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Tabita Berglund
Jasper Parrott
Marissa Pueschel
Jakub Watrobski
“One of Europe’s greatest promises”
(Helsingin Sanomat, September 2021)
Principal Guest Conductor Designate: Detroit Symphony Orchestra (from season 2024/25)
Principal Guest Conductor Designate: Dresdner Philharmonie (from season 2025/26)
Hailed as “one of Europe’s greatest promises” (Helsingin Sanomat), Tabita Berglund is one of today’s most exciting, talented young conductors who is fast gaining a reputation for her alert, charismatic and inspiring style which elicits “exceptional music-making” (The Arts Desk). She is Principal Guest Conductor Designate of Detroit Symphony Orchestra, effective from the 2024/25 season, and in 2025/26 she becomes Principal Guest Conductor of Dresdner Philharmonie. She concluded her three-year tenure as Principal Guest Conductor of Kristiansand Symphony Orchestra at the end of 2023/24.
Symphonic highlights of 2023/24 included Berglund’s debuts with Dallas Symphony Orchestra, Swedish Radio Symphony Orchestra, Berner Symphonieorchester, Orchestre National de Lyon, Philharmonia Orchestra, City of Birmingham Symphony Orchestra, BBC Scottish Symphony, Dresdner Philharmonie, Düsseldorfer Symphoniker, Musikkollegium Winterthur, and Grafenegg Festival where she joined forces with Tonkünstler-Orchester Niederösterreich for the second time and ahead of further performances which took place later in the season. Working together again with Philharmonia Orchestra, Berglund makes her Garsington Opera debut in Summer 2024 conducting a revival production of Mozart’s Le nozze di Figaro, while forthcoming appearances in 2024/25 include returns to Detroit Symphony Orchestra for her inaugural two weeks as Principal Guest, Dresdner Philharmonie, Orchestre National de Lyon, Tonkünstler-Orchester Niederösterreich, Royal Stockholm Philharmonic Orchestra and Trondheim Symphony Orchestra, as well as debuts with Gothenburg Symphony, Lahti Symphony Orchestra, Gürzenich-Orkester Köln, Salzburg Mozarteum Orchestra (Salzburg Easter Festival), Orchestre de Chambre de Paris, Orchestra della Svizzera Italiana, Minnesota Orchestra and Houston Symphony, among others. Berglund also makes her Asian debut with Tokyo Metropolitan Symphony Orchestra in November 2024.
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Berglund regularly collaborates with internationally renowned soloists such as Jean-Yves Thibaudet, Leila Josefowicz, Truls Mørk Pekka Kuusisto, Cédric Tiberghien, Alexander Malofeev, Camilla Tilling and the Jussen Brothers, to name a few. She continues to champion the music of Nordic compatriots such as Sibelius, Stenhammar, Tveitt, Nordheim and Thorvaldsdottir, as part of a wide-ranging repertoire from Mozart and Beethoven through to Prokofiev, Boulanger, Mahler, Lutosławski and Britten, among many others.
Berglund graduated in 2019 from the Orchestral Conducting Masters course at the Norwegian Academy of Music, where she studied under Professor Ole Kristian Ruud. She originally trained as a cellist and studied to Master’s degree level under Truls Mørk, performing regularly with the Oslo and Bergen philharmonic orchestras as well as the Trondheim Soloists before conducting became her main focus in 2015. She was the 2018–20 star of the Talent Norway programme and is a past recipient of the Gstaad Conducting Academy’s Neeme Järvi Prize. Berglund’s debut CD, on which she conducts the Oslo Philharmonic with violinist Sonoko Miriam Welde, was released in 2021 (LAWO) and subsequently nominated for a Norwegian Grammy (Spellemann) in the 2022 Classical Music category.
HarrisonParrott represents Tabita Berglund for worldwide general management.
“Without any histrionics, her expressive but disciplined manner on the podium consistently conveyed meaningful gestures to generate inspirational performances. Rarely have I heard such a responsive and alert-sounding orchestra, playing these works as if they were first performances. Without doubt, Berglund is someone to watch.”
“Berglund negotiated the transition into the Finale neatly, and thereafter perfectly judged its accumulating drama to create a magnificent life affirming traversal. There have been countless performances of this symphony by the Philharmonia over the years, but this emotionally charged account was one of the most vivid I’ve heard in a long time.”
“Tabita Berglund […] seems certain to become one of the most significant conductors from her generation. […] The acute characterization that [she] brought to each episode, then the emotional frisson when those main motifs come together for a powerful apotheosis, compelled admiration – as did the closing pages in which Sibelius cannily fragments form and texture so all that remains is an all-enveloping silence.”
“Tabita Berglund’s conducting style – alert, encouraging and inspiring – seems to bring out exceptional music-making.”
“(Berglund) is considered one of the most talented conductors of her generation and after this concert it is not difficult to understand why. She has an equally emotional and analytical relationship with the material and the communication with the musicians seems frictionless.”
“… at the helm here was the young Norwegian conductor Tabita Berglund, whose unfussy interpretation held poise and vigour. This is her second appearance with the Hallé, and her smiling warmth matched the Idyll’s radiance perfectly. The boundless energy that underpins her approach was best suited to the Beethoven that closed the concert. […] There was room for a rich Allegretto, too, in as athletic a Seventh as you’ll hear, leaving an appreciative if reduced Manchester audience invigorated.”
“(Berglund is) very capable of taking an orchestra with her in her ideas of how music should sound: she smiles encouragingly at the players a lot and makes constant eye contact […] She exudes confidence, and so does her music-making.”
“We take advantage of the somewhat disconcerting habit of giving hurricanes personal names to sum up the experience of what it means to see Tabita Berglund direct. Only, in this case, the metaphor alludes only to her overwhelming momentum and energy, without any of the negative connotations […] The result [in Beethoven’s Seventh Symphony] was forceful and jovial, brilliant but without being strident or tiresome […] The orchestra let itself be carried away and excelled at an extraordinary level of virtuosity and good sound. If the reports of the time detail that at its premiere the symphony was applauded to ecstasy, here the audience was able to renew their amazement and enthusiastic ovation.”
“Berglund led the four dozen or so [Royal Scottish National Orchestra] musicians with confidence, masterful direction, and expressions of pleasure and encouragement. Conducting with a baton, she has a very vigorous style, moving her arms energetically in conspicuous arcs. This works well in electrifying the orchestra as she transforms individual passages into a cohesive musical unity. In the physically smaller orchestra, the woodwinds and brass could have easily over-shadowed the strings, but Berglund never let the balance tip too far in their favour.”
“[But] Tabita Berglund managed to give this relatively heavy work new life! Powerful string sound, beautiful woodwind solos, shiny brass instruments […] Certain passages were actually reminiscent of film music, and the experience was completely different compared to hearing the work through the speakers at home – a feat of the young conductor!”