See 8 performances featuring Alina IbragimovaThe Times has written that Alina Ibragimova performs with “a mixture of total abandonment and total control that is in no way contradictory” and that she is “destined to be a force in the classical music firmament for decades to come”.
Performing on both modern and period instruments, Alina Ibragimova has appeared with orchestras including the London Symphony, Deutsche Kammerphilharmonie Bremen, Orchestra of the Age of Enlightenment, Stuttgart Radio Symphony, the Hallé, Seattle Symphony, Konzerthausorchester Berlin, Philharmonia, and all the BBC orchestras, with conductors including Sir Charles Mackerras, Valery Gergiev, Sir John Eliot Gardiner, Sir Mark Elder, Paavo Järvi, Vladimir Jurowski, Richard Hickox, Osmo Vänskä, Yannick Nézet-Séguin, Edward Gardner and Gianandrea Noseda.
As soloist/director Alina has performed with the Kremerata Baltica in Paris, Salzburg and Verbier, has toured with the Britten Sinfonia and Australian Chamber Orchestra, and makes her period instrument directing debut with the Academy of Ancient Music in 2012.
With regular recital partner Cédric Tiberghien and in chamber music Alina has appeared at venues including the Wigmore Hall, Concertgebouw, Mozarteum, Musikverein, Carnegie Hall, Palais des Beaux Arts, Vancouver Recital Series, and at festivals including Salzburg, Verbier, MDR Musiksommer, Lockenhaus, and Aldeburgh.
Born in Russia in 1985 Alina is a former pupil of the Moscow Gnesin and Yehudi Menuhin schools, the Royal College of Music London, and Kronberg Academy, where her teachers have included Natasha Boyarsky, Gordan Nikolitch, Christian Tetzlaff.
Alina has been the recipient of a number of awards including the Royal Philharmonic Society Young Artist Award 2010, Borletti-Buitoni Trust and a Classical BRIT, and was a member of the BBC New Generation Artists Scheme. Alina records for Hyperion Records and performs on a 1738 Pietro Guarneri of Venice violin kindly provided by Georg von Opel.
www.alinaibragimova.com
www.ferus.co.uk
| Date and venue | Title |
|---|---|
| 18-May-2013 Southbank Centre: Queen Elizabeth Hall | Bach, Schumann and Schubert with Borletti-Buitoni Trust artists at Southbank Centre |
 A series of three concerts over the course of one weekend, designed to reflect upon and champion the work of the Borletti-Buitoni Trust, which has supported a significant number of worthy performers in its first ten years, was always going to present an interesting range of repertoire – if not something of a conundrum for those planning the programming of the concerts. Originally, Saturday’s concert was to have drawn together rather neatly the ensemble works of Mozart and Schubert, contrasted with interlinking sets of songs by Brahms and Mahler.Read full review... | |
| 27-Feb-2013 Barbican Centre: Hall | Baltic music and Bach: Alina Ibragimova and Britten Sinfonia at the Barbican |
 Alina Ibragimova barely glanced up from her score during her Bach concerto with Britten Sinfonia last night, and the result was some of the most intense, beautiful music-making I can recall hearing. With just six members of the orchestra providing her with impeccable support, this was a performance of a sort of off-the-cuff brilliance in which Ibragimova sounded like she was simply playing a favourite piece of hers in private. Every touch, every shift of style or mood, seemed spontaneous, born of an impulsive, powerful love.Read full review... | |
| 27-Oct-2012 Barbican Centre: Hall | Looking Forward with Britten Sinfonia at the Barbican |
 Rhydian Peters.jpg) Pleasantly enough, Britten Sinfonia went down a thoroughly unconventional route in celebrating their 20th birthday at the Barbican on Saturday, with a brilliantly varied range of new pieces mixing with chamber orchestra classics. With a stellar range of guests, they carried us along all the way from Purcell to Moondog, encapsulating the spirit of versatility and openness which makes the group what it is.
Read full review... | |
| 8-May-2012 Prinzregententheater | Old meets new with the Munich Chamber Orchestra |
 John Cage's unusual approach to composition is somewhat infamous. Thanks to his piano work 4'33" he's been firmly placed on the musical map as something of an oddball, and while that particular work may take his eccentric style to the extreme, the methods underlying his other works are equally intriguing. Radio Music for several wireless radios plays on the elements of chance, with the performers tuning and retuning them based on predetermined frequencies and time durations.Read full review... | |
