This week, Patricia Kopatchinskaja, one of the most distinctive artistic voices of her generation, makes her debut with the New York Philharmonic. Her arrival is marked by a rare distinction: both a preview and a review published by The New York Times, penned by its Chief Classical Critic Zachary Woolfe — an honor seldom extended to a single soloist or concert.

Read the article here.

Woolfe encapsulates what makes Kopatchinskaja such a singular force in today’s classical music world:

Her radical approach goes far beyond conventional interpretation, rigorously re-examining the repertoire and its cultural relevance. She challenges traditional listening habits and reveals even the most established works in startling, yet deeply compelling ways. 

In an era where classical music risks becoming static and ​“musealised,” Kopatchinskaja creates spaces of urgency and immediacy. Her interpretations are marked by expressive intensity, stylistic daring, and an unmistakable sonic identity that sparks both controversy and admiration — but never indifference.

Beyond her groundbreaking performances, she is also a passionate curator and creative instigator. Her productions — including Dies Irae, Les Adieux, and Maria Mater Meretrix — blur artistic boundaries and address political, ecological, and humanistic themes, redefining what the concert format can be.

Kopatchinskaja’s art resists easy beauty. It invites listeners to engage more deeply, to question norms, and to open themselves emotionally and intellectually to new sonic experiences.