Veronika Eberle


Veronika Eberle’ exceptional talent, the poise and maturity of her musicianship have been recognised by some of the world’s finest orchestras, venues and festivals, as well as by some of the world’s most eminent conductors.

Highlights among future concerto engagements include debuts with the London Symphony (Beethoven with Rattle), Montreal Symphony (Mendelssohn with Nagano), Saint Paul Chamber Orchestra (Beethoven with R.Abbado), Musikkollegium Winterthur (Mendelssohn with Hogwood), Seoul Philharmonic (Bartok 2) and return projects with the Bamberger Symphoniker (Berg with Ticciati), Berner Symphoniker (Prokofiev 1 with Venzago), Prague Symphony (Schumann), BBC Symphony, BBC NOW and Bournemouth Symphony. Veronika will also join Antoine Tamestit for a Mozart Concertante project on period instruments with Laurence Equilbey’s Insula Orchestra.

Recent successes include the Concertgebouw Orchestra (Berg with Holliger), Gewandhausorchester Leipzig (Mozart with Langrée), Seattle Symphony (Berg with Morlot), Paris National Opera (Beethoven with Philippe Jordan), Scottish Chamber Orchestra (Ticciati), CBSO (Ed Gardner), Northern Sinfonia (Zacharias) and Spanish National Orchestra (Dvorak with Harth-Bedoya). 

As a recitalist, Veronika Eberle will return to the Master Series at London’s Wigmore Hall with Shai Wosner. Recent recital successes include New York (Carnegie Hall), Salzburg (Mozarteum), Munich (Herkulesaal), Amsterdam (Concertgebouw), Rome (Istituzione Universitaria dei Concerti), Brussels (Bozar), Paris (Theatre de la Ville), Zurich (Tonhalle) and the Lucerne Festival.

Veronika is a dedicated chamber musician, with regular partners including Shai Wosner, Lars Vogt, Martin Helmchen, Marie-Elisabeth Hecker, Renaud Capuçon, Antoine Tamestit, among many others. In May 2016 she will tour a major chamber music project with Ana Prohaska.

Veronika Eberle was born in 1988 in Donauwörth, Southern Germany, where she started violin lessons at the age of six. Four years later she 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’s introduction by Sir Simon Rattle 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. Other highlights among past collaborations include the New York Philharmonic (Gilbert),  Los Angeles Philharmonic (Bicket), NDR Hamburg (Gilbert), Rundfunk Sinfonieorchester Berlin (Janowski), Hessischer Rundfunk Sinfonieorchester Frankfurt (Paavo Järvi), Rundfunk-Sinfonieorchester Stuttgart (Marriner), Bamberger Symphoniker (Ticciati, Nott), Tonhalle Orchester Zurich (Michael Sanderling), NHK Symphony (Kout, Stenz, Norrington), La Fenice Orchestra (Inbal) and the Rotterdam Philharmonic (Rattle, Gaffigan, Nézet-Seguin).

Over the years, Veronika Eberle has benefited from the support of a number of prestigious organisations, including the Nippon Foundation, the Borletti-Buitoni Trust (Fellowship in 2008), the Orpheum Stiftung zur Förderung Junger Solisten (Zurich), the Deutsche Stiftung Musikleben (Hamburg) and the Jürgen-Ponto Stiftung (Frankfurt). She won the first prize at the 2003 Yfrah Neaman International Competition in Mainz, and was awarded Audience Awards by the patrons of the Schleswig-Holstein and Mecklenburg-Vorpommern Festivals. She was a BBC Radio 3 New Generation Artist 2011-2013 and was a Dortmund Konzerthaus “Junge Wilde” artist 2010-2012. 

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

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Please note: this repertoire list is for reference only. The choice of repertoire for a particular project remains at the artist's discretion.

Concerto in D, Op.61
Romance in G, Op.40
Romance in F, Op.50
Triple Concerto

Violin Concerto

Concerto in D, Op.77

Concerto in G minor, op.26

Concerto in A minor, Op.53

Concerto in G
Concerto in C

Concerto No.1 in C, Op.48

Symphonie Espagnole, Op.21

Concerto in D minor
Concerto in E minor, Op.64

Concerto No.1 in Bb, K207
Concerto No.3 in G, K216
Concerto No.4 in D, K218
Concerto No.5 in A, K219
Rondo in C, K373

Concerto No.2 in B minor, Op.61

Concerto No.1

Concerto in D minor, Op.47

Concerto in D

Violin Concerto

Concerto in D minor, Op.22

Concerto No.5 in A minor, Op.37

The Four Seasons

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Stadthaus, Winterthur

MENDELSSOHN: Overture Ru Blas

                                 Violin Concerto in Em
                                 Symphony No. 5 'Reformation'

Musikkollegium Winterthur, 
Veronika Eberle, violin
Christopher Hogwood, conductor 

Stadthaus, Winterthur

MENDELSSOHN:  Overture Ruy Blas

                                  Violin Concerto in Em
                                   Symphony No.5 'Reformation'

Wigmore Hall, London

BEETHOVEN: Sonata no.  4 in Am op.23

SCHÖNBERG: Phantasy Op.47 
BRAHMS Sonata no.  2 Op100
BEETHOVEN: Sonata no. 9 in A 'Kreutzer' 

with Shai Wosner, piano 

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Violin Concerto, Nov 2013

Royal Northern Sinfonia,

"Eberle had the audience and orchestra alike hanging onto every note in a thrilling cadenza, dispatching fiendishly intricate passages with rumbustious energy
The cazonetta in the slow movement was conveyed with an aching poignancy, as Eberle's loaned 1700 Dragonetti Stradavarius sang for all it was worth."

Northern Echo


Violin Concerto, Oct 2012

Scottish Chamber Orchestra

"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


Four Seasons

Los Angeles Philharmonic

"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

Recital, Feb 2009

Weill Recital Hall, New York

"Ms. Eberle’s introverted intensity and interpretive boldness made an immediate impression. Where her partner, the pianist Oliver Schnyder, was amiable and gregarious in Beethoven’s Violin Sonata in G (Op. 96), Ms. Eberle was sweet and demure. Her phrases trailed off into distracted murmurs in the Adagio, lending the music an affectingly poignant ache... A formidable technique was never an end in itself... In Janacek’s Violin Sonata, Ms. Eberle and Mr. Schnyder brought out a bustle, bite and anxiety that rang true to its World War I-era gestation." New York Times

Recital, February 2009

Herkulessaal Munich

"Concerts like this are among the highlights even a professional music critic is rarely privileged to enjoy. […] The way she presented Beethoven’s last violin sonata as an intimate and spontaneous dialogue with Oliver Schnyder, which was both full of esprit and profundity; the rhythmic virtuosity with which she tackled Schubert’s tricky B minor rondo brilliant without failing to do wonderful justice to the surprising harmonic turns, embedded cantabile passages and melancholic mood changes; the explosive verve with which she attacked Janacek’s sonata revealing its existential commitment; the intoxicating joy with which she celebrated youthful Richard Strauss’s sonata as an orgy of sensual violin sounds — all of this made it an evening to remember. […] Her tone is warm, invariably lucid and resonant, and she possesses an admirable ability to adapt it to the character and style of the composition, which enabled her to realize the emotional stylistic demands made by Schubert and Janacek with equal perfection. She is also an embodiment of the idea that performing chamber music is a “concerted” art, a philosophy she shares with her Swiss accompanist." Süddeutsche Zeitung