Julian Rachlin



Stefana Atlas
North America, United Kingdom, France, and Asia
Press Resources
Rachlin, in his BSO debut, rendered this beloved warhorse score with a powerful and streamlined technique that had the crowd instantly cheering on its feet after the final chord.
The Boston Globe, January 2013

Violinist, violist and conductor Julian Rachlin is one of the most exciting and respected musicians of our time. Throughout the first thirty years of his career, he performed as soloist with the world’s leading conductors and orchestras. More recently, he has established himself as a widely acclaimed conductor, recognized for his dynamic style and vibrant interpretations, and today enjoys an ever-growing presence on the international stage. He is Principal Guest Conductor of the Royal Northern Sinfonia, Turku Philharmonic Orchestra and Kristiansand Symphony Orchestra.

Mr. Rachlin’s upcoming highlights include the opening of the Indianapolis Symphony Orchestra season with Krzysztof Urbański, performances with the Los Angeles Philharmonic and Zubin Mehta, Detroit Symphony and Juraj Valcuha, Vienna Symphony and Vladimir Fedoseyev, Israel Philharmonic and Lahav Shani as well as the Mariinsky Orchestra and Valery Gergiev. Additionally, Mr. Rachlin conducts this season the Chicago Symphony Orchestra, City of Birmingham Symphony Orchestra, Russian National Orchestra, Warsaw Philharmonic, Liverpool Philharmonic, Prague Philharmonia and he will tour Japan with the Munich Symphony Orchestra. In chamber music, Julian Rachlin will play with Martha Argerich, Itamar Golan, Mischa Maisky, Denis Matsuev, Sarah McElravy and Jian Wang.

Julian Rachlin’s recent highlights include performances with the St. Petersburg Philharmonic and Mariss Jansons, Montreal Symphony Orchestra and Christoph Eschenbach, Boston Symphony Orchestra and Juanjo Mena, Pittsburgh Symphony Orchestra and Manfred Honeck, Filarmonica della Scala and Riccardo Chailly, Philharmonia Orchestra and Jakub Hrůša, RCO Young and Pablo Heras-Casado as well as the Bavarian Radio Symphony Orchestra with Susanna Mälkki. Mr. Rachlin also conducted the Vienna Symphony Orchestra, Berlin Konzerthaus Orchestra, Moscow Philharmonic, St. Petersburg Symphony, Strasbourg Philharmonic and Trondheim Symphony Orchestra, to name a few.

Born in Lithuania, Mr. Rachlin immigrated to Vienna in 1978. He studied violin with Boris Kuschnir at the Vienna Conservatory and with Pinchas Zukerman. After winning the "Young Musician of the Year" Award at the Eurovision Competition in 1988, he became the youngest soloist ever to play with the Vienna Philharmonic, debuting under Riccardo Muti. At the recommendation of Mariss Jansons, Mr. Rachlin studied conducting with Sophie Rachlin. Since September 1999, he is on the violin faculty at the Music and Arts University of the City of Vienna. His recordings for Sony Classical, Warner Classics and Deutsche Grammophon have been met with great acclaim. Mr. Rachlin, a UNICEF Goodwill Ambassador, is committed to educational outreach and charity work.

Julian Rachlin plays the 1704 "ex Liebig" Stradivari and a 1785 Lorenzo Storioni viola, on loan to him courtesy of the Dkfm. Angelika Prokopp Privatstiftung. His strings are kindly sponsored by Thomastik-Infeld.

Rachlin took the orchestra and the audience into the realms of music and inspiration, and the controversy over the Heichal and all the confusion of the opening day became marginal. This was also the case with the Mendelssohn Concerto and particularly with Mendelssohn’s fourth symphony, known as the “Italian.” Here, Rachlin and the orchestra were at their best and produced an excellent performance of this work: robust, deep, dramatic but, at the same time, limpid and balanced. To hear good music on such a chaotic day was something of a miracle.
The Yediot Aharonot (Tel Aviv, Israel), May 2013
Mr. Rachlin has a brilliant high-octane technique that he deployed to great ovation-producing effect. One rarely expects a bel canto reading of a 20th-century lion like Prokofiev, but that's exactly what Thursday's audience got. The effect was transformative, a totally new way of looking at a long-established work.
The New York Times and The Washington Times