KristianBezuidenhout
Representation
About Kristian
Artistic Director: Freiburger Barockorchester Principal Guest Director: English Concert
Kristian Bezuidenhout has established himself as one of the most versatile and exciting musicians of our time, both as a keyboard player and conductor. Born in South Africa in 1979, he began his studies in Australia, completed them at the Eastman School of Music (Rochester, NY), and now lives in London. After initial training as a modern pianist with Rebecca Penneys, he explored early keyboards, studying harpsichord with Arthur Haas, fortepiano with Malcolm Bilson, and continuo playing and performance practice with Paul O’Dette. Kristian first gained international recognition at the age of 21 after winning the prestigious first prize and audience prize in the Bruges Fortepiano Competition.
Kristian is a regular guest soloist on fortepiano, harpsichord, modern piano with the world’s leading ensembles including Freiburger Barockorchester, Symphonieorchester des Bayerischen Rundfunks, Leipzig Gewandhausorchester, Mozarteum Orchester, Camerata Salzburg, Orchestre des Champs Elysées, Les Arts Florissants, Orchestra of the Eighteenth Century, Concertgebouw Orchestra, Chamber Orchestra of Europe, Orchestra of the Age of Enlightenment, Orchestre Révolutionnaire et Romantique, Chicago Symphony Orchestra & the Australian Chamber Orchestra. He has performed with celebrated artists including John Eliot Gardiner, Philippe Herreweghe, Bernhard Haitink, Daniel Harding, Frans Brüggen, Trevor Pinnock, Giovanni Antonini, Jean-Guihen Queyras, Isabelle Faust, Alina Ibragimova, Rachel Podger, Carolyn Sampson, Anne Sofie von Otter, Mark Padmore & Matthias Goerne.
In addition to his work as a soloist, he is increasingly in demand as a conductor, and continues explore the music of the late 17th and early 18th Centuries with groups including the English Concert (Handel Chandos Anthems, Purcell Odes, Bach St. John Passion), Tafelmusik, Collegium Vocale, Juilliard 415, Kammerakademie Potsdam & Dunedin Consort (Bach St Matthew Passion). Kristian is Principal Guest Director of both Freiburger Barockorchester and English Concert.
Kristian’s rich and award-winning discography of over 30 albums - mostly for Harmonia Mundi - includes the complete keyboard music of Mozart (Diapason d’Or de l’Année, Jahrespreis der Deutschen Schallplattenkritik, & Caecilia Prize); Schubert Die schöne Müllerin with Julian Prégardien; the complete Piano Concertos of Beethoven with the Freiburger Barockorchester; an ongoing cycle of the complete Mozart Piano Concertos with the Freiburger Barockorchester (ECHO Klassik); Bach Violin Sonatas with Isabelle Faust; Mozart Violin Sonatas with Petra Müllejans and Beethoven & Mozart Lieder and Schumann Dichterliebe with Mark Padmore (Edison Award). In 2013 he was nominated as Gramophone Magazine’s Artist of the Year. Upcoming releases include two discs of Mozart Piano Concertos with Freiburger Barockorchester to be recorded late in 2024.
The 2024/2025 season sees Kristian perform as soloist and direct a host of ensembles including Czech Philharmonic Orchestra, Orchestre des Champs-Élysées, Handel & Haydn Society, Tapiola Sinfonietta, Royal Northern Sinfonia and Irish Chamber Orchestra. He performs recitals in Europe with Anne Sofie von Otter, Sol Gabetta, Isabelle Faust, Julian Prégardien and Consone Quartet.
Representation
Season Highlights
Video
Kristian Bezuidenhout and Alina Ibragimova plays Beethoven’s Violin Sonata No. 5 in F Op.24, Spring
A clip of Alina Ibragimova playing Beethoven’s Violin Sonata No. 5 in F Op.24, Spring, with Kristian Bezuidenhout. This performance was filmed at Wigmore Hall in June 2020. Credit: Wigmore Hall
PlayingKristian Bezuidenhout, Principal Guest Director with the English Concert
Kristian Bezuidenhout discusses his projects with the English Concert, in his first season as their Principal Guest Director. Credit: English Concert
PlayingKristian Bezuidenhout, Royal Concertgebouw Orchestra, Beethoven Piano Concerto No. 2
Kristian Bezuidenhout with the Royal Concertgebouw Orchestra, conducted by Sir John Eliot Gardiner performing 1st movt of Beethoven Piano Concerto No. 2 (extract). Video courtesy of the Royal Concertgebouw Orchestra. Watch the complete performance free of charge at www.concertgebouworkest.nl/video Credit: Royal Concertgebouw Orchestra
PlayingKristian Bezuidenhout Mozart from Sonata in C – Andante (KWV 545)
Credit: vrije geluiden
Playing
Photos
News
Press
Beethoven's Piano Concerto No. 5 in E-flat major, Op. 73 'Emperor' with Australian Chamber Orchestra
Australian TourMar 2024 - Mar 2024Bezuidenhout makes the instrument sing. In the concerto’s magisterial opening, he answered the orchestra’s heroic chords with arpeggios that glistened at the top, creating vivid excitement when this passage tumultuously returns at the climax. At the appearance of the hushed second theme in Bminor, Bezuidenhout created a pearly tone that glistened delicately against the plucked ACO strings. ...Bezuidenhout articulated phrases of poetic lyricism. In the finale, Bezuidenhout and the ACO maintained excitement through their focus, rhythmic tautness and musical intensity.
- Peter McCallum, Sydney Morning Herald
- 17 March 2024
On Tuesday it was the turn of one of the world’s leading fortepiano virtuosos, Kristian Bezuidenhout, to dazzle concertgoers with an exhilarating performance of Beethoven’s Emperor Concerto with the Australian Chamber Orchestra.
- Steve Moffatt, Daily Telegraph
- 20 March 2024
Asuperbly curated programme culminating in one of the most sublime achievements of the human imagination – Beethoven’s fifth and final piano concerto – brought the composer’s sound world to glorious life at the Melbourne Recital Centre on Saturday.
- Barney Zwartz, The Age, Melbourne
- 16 March 2024
Bold chords triggered a flurry across the keyboard as the Emperor Piano Concerto rang out on Wednesday at Perth Concert Hall, where Kristian Bezuidenhout and Australian Chamber Orchestra evoked the sound and soul of Beethoven. Bezuidenhout seemed more immersed than any podium conductor, leaning into sustained passages at the keyboard but always on the qui vive for interaction with the orchestra
- David Cusworth, The West Australian
- 14 March 2024