Violin | North American Representation

Munich-born violinist Viviane Hagner has won exceptional praise for her highly intelligent musicality and passionate artistry. Since making her international debut at the age of 12, and a year later participating in the legendary ‘joint concert’ of the Israel and Berlin Philharmonics (conducted by Zubin Mehta in Tel Aviv), Hagner has acquired a depth and maturity in her playing that is reflected in her serene stage presence and magnificent assurance.

Appearing with the world’s great orchestras, Hagner’s concerto appearances include the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Cleveland Orchestra, Leipzig Gewandhaus, New York Philharmonic and the Philharmonia Orchestra, working with conductors such as Ashkenazy, Barenboim, Eschenbach and Salonen as well as a Carnegie Hall appearance with the Orpheus Chamber Orchestra.  

This season includes the premiere of Christian Jost’s second Concerto for Violin and Orchestra Concerto noir with Orchestre Symphonique Bienne Soleure, and a return to Lammermuir Festival with Till Fellner, with whom her recital partnership continues. Joining Karl-Heinz Steffens and the Norrköping Symfoniorkester, Hagner performs Prokofiev’s Violin Concerto No. 1. In Spain she joins Mozarteum Salzburg and Sinfonia Varsovia on tour. She also continues her project performing Schoenberg’s Verklärte Nacht which introduces a visual element to the piece; with mime artists Bodecker & Neander, she tours Torino, Firenze, and Bologna. 

Highlights from last season include performances with the orchestras of Berlin’s Komische Oper under Ainars Rubikis and Prague’s National Opera under Karl-Heinz Steffens as well as the Orquestra de Valencia with Alexander Liebreich. With Till Fellner, Hagner has toured Austria, Germany and Spain. Recent highlights in North America include returning to the National Arts Centre Orchestra Ottawa for performances of Mozart’s Sinfonia Concertante alongside Pinchas Zukerman and a residency in Vancouver performing Unsuk Chin’s Violin Concerto with Otto Tausk as well as chamber music and masterclasses.  

As well as bringing insight and virtuosity to the central concerto repertoire, Hagner is an ardent advocate of new, neglected and undiscovered music, championing composers such as Sofia Gubaidulina, Karl Amadeus Hartmann and Witold Lutoslawski. The dedicatee of Unsuk Chin’s Violin Concerto, she gave its world premiere in 2002 with the Deutsches Symphonie-Orchester and Kent Nagano, and has since performed the work across Europe, the US and as far afield as Brazil. Last season she gave the Polish premiere with the Polish National Radio Symphony Orchestra and also returned to the George Enescu Festival for the Romanian premiere with the George Enescu Philharmonic Orchestra. 

A committed chamber musician, Hagner regularly appears in concert halls such as the Amsterdam Concertgebouw, Berlin Konzerthaus, London’s Wigmore Hall, Palais des Beaux Arts Brussels and Zurich Tonhalle. Performing at festivals across the world, past invitations include the Ravello Festival, Salzburg Easter Festival and the Lincoln Center’s Mostly Mozart Festival. 

Hagner’s recorded offerings include Vieuxtemps Violin Concerti 4 and 5 on the Hyperion label, and the Canadian company Analekta’sreleaseof Unsuk Chin’s Violin Concerto with Kent Nagano and the Montreal Symphony Orchestra. Her performance of Christian Jost’s TiefenRausch conducted by the composer with the Essen Philharmonic was issued by the Capriccio label to critical acclaim.

Hagner dedicates herself to outreach activities for audiences of all ages. She is a founder and Artistic Director of Krzy┼╝owa-Music, an ambitious festival promoting the exchange of ideas and culture while allowing young and aspiring musicians the opportunity to rehearse and perform with internationally acclaimed artists. Residing in Berlin where she grew up, she has been Professor at the Mannheim Conservatory of Music and Performing Arts since 2013.

"Viviane Hagner's reading of the Andante [of Mendelssohn's Violin Concerto] was a picture of melting beauty, and in the fast outer movements she played with the kind of virtuosity that makes things sound easier than they are."
The New York Times

“[Hagner] delivered an honest-to-goodness interpretation, and a gutsy one at that, a perfect storm of passion, power and technical wizardry."
The Cleveland Plain Dealer  



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