Ewa Strusińska is General Music Director of the Gerhart Hauptmann Theater Görlitz-Zittau and Principal Conductor of the Neue Lausitzer Philharmonie since 2018/2019. Straight away in her first season, she brought new standards and fresh ideas with her concert programs to this European corner of Germany. She attracted considerable attention outside the region with broadcasts and portraits in radio, TV and the press.
In the season 2019/2020, she will conduct a wide range of new productions such as Meyerbeer‘s Dinorah, Tosca, Don Giovanni as well as Kurt Weill’s Aufstieg und Fall der Stadt Mahagonny. Her concert repertoire this season extends from Joseph Haydn to Józef Koffler with Henryk Wieniawski and Gustav Mahler’s 9th symphony in between.
As a guest conductor, Ewa Strusińska will return to the Brandenburgisches Staatsorchester Frankfurt/Oder, to the Warsaw Philharmonic Orchestra and to the Landesjugendorchester Berlin at the Konzerthaus Berlin. She is also more and more in demand for international competitions: in June 2019 she conducted the BBC National Orchestra of Wales at the BBC Cardiff Singers of the World Competition and in September 2019, she will preside the jury at the prestigious Aeolus Wind Competition at the Tonhalle Düsseldorf.
From 2013 to 2016, Ewa Strusińska held the position of Music Director and Principal Conductor of the Szczecin Philharmonic Orchestra where she left a lasting mark on the music life of the city and led the orchestra to a previously unknown brilliance in the new Philharmonic Hall.
In Poland, she has worked during the last years with orchestras like the National Symphony Orchestra of the Polish Radio Katowice, the orchestras of Łódź, Bydgoszcz, Opole and Olsztyn. She regularly returns to the Sinfonia Varsovia and the Orchestra of the Beethoven Academy in Cracow.
She also conducted orchestras like the Jena Philharmonic, the Norddeutsche Philharmonie Rostock, the Sinfonietta Baden, the Uppsala Chamber Orchestra, the Gävle Symfoniorkester, the Sønderjyllands Symfoniorkester, the Slovak Sinfonietta, the Johannesburg Philharmonic, the Northern Sinfonia as well as the Norrlands Opera Symphony Orchestra.
A very important aspect of Ewa Strusińska’s activity is in the lyric field. She gathered wide experience with the repertoire at the Buxton Opera Festival in Great Britain, at the Royal Northern College of Music, at the Royal Ballet Covent Garden and then as an assistant in Warsaw’s National Opera and Ballet from 2011 – 2013. Here she worked on not only well-known Italian and German repertoire but also on rarities like Stravinsky’s Le Rossignol, Dusapin’s Medeamaterial and Stanislaw Moniuszko’s The Haunted Manor, directed by David Pountney. After her debut at the Magdeburg Opera in January 2016 with Tchaikovsky’s Sleeping Beauty, she was reinvited in March 2017 for a new production of the Csárdásfürstin.
Ewa Strusińska has a particular commitment to getting music across to young people and to prepare musicians of the future. She teaches at the Royal Northern College of Music in Manchester, conducts different orchestras and choirs in England and regularly works with the Landesjugendorchester Berlin and the South African National Youth Orchestra.
After her diploma at the Fryderyk Chopin Music Academy in Warsaw, Ewa Strusińska became known abroad as a laureate of the Bamberg Symphony’s Conducting Competition Gustav Mahler in 2007. From 2008 – 2010 she worked as the assistant conductor of Sir Mark Elder with the Hallé Orchestra in Manchester and participated in numerous master classes led by Antoni Wit, Gabriel Chmura, Bruno Weil, Kurt Masur and Valery Gergiev with the London Symphony Orchestra.
After her recording of works by Moniuszko, Chopin and Lutoslawski with the orchestra of the Beethoven Academy and pianist Martin Labazevitch (Delos 2015), her new recording of the Symphony No. 4 by Grażyna Bacewicz with the Sinfonia Varsovia will be released this year.
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Ewa Strusinska left an indelible impression with the jampacked audience after taking the Northern Sinfonia through its paces with her dynamic and incisive direction.
Viva La Maestra! Why are women conductors still something of a rarity? Rachel Pugh puts this question to some of those who have successfully stepped up onto the rostum.
Ms Strusinska gave us a powerful delineation of the contrapuntal flow, while getting to the heart of the matter regarding Schumann’s swooping romanticism and leading to a resounding climax.