Dalia Stasveska Debuts at the Berlin Philharmonic

Human Impact on Nature Explored in Music

By: Susan Hall - Mar 01, 2025

Dahlia Stasevska, known for her commanding presence and elegant, balletic gestures, recently debuted with the Berlin Philharmonic. The response was enthusiastic. Her tenure as Principal Guest Conductor of the BBC Symphony Orchestra, extended through 2027, reflects her growing prominence in the classical world.

Stasevska’s conducting style is a marvel in itself: her A-frame coat of many colors almost becomes an extension of her body, as her movements—never exaggerated—perfectly match the music’s flow. Large, sweeping gestures emphasize the crescendos, while smaller, almost jerky motions are reserved for delicate two-note phrases or ornamentations. The result is a seamless connection between her body and the orchestra, with the music always taking center stage. The Berlin Philharmonie, one of the world's great orchestras, responded with precision, showcasing their versatility and skill.

The program, which featured works by Grieg, Saariaho, Sibelius, and Debussy, revealed the full breadth of Stasevska's artistry.

The Grieg Piano Concerto, performed by Jean-Frederic Neuburger, was a highlight of the evening. The performance balanced sweeping grandeur with remarkable attention to detail. The pace was brisk, the flourishes were expertly executed, and Neuburger’s piano work was full of energy and virtuosity. The interplay between the timpani and piano was a particularly striking moment, with the timpani roll from the top tier of the stage blending seamlessly with the pianist's flourishing phrases. There is no pause between the second and third—an exciting instruction that kept the energy flowing and the audience engaged. The nods to Norwegian folk dance and their distinct fiddle-like melodies were especially captivating, adding layers of texture and charm to the work.

Following Grieg, Stasevska led the orchestra through Kaija Saariaho’s Orion, a piece she has a personal connection with as a protege of the Finnish composer. The work, part of the Berlin Philharmonic’s ongoing series questioning humanity’s environmental impact, was both haunting and evocative. In the second movement, Stasevska’s precise conducting drew out the wintry clusters of sound that Saariaho’s music conjures—a chilling, ethereal soundscape that contrasted beautifully with the earlier warmth of the Grieg. It was a perfect moment to contemplate the fragility of nature and our place within it.

The evening began with a lesser-known early Sibelius work, Pohjolas Tochter, which, while interesting, didn’t immediately engage the audience. The tone poem may have lacked the immediacy and drama that Stasevska is known for. The dark hero of a Nordic sag fails to win over the Daughter of the North.

Debussy’s La Mer brought a sense of hope and resolution to the program. Stasevska’s sweeping gestures and precision brought out the majesty and fluidity of the sea in ways that were both profound and mesmerizing. The piece left the audience with a renewed sense of wonder at the beauty of nature.

As the evening concluded, it was clear that Dahlia Stassevska is a major talent on the rise in the classical music world. Her mix of dynamic rhythms, expressive lyricism, and graceful yet commanding movements promises an exciting future ahead. With the Berlin Philharmonic as her canvas, Stasevska is poised to shape the sound of tomorrow’s orchestral performances with elegance and authority.