About Yulia

1982: Yulia Deyneka is born in Russia. Aged 12, she wins a place at the Central Music School as a vio­li­nist in her home town of Moscow. Her tea­cher: Maria Sitkovskaya, for­mer stu­dent of vio­la legend Vadim Borisovsky. Soon after, she holds a vio­la in her hands for the first time. Immediately she is fasci­na­ted by the pro­xi­mi­ty of the sound to the human voice, and the ver­sa­ti­le role of the vio­la in cham­ber music. 

At the Tchaikovsky Conservatory she stu­dies with Alexander Bobrovsky. During a mas­ter­class in Germany she makes the acquain­tance of vio­list Felix Schwartz. He offers to teach her at Rostock University of Music and Drama. Yulia agrees on the spot, gra­dua­ting suc­cess­ful­ly from both insti­tu­ti­ons. In 2003 she pas­ses the audi­tion for the Berlin Staatskapelle orches­tra aca­de­my and falls in love with Germany’s big­gest city. Not long after her 22nd bir­th­day, she is alrea­dy play­ing princi­pal vio­la in the Staatskapelle orches­tra in Berlin, by the side of her for­mer men­tor Felix Schwartz.

But Yulia wants more. She wants to keep lear­ning. So she goes on to stu­dy with Wielfried Strehle at the UdK Berlin, whe­re she gains her “Konzertexamen” in 2014. For some time she has been tea­ching vio­la herself, first at Rostock University of Music and Drama, then at the music aca­de­my of the Barenboim-Said Foundation in Seville. She plays in Daniel Barenboim’s West-Eastern Divan Orchestra and men­tors the vio­la sec­tion for 10 years. Her col­la­bo­ra­ti­on with pia­nist and con­duc­tor Barenboim inten­si­fies, who now descri­bes her as “one of his favou­rite cham­ber music part­ners”. In 2016 Yulia is awar­ded a tea­ching post at the Barenboim-Said Academy in Berlin, gra­dua­ting to a pro­fes­sor­s­hip in the win­ter semes­ter of 2019. She con­ti­nues to men­tor the orches­tra aca­de­my of the Berlin Staatskapelle. 

Yulia Deyneka’s musi­cal path has led to musi­cal col­la­bo­ra­ti­ons with nume­rous renow­ned artists inclu­ding Martha Argerich, Yo-Yo Ma, Maurizio Pollini and Radu Lupu. She has recei­ved musi­cal inspi­ra­ti­on under the baton of game-changing con­duc­tors such as Pierre Boulez, Zubin Metha, Simon Rattle, Andris Nelsons and Francois-Xavier Roth.

As a soloist, she has play­ed Strauss’s “Don Quixote” with Misha Maisky under the direc­tion of Massimo Zanetti. Under Andris Nelsons she has per­for­med Alfred Schnittke’s vio­la con­cer­to, and in 2015 she took the solo part in Mozart’s “Sinfonia Concertante” along­side Wolfram Brandl in both the Carnegie Hall and the Paris Philharmonie. On the podi­um: Daniel Barenboim.

Recordings fea­turing Yulia have been released on CD and album stream. She has recor­ded Boulez’s “Messagesquisse” in the arran­ge­ment for vio­la with François-Xavier Roth and the Boulez Ensemble for the Peral label. “Drei Charakterstücke” by David R. Coleman, writ­ten espe­cial­ly for Yulia, were released by NAXOS, and Mozart’s two pia­no quar­tets by Deutsche Grammophon. In 2019, she col­la­bo­ra­ted with sopra­no Magdalena Kožená and Sir Simon Rattle (in the role of pia­nist) on the album “Soirée” (PENTATONE).

About Yulia

1982: Yulia Deyneka is born in Russia. Aged 12, she wins a place at the Central Music School as a vio­li­nist in her home town of Moscow. Her tea­cher: Maria Sitkovskaya, for­mer stu­dent of vio­la legend Vadim Borisovsky. Soon after, she holds a vio­la in her hands for the first time. Immediately she is fasci­na­ted by the pro­xi­mi­ty of the sound to the human voice, and the ver­sa­ti­le role of the vio­la in cham­ber music. 

At the Tchaikovsky Conservatory she stu­dies with Alexander Bobrovsky. During a mas­ter­class in Germany she makes the acquain­tance of vio­list Felix Schwartz. He offers to teach her at Rostock University of Music and Drama. Yulia agrees on the spot, gra­dua­ting suc­cess­ful­ly from both insti­tu­ti­ons. In 2003 she pas­ses the audi­tion for the Berlin Staatskapelle orches­tra aca­de­my and falls in love with Germany’s big­gest city. Not long after her 22nd bir­th­day, she is alrea­dy play­ing princi­pal vio­la in the Staatskapelle orches­tra in Berlin, by the side of her for­mer men­tor Felix Schwartz.

But Yulia wants more. She wants to keep lear­ning. So she goes on to stu­dy with Wielfried Strehle at the UdK Berlin, whe­re she gains her “Konzertexamen” in 2014. For some time she has been tea­ching vio­la herself, first at Rostock University of Music and Drama, then at the music aca­de­my of the Barenboim-Said Foundation in Seville. She plays in Daniel Barenboim’s West-Eastern Divan Orchestra and men­tors the vio­la sec­tion for 10 years. Her col­la­bo­ra­ti­on with pia­nist and con­duc­tor Barenboim inten­si­fies, who now descri­bes her as “one of his favou­rite cham­ber music part­ners”. In 2016 Yulia is awar­ded a tea­ching post at the Barenboim-Said Academy in Berlin, gra­dua­ting to a pro­fes­sor­s­hip in the win­ter semes­ter of 2019. She con­ti­nues to men­tor the orches­tra aca­de­my of the Berlin Staatskapelle. 

Yulia Deyneka’s musi­cal path has led to musi­cal col­la­bo­ra­ti­ons with nume­rous renow­ned artists inclu­ding Martha Argerich, Yo-Yo Ma, Maurizio Pollini and Radu Lupu. She has recei­ved musi­cal inspi­ra­ti­on under the baton of game-changing con­duc­tors such as Pierre Boulez, Zubin Metha, Simon Rattle, Andris Nelsons and Francois-Xavier Roth.

As a soloist, she has play­ed Strauss’s “Don Quixote” with Misha Maisky under the direc­tion of Massimo Zanetti. Under Andris Nelsons she has per­for­med Alfred Schnittke’s vio­la con­cer­to, and in 2015 she took the solo part in Mozart’s “Sinfonia Concertante” along­side Wolfram Brandl in both the Carnegie Hall and the Paris Philharmonie. On the podi­um: Daniel Barenboim.

Recordings fea­turing Yulia have been released on CD and album stream. She has recor­ded Boulez’s “Messagesquisse” in the arran­ge­ment for vio­la with François-Xavier Roth and the Boulez Ensemble for the Peral label. “Drei Charakterstücke” by David R. Coleman, writ­ten espe­cial­ly for Yulia, were released by NAXOS, and Mozart’s two pia­no quar­tets by Deutsche Grammophon. In 2019, she col­la­bo­ra­ted with sopra­no Magdalena Kožená and Sir Simon Rattle (in the role of pia­nist) on the album “Soirée” (PENTATONE).