London Philharmonic Orchestra Principal Guest Conductor Karina Canellakis Extends Contract For Further 3 Years

The London Philharmonic Orchestra has announced that Principal Guest Conductor Karina Canellakis has extended her contract for a further three years. She will continue to regularly perform with the Orchestra both in the UK and on tour.

Canellakis took up the post in September 2021 and has enjoyed many highlights so far including giving the UK premiere of Tania León’sHorizons in October 2023, the first presentation of León’s music as the LPO’s new Composer-in-Residence. Canellakis’s performance of Dvořák, Brett Dean and Brahms in October 2022 earned a 4* review in The Times in which she was praised for her ‘organised and crystal-clear direction’ allowing ‘virtuosic performances’ from LPO musicians.

Canellakis’s concert in March 2023 with Vadym Kholodenko performing Prokofiev’s Piano Concerto No. 3 sold out the Royal Festival Hall, and she also delighted audiences at Brighton Dome, where the LPO is Resident, in October 2022 with a programme of Sibelius and Beethoven. 

She led the Orchestra on tour to Germany in March 2023 and is taking programmes of Mussorgsky, Shostakovich, Tchaikovsky, Brahms and Mozart to Greece, Austria and Germany from 23–27 February 2024, culminating in a performance at the Musikverein Vienna on 27 February as part of her season-long residency there. See here for more information. 

Off the concert platform, Canellakis has been involved in ensuring the pipeline of talent into the industry by working with LPO Junior Artists, answering their questions via video recording. This scheme is the LPO’s free orchestral experience programme for talented young musicians from backgrounds currently under-represented in professional UK orchestras. She has also recorded two episodes of the British Podcast Award-nominated podcast ‘LPO Offstage’: Inside Beethoven’s Symphony No. 3 ‘Eroica’ (Season 5, Ep. 8) in which she unpacked the work with LPO Principal Horn Annemarie Federle, and Keeping in Shape (Season 6, Ep. 8) in which she talked about performance anxiety and how to stay in top shape as a musician.

The LPO is delighted to be performing with Canellakis again on Wednesday 21 February 2024 when she will conduct a programme of Mussorgsky’s Dawn on the Moscow River (Prelude to Khovanshchina), Shostakovich’s Cello Concerto No. 1 with Pablo Ferrández, and Brahms’s Symphony No. 4. The concert is being recorded for future broadcast on Marquee TV. Tickets can be purchased here.

Karina Canellakis, Principal Guest Conductor of the London Philharmonic Orchestra says: ‘I have had such a wonderful time conducting the London Philharmonic Orchestra during the past three years and am thrilled to be working with them for a further three.  It’s the response to the in-the-moment spontaneity that is so incredible with this Orchestra and which makes it an electrifying experience both for me and the audience. I can’t wait to continue making music together!’

Elena Dubinets, Artistic Director of the London Philharmonic Orchestra says: ‘I am delighted that Karina has extended her contract with the LPO for three more years. In our time together so far, she has already given us many thrilling evenings. From her detailed readings of Beethoven to her powerful interpretations of Shostakovich, audiences know they will always experience something magical when she is on the podium. It has been great to work with Karina on new compositions too; her deep understanding and love for the classical music canon allows her to enjoy the wonder of bringing something new to the world. I am looking forward to the gratifying experiences that await us in the future.’

Martin Höhmann, President and First Violinist of the London Philharmonic Orchestra says: ‘Karina is a fantastic conductor and great musician. We enjoy working with her in London and on tour very much. Her attention to detail is second to none and her depth of knowledge of the repertoire always inspires a thrilling concert experience. As musicians we can sense her love and respect for the score and I admire how she brings out the musicality of each individual performer, leaving room for us to play to the best of our creative ability. I am so looking forward to what this continuing partnership will bring.’

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