dresden
    Sep 2025
    • Eberle's intonation on the Stradivari was clear and sublime, yet repeatedly charged with strong emotion. She let the cantabile passages shine, using vibrato sparingly but then emphatically. Her dialogues with the bassoon in the first movement and the finale, for example, were finely tuned. All in all, a confident and touching performance, spirited by the Philharmonic Orchestra.

      • Sächsische Zeitung
  • Cleveland Orchestra debut

    Blossom Hall, Cleveland
    Jul 2025
    • it became evident that Eberle showed a kind of fearlessness in the work, taking familiar ground that has been trodden almost flat by her predecessors and finding a way to bring it – and us – into her own world, achieving a timeless concentration. Points of transition, both structural and emotional, became moments of daring introspection where Eberle brought her sound down to near inaudibility, or took a moment of psychological breath before moving on to the next event. Eberle grabbed us by the hand and took us on an epic journey ... Instead of the music feeling long, it felt timeless, an escape from our current stressful world.

  • New York Philharmonic

    David Geffen Hall
    Feb 2025
    • Eberle has tremendous facility; there were times during her performance that I had to remind myself that playing the violin is difficult! ...in the long cadenza-like passages that begin the Allegro–Adagio, she pulled the orchestra into her wake and continued on through the Bach Chorale quotes to the end of the piece with something important to say.

    • Soloist Eberle began the work with exploratory arpeggios that blossomed into a full yet silvery tone, as conductor Canellakis sculpted an orchestral sound rich in woodwinds, horns and tuba. Youth’s defiance of gravity was evident in the dancing folk tune that closed the concerto’s first part. This idyllic scene made the explosion of grief that opened the second part all the more shocking. The violinist responded with cadenza-like passages, slashing and marcato at first, later more tender and flecked with left-hand pizzicato.

  • Kölner Kammerorchester

    Philharmonie Cologne
    Jan 2025
    • Eberle had already shone in two other Bach concertos (BWV1060 and 1042), with crystal-clear and at the same time intimate tones with little vibrato, with highly musically phrased instrumental-vocal lines...

  • Beethoven Violin Concerto

    Marvao International Music Festival
    Jul 2024
    • When 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.

  • BRSO and Sir Simon Rattle

    Munich Herkulessaal
    Jan 2024
    • the great soloist Veronika Eberle on the violin takes the music absolutely seriously and does not play at all in order to showcase her own, undoubtedly very great, virtuosity. Rather, she has retained - even in this iconic work - something researching and not very established, which fits the approach and purpose of the entire evening very well: looking beyond one's own horizon, helping, noticing fellow human beings who need help and standing up for society !

  • Korngold Violin Concerto in D Major

    Rosengarten, Mannheim
    Jun 2023
    • In this neck-and-finger-breaking virtuoso piece ... [Eberle] shone with astonishing bravura, highly refined musicality, creative presence and a violin tone of exquisite beauty.

  • Beethoven Violin Concerto in C

    London Symphony Orchestra with Sir Simon Rattle
    Mar 2022
    • Veronika Eberle brings a spotlessly pure and serene tone to her Beethoven playing, as I recall from a memorably spacious account of the D major Concerto which she gave with Rattle six years ago...Still hand in glove in their approach, Eberle and Rattle brought a numbed stillness to the Largo, into which Widmann’s uncanny, ethereal cadenza dovetailed quite naturally, developing into a dialogue with the LSO’s leader...When the LSO Live album of the concert appears, it should make for essential listening.

  • Berg Violin Concerto

    Deutsches Symphonie-Orchester Berlin with Robin Ticciati
    Mar 2023
    • Die deutsche Violinistin Veronika Eberle gelangt in ihrem ernsthaften Zugang zur innigen Deutung von Bergs Musik. Neben wie selbstverständlicher, technischer Brillanz, betört der dunkel singende Geigenton, der doch flexibel bleibt. In nebulöser Eleganz, sich aller Obszönität enthaltend, fusionieren Orchester und Solovioline im symbiotischen Musizieren.

  • Mozart and Hosokawa

    Hong Kong Sinfonietta
    Oct 2023
    • Mozart’s much loved Violin Concerto No 3 ... proved a veritable celebration in G major that was laden with subtlety and tonal refinement in her solo part. Eberle’s playing in the opening Allegro was joyous, spurring plenty of convivial musical conversation with the Sinfonietta players. Returning to the stage, the German soloist immersed herself in this new world of sound [Hosokawa] with deep conviction. Eberle’s playing aptly blossomed as life (the violin) emerged. Where more urgency and extended technique came into play, Eberle’s playing was ever assured.