Winner of the 2015 Echo Klassik Award for Newcomer of the Year, Serbian-French violinist Nemanja Radulović has taken the classical music world by storm with his thrilling virtuosity, depth of expression, and adventurous programming, both in the recording studio and on the concert stage. An exclusive Deutsche Grammophon artist, his most recent album, Baïka, features his evocative interpretations of Khachaturian’s Violin Concerto as well as Rimsky-Korsakov’s Scheherazade, arranged for solo violin and chamber orchestra.
Fresh off a hotly-anticipated, ‘magical’ (Barry Creasy, musicOMH) BBC Proms debut featuring the Bournemouth Symphony Orchestra, Kirill Karabits, and a Barber Violin Concerto whose ‘lyric delicacy and last-movement super-virtuosity were caught to near perfection’ (The Times), Radulović ’s recent and forthcoming highlights include an extensive European tour with the Russian State Academic Symphony and Andrey Boreyko; debut engagements with the Gothenburg Symphony, Philharmonia Orchestra, Sydney Symphony, MDR Leipzig Radio Symphony, Dusseldorf Symphony, RTE National Symphony Dublin, Orquesta Sinfonica de Valencia, and Orchestre Philharmonique de Strasbourg; the season opening of the Jeunesse Musicale series at the Vienna Konzerthaus; a play/direct performance of the Beethoven Violin Concerto with the Munich Chamber Orchestra (resulting in an immediate re-invitation and on-going relationship with the ensemble); and a special collaboration with clarinettist Andreas Ottensamer, accordionist Ksenija Sidorova, and pianist Laure Favre-Kahn, performing to audiences at festivals across Germany, Switzerland and France.
2019. Not to be altered in anyway unless approved by IMG Artists (UK) Ltd.
An artist who seeks to broaden the boundaries of classical music, Radulović champions the power of music to bring people together with his unique energy and candour. He has amassed a legion of loyal fans around the world who have enjoyed his performances with many of the world’s leading orchestras, including the Munich Philharmonic, Deutsches Symphonie-Orchester Berlin, Staatskapelle Dresden, Royal Liverpool Philharmonic, Tokyo Symphony, Yomiuri Nippon Symphony in Tokyo, Orchestre Symphonique de Montréal, Orquesta Nacional de España, Netherlands Radio Philharmonic, Salzburg Camerata, NDR Radiophilharmonie in Hanover, WDR Sinfonieorchester in Cologne, Orchestre Philharmonique de Radio France, Belgian National Orchestra, Orchestre National de Lille, Orchestra Sinfonica Nazionale della RAI in Turin, Orchestra della Toscana, Tampere Philharmonic, Gävle Symphony, Royal Philharmonic Orchestra, Copenhagen Phil, Geneva Camerata, Queensland Symphony, Macao Orchestra, Malaysian Philharmonic, Cadaqués Orchestra, and the Bilbao Orkestra Sinfonikoa.
Radulović has an equal passion for the intimacy of chamber music, and is an increasingly active recitalist on the international circuit. He has performed at such notable venues as New York’s Carnegie Hall, the Amsterdam Concertgebouw, Berlin Philharmonie, both the Salle Pleyel and the Théâtre des Champs-Élysées in Paris, the Athens Megaron, Tokyo’s Suntory Hall, Teatro Colón in Buenos Aires, and the Melbourne Recital Centre in Australia. His many recital partners include Marielle Nordmann, Laure Favre-Kahn, and Susan Manoff, the latter with whom he has also recorded a disc of Beethoven Sonatas released on the Decca/Universal Music label.
Radulović also regularly undertakes a play/direct role with his infectious, high-energy ensemble The Devil’s Trills – noted for their ‘immense purity, artistic force, passion, intimacy, and exquisite dynamic choices, leaving the audience in complete astonishment’ (Johannes Seifert, Augsburger Allgemeine) – and his chamber orchestra, Double Sens, which was recently celebrated for their recordings of Bach and Rimsky-Korsakov, as well as The 5 Seasons, a piece that combines Vivaldi’s Four Seasons with a new composition, Spring in Japan, by Aleksandar Sedlar and dedicated to the Japanese tsunami victims in 2011. Their other recent recordings include Paganini Fantasy (2013), Journey East (2014), BACH (2016), Tchaikovsky (2017), and most recently Baïka (2018).
Radulović’s recognition for his work in classical music includes International Revelation of the Year by the Victoires de la musique classique in 2005, an Honorary Doctorate from the University of Arts in Niš, Serbia, and an ELLE Style Award for Musician of the Year in 2015. He is the winner of several international violin competitions, such as Joseph Joachim in Hanover, George Enescu in Bucharest, and Stradivarius in Cremona.
Born in Serbia in 1985, Nemanja Radulović studied at the Faculty of Arts and Music in Belgrade, the Saarlandes Hochschule für Musik und Theater in Saarbrücken, the Stauffer Academy in Cremona with Salvatore Accardo, and the world-renowned Conservatoire de Paris with Patrice Fontanarosa.
Immediately one notes the bite of the Borusan Istanbul Philharmonic under Sascha Goetzel and Radulović’s gritty tone as he digs into the five-note opening motif [of the Khachaturian]. However, this is no power drive through the concerto. Radulović can be aggressive, with plenty of fire in his double-stopping, but he never pushes the dynamics too hard…The couplings are imaginatively chosen…With Nemanja Radulović as narrator, this is an album with entrancing tales to tell.
BBC Music Magazine
A fiery whirlwind of an album from the virtuosic Franco-Serbian violinist: the Khachaturian violin Concerto and new takes on Scheherazade are fabulous showpieces.
Not since Menuhin has Paganini's First Concerto sounded so musically compelling, with Nemaja Raudlovic making even the virtuoso-in-meltdown Moses Fantasy sound like minted gold. BBC Music Magazine, 5*
Radulovic's commanding technique makes child's play of Paganini's myriad technical challenges, matched by a beguiling tone, expressive vocal phrasing and perfect intonation...This is an exceptional disc by any standards and hard to better as an introduction to Paganini's genius. Gramophone Magazine, Critics' Choice
The following performance of the Tchaikovsky Violin Concerto was, quite possibly, the best live performance of it I’ve ever seen. Soloist Nemanja Radulović took the highly unusual step of playing and… I suppose we’ll have to call it ‘semi-conducting’? There are a fair number of concerti where players can both play and conduct, but they generally tend to be less involved than the Tchaikovsky concerto. Here, Radulović wasn’t simply conducting in the sense of beating time and keeping players in line in between virtuosic fingerwork, but instead doing something far more interesting. The strings were reconfigured in a much tighter than usual semi-circle around Radulović, who circled around this net of players, directing with his violin, movements, and facial expressions. As he said later, this unusual type of performance was totally unplanned before de la Parra’s illness.
Did it work? Did it ever. This breathed such life into the Tchaikovsky concerto – a warhorse if ever there was one – that it felt like a chamber music performance of close and intimate communication. You could see the QSO players working to keep up with Radulović; when he was less than a meter away from the players and pushing them further and further and faster and faster, they stepped up. Mention must be made also of his shadings of tone and rhythm. To be honest, I didn’t expect someone wearing enormous platform combat boots to bring such delicacy and subtlety to the piece, but he certainly did. Radulović’s distinctions of colour in the cadenza were the very definition of sensitivity.
If there was one issue with the seating configuration it was that, in requiring Radulović to physically turn around to interact and guide the other players, some of the finer details of his playing were lost. But still, what a show! This was a performance of the Tchaikovsky I’ll remember for a long time. Radulović concluded with a gorgeous encore of the Sarabande from Bach’s Partita in D minor, BWV 1004.
...Radulović was wonderful throughout, but excelled in the tricky and controversial third section. The finale was deemed too difficult to play when debuted, but Radulović tackled the piece with breath-taking skill and a truly virtuoso performance.
Aliya Al-Hassan, Brodway world
...He’s an engaging performer – swaying, dancing, and in complete communication with the orchestra, catching the eye of each section that accompanies him, as though sharing a special moment. […] Radulović, though, packed a punch when it was needed, and the final movement was full of virtuosic sawing that elicited a well-deserved roar from the audience at its completion.
...Firstly, his sound is utterly beautiful, exactly what the long lines of Barber’s concerto require. His technique is boundless, heard initially in terms of the sure tuning of his stopping and, later, in that perilous finale.
...It’s music that requires great virtuosity and that’s precisely what it gets from the French-Serbian violinist Nemanja Radulović on this new disc from DG. Magic is there from Radulović’s first phrase, floating on wings of fantasy as Sascha Goetzel pulls back the Borusan Istanbul Philharmonic after their orchestral introduction, followed by a beguiling statement of the main theme. Radulović has a big, muscular tone, with a warm, grainy lower register, but it’s a clean sound without overcooking the vibrato. He indulges in teasing rubatos, almost straying beyond the musical line (track 1, 4'29"), hits the accelerator pedal hard (6'10") and scales dynamics dramatically (15'44") but it’s playing that’s got bags of personality. The cadenza is imaginatively executed, with tasteful use of portamento... Gramophone magazine, UK, Feb. 2018
...Virtuoso, inspired and penetrating, Radulović rushes for a non overloaded romantic pathos conception, beautiful and perfect introspection... Jean-Luc Caron, Resmusica, France, Sep. 2017
... After a breathtaking Bach recording, Nemanja Radulović approaches Tchaikovsky, and in a few steps we find the same spirit of freedom... Cristophe Huss, Le devoir, Canada, Oct. 2017
... Superior vocality, a full phrasing where fluidity is combined with intesity... Michel le Naour, Classica, France, Nov. 2017
...The Serbian violinist puts down all the assets to give life in this new Tchaikosvky recording: the virtuosity, tenderness and sense of celebration typical of the Eastern countries ... Full of vitality... Sévèrine Garnier, Parisian, Classiquemaispashasbeen, France, Nov. 2017
...Backed by the Borusan Istanbul Philharmonic Orchestra, Radulović gives a thrilling performance of Tchaikovsky's Violin Concerto, full of imaginative touches and risk-taking, and offering numerous edge-of-seat moments. The graceful Rococo Variations is stolen from cellists and played on viola with terrific panache and grat understanding alongside the Double sens chamber orchestra, and the instrument's rich, darker voice works remarkably well. Australia, Dec. 2017
... [Radulović] approaches the Tchaikovsky solos with originality, defending a vision that leaves a dream. Slavic, oriental, western, his fuel mixture works perfectly in Tchaikovsky, from the demented acceleration of the first movement to the stifled extinction of the theme in the second movement. The most European of Russian romantic composers is well served. The listener too. Guillaume Tion, Libération, France, Dec. 2017