Ewa Strusińska

Ewa_Strusinska_1Ewa Strusińska is a masterful conductor, intelligent and with real musical sensibility, with clear and controlled gestures, and at the same time full of determined intensity, with exact precision in details and the ability to organize sound in broad dimensions, with powerful taught arches and thrilling transitions.

Ostseezeitung 2015


The orchestra ❲in Szymanowski’s 2nd symphony❳ creates a perfect balance between Wagnerian power and Polish playfulness; the result is astonishing, you could almost dance to it. The ensemble shows its skill especially in the fast movements, which is also due to Ewa Strusińska’s sensitive work. In her conducting one can learn how well Polish and German characters harmonize.“

Der Tagesspiegel 2016


Female conductors are still the exception and not the rule. That is changing however, thanks to a number of strong musical personalities. One of them is without any doubt Ewa Strusińska, who in 2016 sprang right to 8th place on Norman Lebrecht’s „Slipped Disc Power List“ of the 20th best woman conductors – after only three years as Music Director of the Szczecin Philharmonic and just behind such established veterans as Marin Alsop and Simone Young. Those years between 2013 and 2016 changed musical life in the city. Under her direction the orchestra attained a previously unknown brilliance, which shone all the brighter in the magnificent acoustics of Szczecin’s new Philharmonic hall, inaugurated by Ewa Strusińska in 2014. She made the best of the new venue in the center of town, intensifying co-operation with local schools of music and dance and expanding moderated concerts for adults, youth and children.

Having established the Filharmonia on solid artistic foundations, Ewa Strusińska is currently an independent conductor. In the season 2016/2017, she led a revival of Moniuszko’s The Haunted Manor at the National Opera of Warsaw, and conducted the Warsaw National Philharmonic and Chorus. She also returned to the National Radio Orchestra in Katowice and to the Philharmonic in Opole, where she is now a regular guest. In Germany, she conducted the Landesjugendorchester Berlin in Berlin’s Konzerthaus with great success, and led a new production of the Csárdásfürstin at the Magdeburg Opera, before presenting a French-Russian program with the Brandenburgisches Staatsorchester in Frankfurt/Oder.

In 2017/2018, Ewa Strusińska will conduct a Beethoven/Brahms program with the Neue Lausitzer Philharmonie in Görlitz and an Elgar/Bernstein program with the Jena Philharmonic. A French program is forthcoming with the Sønderjyllands Symfoniorkester in Denmark. Concerts in Poland will take place in Kraków with the Beethoven Academy Orchestra, in Bydgoszcz and Warsaw where Ewa Strusińska is a highly regarded and frequent guest of the Sinfonia Varsovia.

A very important aspect of Ewa Strusińska’s activity is in the lyric field. She gathered wide experience with the repertoire at the Buxton Opera Festival in Great Britain, at the Royal Northern College of Music, at the Royal Ballet Covent Garden and then as an assistant in Warsaw’s National Opera and Ballet from 2011 – 2013. Here she worked on not only well-known Italian and German repertoire but also on rarities like Stravinsky’s Le Rossignol and Dusapin’s Medeamaterial. In February 2018, she will return once again to the National Opera for the revival of The Haunted Manor directed by David Pountney. In 2016 she gave her debut at the Magdeburg Opera with Tchaikovsky’s Sleeping Beauty, and in 2017 at the Gerhart Hauptmann Theatre in Görlitz with Puccini’s Manon Lescaut.

Following her diploma at the Fryderyk Chopin Music Academy in Warsaw, she became known abroad as a laureate of the Bamberg Symphony’s Conducting Competition Gustav Mahler in 2007. She appeared thereafter as a guest conductor with such orchestras as the Hofer Symphoniker, the Sinfonietta Baden, the Uppsala Chamber Orchestra, the Gävle Symfoniorkester, the Sønderjyllands Symfoniorkester, the Norrlands Opera Symphony Orchestra, the Slovak Sinfonietta, the Johannesburg Philharmonic Orchestra, the BBC National Orchestra of Wales, the Northern Sinfonia and the Norddeutsche Philharmonie Rostock.

Ewa Strusińska has a particular commitment to getting music across to young people and to prepare musicians of the future. She works regularly with the South African National Youth Orchestra and previously was the Music Director of the Hallé Youth Orchestra. In Poland she created the International Lutoslawski Youth orchestra, designed to familiarize young musicians with contemporary repertoire. Since 2006 she has taught at the Royal Northern College of Music and is leading conducting classes on different levels.

Ewa Strusińska is a wide-ranging musical figure, committed to works of the 20th and 21st centuries and fascinated as well by classical and romantic heritage. She has no fear of more exotic undertakings, be it Latin American music or Crossover programs with pop and jazz artists.

From 2008 – 2010 Ewa Strusińska worked as the assistant conductor of Sir Mark Elder with the Hallé Orchestra in Manchester and participated in numerous master classes led by Antoni Wit, Gabriel Chmura, Bruno Weil, Kurt Masur and Valery Gergiev with the London Symphony Orchestra.

Her recording with the orchestra of the Beethoven Academy (works by Moniuszko, Chopin and Lutosławski) appeared in 2015 on the label Delos.


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Mateusz Nasternak

Mateusz Nasternak

Mateusz Nasternak

Mateusz Nasternak

Mateusz Nasternak

Mateusz Nasternak

Mateusz Nasternak

Mateusz Nasternak



Ewa Strusińska ist eine souveräne Dirigentin, klug und musikalisch empfindsam, kontrolliert und deutlich zeigend, dennoch von durchdringender Intensität, mit genauer Detailarbeit und weiträumiger Dispositionsfähigkeit, mit fesselnden Spannungsbögen und spannungsvollen Übergängen. Damit führte sie die Philharmonie zu einer tief beeindruckenden Entfaltung ihres orchestralen und gestalterischen Potenzials. Den Sibelius dirigierte sie sozusagen spitzfingerig, durchhörbar und strukturiert…Tschaikowski dagegen dirigierte sie gleichsam mit vollen Händen…
Ostseezeitung vom 27.1.2015 (Konzerte mit der Norddeutschen Philharmonie Rostock)

Insgesamt ein ziemlich langes Konzertprogramm, das aber vorbei war, ehe man sich’s versah. Das Verdienst daran hatte auch – oder eigentlich in erster Linie – E. S Ewa Strusińska, Musikdirektorin der Stettiner Philharmonie. Es machte geradezu Freude, sie beim Dirigieren zu beobachten: alles sowohl präzis als auch ästhetisch. Bravo!
Dorota Szwarcman, Blog Polytika, 16.1. 2015 (Konzert mit der Sinfonia Varsovia im Jüdischen Museum Warschau)


Premiere von Stanislaw Moniuszko „Das Gespensterschloss“ (Strazny Dwor) am 13. November 2015 am Teatr Wilki in Warschau (Warschauer Nationaloper):

Am Dirigentenpult stand Ewa Strusinska, die das Orchester und die Solisten mit sicherer Hand führte und dabei den komödiantischen Nerv von Monuiszkos Musik mit einer Deutlichkeit hervortreten lies, wie man sie selten erlebt.

(Jakub Godzic auf www.teatracje.pl)

Sinfoniekonzert in der Philharmonie Stettin am 15.Januar 2016:

Die Interpretation von zwei Werken Lili Boulangers (D’un soir triste und D’un matin de printemps) hatte in sich viel Leichtigkeit. Die Dirigentin arbeitete – zusammen mit dem bereitwillig folgenden Orchester – sehr schön die Legato-Bögen und den Wechsel von subtilen Piano und expressivem Forte heraus: Ewa Strusinska verstand die Musik und das Orchester verstand Ewa Strusinska.

(kubinska auf www.blog.szczecin.kultura.eu)

Ms. Strusinska gave us a powerful delineation of the contrapuntal flow, while getting to the heart of the heart of the matter regarding Schumann’s swooping romanticism and leading to a resounding climax.

The Star

…her cupped hands drew cushioned warmth and luxury from the strings.

The Times

Strusinska kept a tight rein on the ensemble, moving through swell after swell towards the final tutti fortes, where each section broke free and roused the audience to their feet.


Ewa Strusinska left an indelible impression with the jampacked audience after taking the Nothern Sinfonia through its paces with her dynamic and incisive direction.

The Northern Echo

This well-attended concert was a taster of things to come; the Hallé’s management seems to have struck gold.

Classical Source

Her conducting of Mahler’s Urlicht in the semi-final was generally regarded as a highlight of the competition.


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Here you will find a detailed repertoirelist of the artist.