Veronika Eberle

Credit: Felix Broede


Veronika Eberle’s exceptional talent and the poise and maturity of her musicianship have been recognised by many of the world’s finest orchestras, venues and festivals, as well as by some of the most eminent conductors. In 17/18, Veronika will appear with the Orchestre National de Lille, RTE National Symphony Orchestra of Ireland, London Symphony Orchestra with Bernard Haitink, Orchester Philharmonique de Strasbourg and the Hamburg Philharmonic. Highlights will include debut concerts with the Chamber Orchestra of Europe with Yannick Nézet-Séguin, tours of Australia and Japan as well as concerts with the Hamburg Opera for the revival of Alban Berg’s Lulu.

Sir Simon Rattle’s introduction of Veronika aged just 16 to a packed Salzburg Festpielhaus at the 2006 Salzburg Easter Festival in a performance of the Beethoven concerto with the Berliner Philharmoniker, brought her to international attention. Key orchestra collaborations since then include the London Symphony (Rattle), Concertgebouw (Holliger), New York Philharmonic (Gilbert), Montreal Symphony (Nagano), Munich Philharmonic and Gewandhaus Orchestras (Langree), Rundfunk Sinfonieorchester Berlin (Janowski), Hessischer Rundfunk Sinfonieorchester (P.Järvi), Bamberger Symphoniker (Ticciati, Nott), Tonhalle Orchester Zurich (M.Sanderling), NHK Symphony (Kout, Stenz, Norrington) and Rotterdam Philharmonic (Rattle, Gaffigan, Nézet-Seguin).

Born in Donauwörth Southern Germany, she started violin lessons at the age of six and four years later became a junior student at the Richard Strauss Konservatorium in Munich with Olga Voitova. After studying privately with Christoph Poppen for a year, she joined the Hochschule in Munich, where she studied with Ana Chumachenco 2001-2012.

Veronika Eberle plays the ‘Dragonetti’ Stradivarius (1700), on generous loan from the Nippon Music Foundation.


Performance Schedule

Online Performances

  • 15 Oct 17 Mendelssohn Violin Concerto London Symphony Orchestra with Bernard Haitink
    Barbican, London
    More info  

    “…Eberle’s playing was undeniably of the first rank, unblemished and of crystalline purity…”

    David Trusllove, Bach Track 17th October 2017

  • 01 Oct 17 Brahms Violin Concerto RTE National Symphony Orchestra
    National Concert Hall, Dublin
    More info  

    “…Eberle’s tone was a like warm glow of sunshine breaking through the clouds….”

    “… It takes an exceptionally courageous, musically mature violinist to tackle Brahms’ only violin concerto. The formidable demands it makes on the soloist, technically, emotionally and musically, are enough to make even the great violinists think twice before taking it on. And courageous and utterly capable German violinist Veronika Eberle proved to be…”



  • 26 Apr 17 Mozart: Violin Concerto no. 4 K218 Munchener Kammerorchester
    Teatro Colon, Buenos Aires
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    “En las manos de Eberle, el Andante cantabile fue un auténtico canto del violín, e hizo morir el rondó con el pianissimo más ingrávido que pueda imaginarse.”

    La Nacion ( Argentina)

  • 15 Feb 17 Berg 'Lulu' ( Berg Violin Concerto)
    Staatsoper Hamburg
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    “Und dann wurde es doch wieder hell im Orchestergraben, und Nagano und sein Philharmonisches Staatsorchester spielte so sinnlich, so trennscharf, so farbenreich und zusammenhängend, wie es vorher viel zu selten hatte gelingen wollen. Sie spielten Alban Bergs Violinkonzert, gewidmet “Dem Andenken eines Engels”. Solistin ist die anbetungswürdige Veronika Eberle, mit vollem, sprechendem Ton, mit brillanter Technik. Ein Epilog, wie er im Buche steht: Das Beste zum Schluss.“

    Frankfurter Allgemeine Zeitung

  • 31 Jul 15 Shostakovich Concerto no.1
    Hong Kong Sinfonietta
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    “The climax of the concerto was a cadenza in the Passacaglia: Andante movement. A see-saw murmur built relentlessly to wild cross-string bowing in a controlled rant. Eberle was flawless, with a warm, glowing sound, clean octaves and perfectly secure shifts up and down the fingerboard”.
    South China Post

  • 08 Feb 15 Concert with Munich Kammerorkest
    Prinzregenttheater, Munich
    More info  

    “Ihr Mozart ( G Dur Konzert) und Haydn ( C Dur Konzert) kommen so blitzgescheit, so tief ausgeleuchtet und dennoch voller Spielfreude daher”
    TZ München

  • 27 Feb 15 Berg Concerto
    Bamberg Symphoniker, Robin Ticciati
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    “Und Veronika Eberle löste den emotionalen Aspekt dieses Wekes auch sehr gut ein dieses Springen zwischen tiefer Trauer resignativer Melancholie und flüchtende Ausbrüche in eine akzentuierte tänzerische Heiterkeit Mahlerscher Provenienz.”

    Fränkisher Tag

  • 01 Jun 14 Beethoven Violin Concerto
    London Symphony Orchestra, Sir Simon Rattle
    More info  

    “Whilst it had always seemed meandering in previous performances I have seen, Rattle and soloist Veronika Eberle shaped the sublime ebb and flow of the movement beautifully. The Larghetto was warm and spacious, and the LSO produced some startlingly tender pianissimi. Eberle’s Stradivarius lived up to its reputation and her musicality matched its rich, golden tone. The finale brimmed with vitality so powerful that I was suddenly struck by how reminiscent this movement is of the third movement “Merry gathering of country folk” of the Pastoral Symphony.”

    “Rattle and Eberle probed ever more searchingly under the skin of a concerto which is sometimes treated as merely the quintessence of serenity. Not here, however. Exceptionally delicate dynamics were a hallmark throughout, as both orchestra and soloist spun the first and second movements out into the merest scintillas of sound, which made the closing rondo all the more impressive for being harder won than usual.”
    The Guardian

  • 30 Apr 14 Beethoven Violin Concerto
    St Paul Chamber Orchestra, R Abbado
    More info  

    “…among the most exciting, pulse-pounding, confidently rendered interpretations of the Beethoven Violin Concerto that I’ve encountered in decades of concerts…Her combination of a wonderfully pure tone and a full, forceful sound gave an early indication that she was a special musician, but it soon became clear that she was also an interpreter of tremendous depth. Seldom do you hear such roiling conflict emerge in the Beethoven concerto’s first movement, Eberle’s lovely high trills giving way to lyrical lines soaring above the orchestra, then the two astoundingly co-existing in her cadenza.”  

  • 05 Apr 14 Beethoven Heildelberger Frühling
    with Igor Levit, piano
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    “Sie nehmen ihre Interpretation dynamisch extrem zurück, einmal, im langsamen Satz, sogar bis an die untere Hörschwelle. Jedes Detail gewinnt dadurch eine Leuchtkraft, als betrachte man ein mit Zeichen und Figuren übervölkertes Gemälde durch die Lupe. Dass das Ergebnis in keiner Weise manieriert klingt, sondern gerade das Disparat-Vielgestaltige und radikal Zukunftsweisende des späten Beethoven offenlegt, ist eine der kleinen Sensationen dieses Abschlusskonzertes”.
    Frankfurter Allegemeine

  • 28 Jun 14 Recital
    Wigmore Hall, with Shai Wosner, piano
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    “The phrasing and interplay between Eberle and Wosner were immaculate and both players captured the feverish and unsettled character of the music…As the music progressed, Eberle whipped things up to create a dark and grotesque expressionist nightmare in a really superb piece of violin playing…The final galloping tarantella was played with enormous energy and verve and the rhythms remained taut throughout before both players drove the sonata to its triumphant conclusion.

    (Beethoven: Sonata in A major, Schönberg: Phantasy, Beethoven: Kreutzer Sonata)

    Seen and Heard International

  • 14 Oct 12 Mendelssohn Violin Concerto
    Scottish Chamber Orchestra
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    “The symphony was prefaced by a beguilingly energetic and beautiful performance of Mendelssohn’s Violin Concerto by Veronika Eberle”
    Scottish Herald

    “no-one could argue with the quality of the playing, which was magnificent: delicate and sparkling, almost forensic in its precision.”
    Seen and Heard International

  • 18 Dec 09 Vivaldi Four Seasons
    Los Angeles Philharmonic
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    “Eberle was a commanding stage presence even in quiet passages—the true test of a star performer. Her full, golden tone became gritty when called for, and her vibrato expanded and contracted appropriately to the season. In “Spring,” the interplay between Eberle and concertmaster Martin Chalifour became a Messiaen-like celebration of birdsong. The ensemble, especially vivid in “Summer,” conveyed inner and outer weather, with the delicacy of Eberle’s performance contrasting memorably with her virtuosic intensity.”
    LA Times