Kirill Karabits, Conductor
Kirill Karabits

Kirill Karabits

Conductor
Bio: Kirill Karabits has been Chief Conductor of the Bournemouth Symphony Orchestra for 12 years and their relationship has been celebrated worldwide. Together they have made many critically acclaimed recordings, performed regularly at the BBC Proms and last season appeared together at London’s Barbican Centre as part of the Beethoven celebrations. Karabits has worked with many of the leading ensembles of Europe, Asia and North America, including the Cleveland, Philadelphia, San Francisco and Chicago Symphony orchestras, Munich Philharmonic, Orchestre National de France, Philharmonia Orchestra, Wiener Symphoniker, Rotterdam Philharmonic, Yomiuri Nippon Symphony Orchestra, Orchestra Filarmonica del Teatro La Fenice and the BBC Symphony Orchestra – including a concertante version of Bluebeard’s Castle at the Barbican Centre. Kirill enjoys a special relationship with the Russian National Orchestra with whom he returned to the Edinburgh Festival in the 2018-19 season, and more recently embarked on extensive European and North American tours with Mikhail Pletnev which included his New York debut at the Lincoln Center. The 19-20 season saw Kirill debut with the Dallas Symphony as well as return visits to the Minnesota Orchestra and Bamberger Symphoniker. Highlights of the 2020-21 include his debut with the Chamber Orchestra of Europe in London and on tour in Asia and return visits to the Orchestre National Capitole de Toulouse, Polish National Radio Symphony Orchestra and Antwerp Symphony Orchestra at the Bozar in Brussels. He was named Conductor of the Year at the 2013 Royal Philharmonic Society Music Awards.
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Bio: Kirill Karabits has been Chief Conductor of the Bournemouth Symphony Orchestra for 12 years and their relationship has been celebrated worldwide. Together they have made many critically acclaimed recordings, performed regularly at the BBC Proms and last season appeared together at London’s Barbican Centre as part of the Beethoven celebrations. Karabits has worked with many of the leading ensembles of Europe, Asia and North America, including the Cleveland, Philadelphia, San Francisco and Chicago Symphony orchestras, Munich Philharmonic, Orchestre National de France, Philharmonia Orchestra, Wiener Symphoniker, Rotterdam Philharmonic, Yomiuri Nippon Symphony Orchestra, Orchestra Filarmonica del Teatro La Fenice and the BBC Symphony Orchestra – including a concertante version of Bluebeard’s Castle at the Barbican Centre. Kirill enjoys a special relationship with the Russian National Orchestra with whom he returned to the Edinburgh Festival in the 2018-19 season, and more recently embarked on extensive European and North American tours with Mikhail Pletnev which included his New York debut at the Lincoln Center. The 19-20 season saw Kirill debut with the Dallas Symphony as well as return visits to the Minnesota Orchestra and Bamberger Symphoniker. Highlights of the 2020-21 include his debut with the Chamber Orchestra of Europe in London and on tour in Asia and return visits to the Orchestre National Capitole de Toulouse, Polish National Radio Symphony Orchestra and Antwerp Symphony Orchestra at the Bozar in Brussels. He was named Conductor of the Year at the 2013 Royal Philharmonic Society Music Awards.
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Repertoire

Composer & WorkRoleProductions
Bach,CPE
Johannes-PassionConductor1
Britten
Death in VeniceConductor1
Condé
Les Orages désirésConductor1
Debussy
Pelléas et MélisandeConductor1

Biography

Kirill Karabits
Kirill Karabits
Conductor
Full name: Kirill Karabits

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Reviews

After the long, drawn chords serving as a series of question marks, I adored Karabits and the BSO in the First. The Allegro con brio of the opening movement had real zing – clean, lean and urgent – and the Haydnesque wit of the finale was a joy, Karabits, conducting without a baton but with a huge smile. Their Third Symphony was extremely satisfying, with a very moving Marcia funebre. After the thrills and spills of the bloodsport which is natural horn playing in the OAE’s Eroica, it was sobering to realise that even with the safety net of valved horns (and a bumper), there were still spillages in the Scherzo’s Trio section.
Mark Pullinger

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