AlinaIbragimova

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Alina Ibragimova
Alina Ibragimova

Contact

For availability and general enquiries:

For contracts, logistics and press:

Holly Cartwright

Holly Cartwright

Assistant Artist Manager

Representation

General Management with Askonas Holt

Partner Managers:
Colbert Artists (North America)
Medem Music (Spain)
Eurassic Tokyo (Japan)
Liu Kutow (China)

About Alina

The 2023/24 season sees Alina return to the Royal Stockholm Philharmonic, Netherlands Radio Philharmonic, Deutsches Symphonie-Orchester Berlin, Orchestre national de Belgique, Orchestra of the Age of Enlightenment, Camerata Salzburg and Mahler Chamber Orchestra (as their Artist-in-Residence at the Hitzacker Festival). She also debuts with the Deutsche Kammerphilharmonie Bremen and tours with the Scottish Chamber Orchestra and Kammerorchester Basel; while further ahead she performs with WDR Sinfonieorchester, London Philharmonic and Detroit Symphony.

Over the last two seasons Alina has performed concertos with the Budapest Festival Orchestra, Pittsburgh Symphony, San Francisco Symphony, Royal Concertgebouw Orchestra, London Symphony, Philharmonia Orchestra, Gürzenich-Orchester and Dresden Philharmonic, working with Robin Ticciati, Edward Gardner, Daniel Harding, Nathalie Stutzmann, Vladimir Jurowski and Maxim Emelyanychev among others.

In recital, Alina performs regularly at London’s Wigmore Hall, Berlin’s Pierre Boulez Saal, Hamburg’s Elbphilharmonie, Tokyo's Metropolitan Theatre and at the BBC Proms where she performed Bach’s Sonatas and Partitas for solo violin for in the Royal Albert Hall. She frequently collaborates with pianist Cédric Tiberghien, and is a founding member of the Chiaroscuro Quartet – one of the most sought-after period ensembles.

Alina is based in Berlin

Download programme biography   

Representation

General Management with Askonas Holt

Partner Managers:
Colbert Artists (North America)
Medem Music (Spain)
Eurassic Tokyo (Japan)
Liu Kutow (China)

Season Highlights

Aug 2023
Elbphilharmonie, Hamburg
Mozart: Violin Concerto No. 5 Scottish Chamber Orchestra Maxim Emelyanychev (conductor)
Oct 2023
Konzerthaus, Vienna
Mozart: Violin Concerto No. 3 (play-direct) Mozart: Violin Concerto No. 5 (play-direct) Camerata Salzburg
Nov 2023
Konserthuset, Stockholm
Bartók: Violin Concerto No. 1 Royal Stockholm Philharmonic Ryan Bancroft (conductor)

Selected Repertoire

Bach, JSViolin Concertos
BartókViolin Concertos No. 1 & 2
BeethovenViolin Concerto
BergViolin Concerto
Brahms Violin Concerto   •   Double Concerto
Gruber, HKNebelsteinmusik
HartmannConcerto funebre
Haydn, JViolin Concerto in C major
LigetiViolin Concerto
MendelssohnViolin Concerto in E minor   •   Violin Concerto in D minor   •   Concerto for Piano and Violin
MozartViolin Concertos No. 2-5   •   Sinfonia Concertante   •   Concertone for Two Violins
ProkofievViolin Concerto No. 1
RoslavetsViolin Concertos No. 1 & 2
ShostakovichViolin Concertos No. 1 & 2
SibeliusViolin Concerto
Strauss, RViolin Concerto
StravinskyViolin Concerto
TchaikovskyViolin Concerto
Vaughan WilliamsThe Lark Ascending
Wallin, Rolf"Whirld"
WidmannViolin Concerto No. 1
ZimmermanViolin Concerto

Sample Programmes

  • Solo Recital

    Ysaÿe: Sonata for solo violin in G 'Pastorale' Op. 27, No. 5 Paganini: Caprice in B flat Op. 1, No. 13 Paganini: Caprice in E flat Op. 1 No. 19 Paganini: Caprice in A minor Op. 1 No. 24 Berio: Sequenza VIII interval Biber: Passacaglia in G minor 'The Guardian Angel' Bartók: Sonata for solo violin BB124

  • Duo Recital with Cédric Tiberghien

    Janáček: Violin Sonata Enescu: Violin Sonata No. 3 interval Gerald Barry: Triorchic Blues Beethoven: Violin Sonata No. 9, “Kreutzer”

News

Press

  • Beethoven Violin Concerto with Deutsches Symphonie-Orchester Berlin and Václav Luks

    Berlin Philharmonie
    May 2024
    • Alina Ibragimova scaled the greatest musical heights, yet in the most endearing manner. Avoiding ostentatious virtuosity, she played with a purity of intonation seldom heard, understanding like few others how to really make music with an orchestra. Rather than storming brazenly ahead, she turned to her colleagues again and again, integrating herself both audibly and visibly into the proceedings, which led to a totally natural and coherent homogeneity. This Beethoven could hardly have been more beautiful or more moving.

      • Berliner Morgenpost