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Daniel Raiskin, conductor

b i o g r a p h y...........back to roster....up June 2010 Conductor Daniel Raiskin was born in St. Petersburg and has been trained in the best Russian-European musical tradition. He has studied viola in St. Petersburg, Amsterdam and in Freiburg. At the same time Mr. Raiskin has studied orchestral conducting with Lev Savich in St. Petersburg and at various master classes with Neeme Järvi, Mariss Jansons, Milan Horvat and Jorma Panula among others. Chief Conductor of Staatsorchester Rheinische Philharmonie since 2005 and recently renewed until 2013, Daniel Raiskin ranks among the most versatile musicians of his generation and has established himself as one of the leading European violists before embarking on a career as conductor. His contract with that His international career brought him to such major venues as the Musikverein Vienna, Berlin Philharmonic, Berlin Konzerthaus, Concertgebouw Amsterdam, Tonhalle Zürich, Cologne Philharmonic, Munich Philharmonic, St. Petersburg Philharmonic, Victoria Hall Geneva, Sala Verdi del Concervatorio Milano, Mozarteum Salzburg as well as Lincoln Center, New York. Daniel Raiskin has frequently performed with a great number of leading orchestras, including: Wiener Symphoniker, St. Petersburg Philharmonic Orchestra, Mozarteum Orchester Salzburg, Berlin Symphony Orchestra, Beethoven Orchestra Bonn, Orchestre National de Lille, Staatskapelle Weimar, Staatsphilharmonie Rheinland-Pfalz, Netherlands Philharmonic Orchestra, Norwegian Radio Symphony Orchestra, RTÉ National Symphony Orchestra of Ireland, Athens State Symphony Orchestra, Orquestra Nacional do Porto, Geneva Chamber Orchestra, London Chamber Orchestra, Norddeutsche Philharmonie, Israel Sinfonietta, Zagreb Philharmonic Orchestra and Estonian National Symphony Orchestra. 2010 started with a bang as Daniel Raiskin inaugurated the Chopin Year in Poland with Lang Lang and the Artur Rubinstein Philharmonic Orchestra Lodz in a well-received performance of Chopin's 1st Piano Concerto. Two consecutive productions of Mahler's 5th Symphony both in Poland and Germany followed. Mr. Raiskin’s 2008/09 season began with a Chief Conductor appointment of the "A. Rubinstein" Philharmonic Orchestra in Poland’s 2nd largest city Lodz. Maintaining an already busy schedule with the Staatsorchester Rheinische Philharmonie, Daniel Raiskin also made his debut with the Holland Symfonia, Copenhagen Philharmonic Orchestra, Prague Radio Symphony Orchestra, Orquesta Sinfonica Nacional de Mexico (with immediate re-engagement for 2010), Deutsche Kammerakademie, Mainz State Philharmonic Orchestra and Basel Collegium. He was also re-engaged with The Netherlands Symphony Orchestra, Northen Sinfonia Oulu in Finland, Tallinn Chamber Orchestra and others. In March 2009, Daniel Raiskin took the Staatsorchester Rheinische Philharmonie on tour in Europe with highlights in Salzburg’s Grosse Festspielhaus, Milan’s Sala Verdi, Amsterdam’s Concertgebouw and Antwerp’s Queen Elisabeth Hall. A demanding season 2007/08 saw a string of debuts and re-invitations by such orchestras as the Prague Symphony Orchestra, Darmstadt Philharmonic Orchestra, Staatskapelle Halle, Prague Philharmonia, Latvian National Symphony Orchestra, Warsaw Radio Symphony Orchestra, Limburg Symphony Orchestra, The Brabant Orchestra, Stuttgart Chamber Orchestra and The Netherlands Symphony Orchestra. A European tour with the Polish National Radio Symphony Orchestra and cellist Daniel Müller-Schott took Daniel Raiskin again to important venues such as Amsterdam’s Concertgebouw, Cologne Philharmonic and Antwerp’s Queen Elisabeth Hall among others. In June 2008 Mr. Raiskin conducted the Beethoven Orchestra Bonn and Staatsorchester Rheinische Philharmonie during the German Music Competition, accompanying the finals. During the 2006/07 season he worked with the Hong Kong Sinfonietta in a live televised concert, RTE National Symphony Orchestra of Ireland, Residentie Orchestra (Hague Philharmonic), The Brabant Orchestra, Deutsche Staatsphilharmonie Rheinland-Pfalz, Hamburg Symphony Orchestra, Jena Philharmonic Orchestra, Netherlands Wind Ensemble as well as leading a Carmen production at The Netherlands Opera South, directed by Calixto Bieito. Again, the 2005/06 season has been full of exciting engagements by such orchestras as the Mozarteum Orchestra Salzburg, Stavanger Symphony Orchestra, Stuttgart Chamber Orchestra, Staatsorchestr Rheinische Philharmonie, Latvian National Symphony, Northwest German Philharmonic Orchestra, Orquestra Nacional do Porto. He toured in Germany and the Netherlands with the Czech National Symphony orchestra in the fall of 2005 and took Wroclaw Philharmonic Orchestra, where he has served as Principal Guest Conductor since 2002, on a 3 weeks long tour of Europe in February 2006. During this tour Daniel Raiskin conducted at the Vienna Musikverein and Salzburg’s Grosse Festspielhaus, Cologne Philharmonic and Tonhalle Zürich, Queen Elisabeth Hall Antwerp and Essen Philharmonic, among other venues. A strong advocate of contemporary music, Daniel Raiskin has performed a great number of works by such composers as Alfred Schnittke, Arvo Pärt, Gija Kancheli, Mark A. Turnage, Peteris Vasks, Aluis Sallinen, Anders Hillborg, Wolfgang Rihm, Sofia Gubaidulina, Evgen Stankovich and many others. Daniel Raiskin regularly devotes time to conduct opera and conducted the Netherlands Opera Zuid production of Bizet's "Carmen" in the 2006-07 season and 2007-08 another "Carmen" production at the Koblenz City Theater. He opened the Festival of Cesky Krumlov in Czech Republic with an Opera Gala concert, featuring Alison Bolshoi, Eric Jordan and Richard Zeller in July 2008 and led and Mozart Opera Gala concert I Koblenz in September 2008. He has collaborated with such renowned soloists as Natalia Gutman, Shlomo Mintz, Julian Rachlin, Janine Jansen, Dmitri Sitkovetsky, Benjamin Schmid, Daniel Müller-Schott, Martin Fröst, Steven Osborne, Peter Jablonski, Alexei Lubimov and many others. b i o......r e v i e w s..... back to roster...up . . . .

. r e v i e w s...........back to roster....up ‘Driven Mozart’ Rhein Zeitung, January 8, 2007 Mozart’s 40th in G Minor, the second of his three last Symphonies, marks a very own way in comparison to a great number of composers many wonderful masterworks. Serious, dramatic, tragic, for the 18t century unprecedentedly subjective and by this anticipating Beethoven. Thanks to recognisability and sensitivity of its motives the work is a true evergreen, which, sadly, has bin much misused by “soft classic”, pop and commercials. Raiskin and orchestra give the Symphony its depth back. Right from the start of the 1st movement: driven, a little weighty but strongly accentuated, not softening the darkness. Conductor obviously has a concept of the work: he is searching for Beethoven-like impetus in late Mozart, and where he finds it, he clearly underlines it. Risky, but herewith even more suitable is the reading of the 2nd movement: this interpretation brings out the collisions of Andante to the surface, avoids slippery-sweet, offers almost too much gravity, but then again: almost! Arresting Menuet is denied any kind of artificial “court dance” gesture, where the trio breaths quiet in a correspondence between Violins and Winds. An explosive Final movement is exciting. 'Carmen' Rhein Zeitung, Claus Ambrosius, September 17, 2007 "'Carmen' premiere has shown us the level at which the Opera productions in Koblenz are possible when a well chosen soloists ensemble works with a skilful conductor, who enjoys an orchestra’s doubtless respect... An experienced orchestra conductor, Raiskin brings volumes of musical refinement to 'Carmen'. Here the entr’actes are turned to little treasures, moreover details are heard that so often disappear. And the singers can obviously rely on a fare partner, who does not cover them with an orchestra surge, which can often be a problem in this theatre... A Koblenz Opera evening that makes one happy!" Tchaikovsky's "Wojwode" In Darmstadt Frankfurter Allgemeine, 4 September 2007 'Guest conductor Daniel Raiskin offered a captivating interpretation together with the Darmstadt State Theater...' 'Mussorgsky's "Pictures at an Exhibition" in Ravel's orchestration was heard last in an intensive sounding and well proportioned interpretation'. Shining Start Darmstädter Echo, September 4, 2007 Anyone who decides to include such a popular piece as Mussorgsky's 'Pictures at an Exhibition" orchestrated by Ravel in a program can be certain of receiving applause. Daniel Raiskin, who was guest conductor in the new season's opening concert presented works by Slavic composers and was awarded with massive and prolonged applause. It was clear from the beginning that Raiskin, chief conductor of the Staatsorchester Rheinische Philharmonie Koblenz, had arched the piece in a constantly intensifying line, which culminated in the great gate of Kiev. Here everything shone in brilliancy and glamour. It was wonderful with contrasting introvert chorale in the woodwinds. It allowed the brass together with the extended percussion section to rise all the more powerfully. The orchestra of the Staatstheater made music light heartedly, unconstrained and refreshed after their holiday. And it was definitely Raiskin who with his fascinatingly elegant left hand lead through the thicket of the orchestration, which he once in a while had to dissect to ensure a sufficient transparency. This was also an asset to the other movements, particularly the merry dance of the chickens in their egg shells and the sharp rhythms in the martial ride of Baba Yaga, which reminded of Stravinsky's 'Sacre'. The opening piece was a discovery: the barely known Symphonic Ballade "Wojwode" by Tchaikovsky based on a work by Pushkin.... Raiskin was knife sharp in his conducting and sensitive to the piece's finest nuances. Daniel Raiskin Offered The City Hall Audience Moments Of Splendor. Die Welt, July 17, 2007 ..where the orchestra under Daniel Raiskin experienced true moments of real splendor. Raiskin had chosen to conduct Brahms: Second Symphony and he made it sound lively and fresh. His flexibly relaxed body language seemed to be transferred effortlessly to the orchestra, although with his knife-sharp view on essentials, brought precision to the extreme. If the woodwinds were allowed to shine in Brahms, the horns and clarinets had their great moments in the Oberon Overture. Raiskin offered the music to float lavishly, let the taut increasing accents bounce like balls for immediately again to take charge of the events. b i o.......r e v i e w s back to roster...up .

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