She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich’s Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo’s NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies.

As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic change the very sound a musician makes, or help her see a beloved piece in a new way.”Įarlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn’s two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project.

As captured in Vox’s YouTube series, her insights into Bach’s first G-major prelude have been viewed almost 1.5 million times. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK’s Sunday Times. During the global pandemic, she has further cemented her status as one of the suites’ leading exponents. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego at Aspen and Caramoor in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona and for a full-capacity audience at Hamburg’s iconic new Elbphilharmonie. As the UK’s Telegraph put it, “Weilerstein is truly a phenomenon.”īach’s six suites for unaccompanied cello figure prominently in Weilerstein’s current programming. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. She doesn’t give the impression that making music involves will at all. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer’s wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide.

Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Alisa Weilerstein is one of the foremost cellists of our time.

Alisa weilerstein