„Baiba Skride is never less than mesmerising in the Brahms Concerto“Strad Magazine
Baiba Skride’s natural approach to her music-making has endeared her to some of today’s most important conductors and orchestras worldwide. She is consistently invited for her refreshing interpretations, her sensitivity and delight in the music. The list of prestigious orchestras with whom she has worked include the Berliner Philharmoniker, Boston Symphony Orchestra, Royal Concertgebouw Orchestra (Amsterdam), Symphonieorchester des Bayerischen Rundfunks, Orchestre deParis, London Philharmonic Orchestra, Gewandhausorchester Leipzig and NHK Symphony Orchestra. Notable conductors she collaborates with include Olari Elts, Christoph Eschenbach, Ed Gardner, Susanna Mälkki, Andris Nelsons, Andres Orozco-Estrada, Santtu Matias Rouvali, Vasily Petrenko, Andris Poga, Yannick Nézet-Séguin, Dima Slobodeniouk, Tugan Sokhiev, John Storgårds and Xian Zhang.
Summer 2017 sees her give her debut with the Mariinsky Orchestra in St Petersburg. Festival appearances include the Schleswig-Holstein Musik Festival and Grafenegg Festival (on tour with the European Union Youth Orchestra). In the 2017/18 season, Skride returns to the Berliner Philharmoniker for the third time in 8 years, playing Shostakovich violin concerto No.2 under Dima Slobodeniouk’s baton. Further highlights include her return to New York Philharmonic with Susanna Mälkki and to the Gewandhausorchester with Andris Nelsons, Deutsches Symphonie-Orchester Berlin, City of Birmingham Symphony Orchestra, BBC National Orchestra of Wales, Royal Scottish National Orchestra, Orchestre National du Capitole de Toulouse, Orchestre Philharmonique du Luxembourg, a Spain tour with Copenhagen Philharmonic, Lahti Symphony Orchestra with a concert at Stockholm’s Konserthuset. In Asia she returns to NHK Symphony Orchestra and she makes her debut with Hong Kong and Malaysian Philharmonic Orchestras.
Contemporary music has become central to Baiba Skride’s music making. Her special relationship and admiration for Sofia Gubaidulina’s music reached another climax at the world premiere of Gubaidulina’s Triple concerto for violin, cello, and bayan with Boston Symphony Orchestra in February 2017. Baiba Skride is looking forward to further country premieres of the Triple concerto with Netherlands Radio Philharmonic Orchestra, NDR Radiophilharmonie Hannover and Orchestre Philharmonique de Radio France in Paris in the 2017/18 season.
Baiba Skride is a sought after chamber musician internationally. Only last season she has formed the Skride Quartet with Lauma Skride, Harriet Krijgh and Lise Berthaud. In 2017/18 invitations take them to the Utrecht Chamber Music Festival, Schubertiade Schwarzenberg and the Concertgebouw Amsterdam, amongst others. In the same season she also performs in quintet with Alban Gerhard, Brett Dean, Gergana Gergova, Amihai Grosz including performances at the Muziekgebouw Amsterdam, Philharmonie Luxembourg and Tonhalle Zurich.
Skride was born into a musical Latvian family in Riga where she began her studies, transferring in 1995 to the Conservatory of Music and Theatre in Rostock. In 2001 she won the 1st prize of the Queen Elisabeth Competition. Baiba Skride plays the Yfrah Neaman Stradivarius kindly loaned to her by the Neaman family through the Beares International Violin Society.
“A player of exemplary clarity and precision, that is never at the expense of emotion, even in the most demanding passages.”The Herald, Keith Bruce, 15.12.2017
“Skride produces a marvelous tone that ranged from ethereal and fragile at the opening of the concerto, to more meaty and powerful as the technically demanding concerto progressed. Dressed in a lavish gown, Skride had an interesting story to tell, and she did so in a convincing way. Especially in the second movement, Adagio di molto, Skride created moments of incredible and indescribable beauty and intensity. There was a clearly audible, collective release of breath on the part of the audience after the movement ended and the last note had faded.”San Francisco Classical Voice, Niels Swinkels, 31.10.2017
“Skride […] plays with a combination of dramatic intensity and tonal heft that reinforce each other. There’s no way to listen to her play without feeling that something consequential is afoot. […] One technique that makes Skride’s playing so devilishly effective, to be sure, is her way of commanding center stage — not physically, but rather in the context of a musical texture”SFGate.com, Joshua Kosman, 27.10.2017
“The opening solo in the Adagio of Mozart’s Fifth Violin Concerto provided a template for the way Baiba Skride approached the whole work: beautiful, simple playing, with exquisitely crafted phrases.”The Strad, Tim Homfray, 01.2017
“Stenhammar's relatively early Violin Sonata combines romantic ardour and lyrical generosity with playfulness in a manner not quite like anyone else. This is very mushc a sonata 'for' the violin, and Baiba Skride clearly relishes its masterly solo writing.”BBC Music Magazine, Stephen Johnson, 12.2016
“Skride exhibited virtuosity, musicality and absolute control and mastery of dynamics from the very first moment. There were no passages too technically difficult that could have phased her. On the contrary, she seemed to ease into the performance with a luminous naturalness. And her dialogue with the orchestra was always agile and fluid [...]”elPeriodico, César López Rosell, 26.11.2016
“She is a player of rare intelligence and individuality [...].”Gramophone, Andrew Mellor, 10.2016
“She brought out the tenderness and introspection in Sibelius' circling lyrical passages. Her playing had a wonderful purity, clarity and quiet to match the patience of the music, especially in the hushed soliloquy that is the slow movement.”Chicago Tribune, John von Rhein, 28.10.2016
“Double-stopped layers Skride dispatched like child's play, and to the score's extended, twisting ruminations, she applied the precision of a laser beam. Snarling anger and biting sarcasm also came naturally to her, and her Adagio possessed both the power and molten intensity of a lava stream.”Cleveland.com, Zachary Lewis, 17.10.2016
“Of course she was brilliant, but essentially her performance had a depth of delicacy and rapture that froze me to my seat. There were no two ways about it, Skride’s playing was in another league. I could not believe that a single instrument could fill the Hall with such silky precision while creating endless, gorgeous melodies.”The Express, Jeffrey Taylor, 04.09.2016
“Ms. Skride brought a wide tonal palette to her insightful and passionate interpretation, her tone meaty and bold to open, then sweet, gossamer and brash. The lyrical lines unfolded with soaring energy, and she surmounted the technical challenges with aplomb.”New York Times, Vivien Schweitzer, 26.02.2016
“She had much to say about the music, through gutsy attack, tender lyricism and sheer musicianship, which freshly shaded and shaped the score to passionate heights and confiding entreaties.”Classical Source, Colin Anderson, 12.02.2016
“Skride’s pure, shimmering tone has a way of creating an aura around itself: the most memorable moments of this performance were the quietest and Skride’s delicate final gesture spoke louder than any number of lush climaxes.”Birmingham Post, Richard Bratby, 05.02.2016
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