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A renaissance artist for modern times, Lera Auerbach is a widely recognized conductor, pianist, and composer. She is also an award-winning poet and an exhibited visual artist. All of her work is interconnected as part of a cohesive and comprehensive artistic worldview.

Lera Auerbach has become one of today’s most sought-after and exciting creative voices. Her performances and music are featured in the world’s leading stages – from Vienna’s Musikverein and London’s Royal Albert Hall to New York’s Carnegie Hall and Washington D.C.’s Kennedy Center.

Auerbach’s exquisitely crafted, emotional, and boldly imaginative music reached global audiences. Orchestral collaborations include the New York Philharmonic, Philadelphia Orchestra, National Symphony, Oslo Philharmonic, Munich’s Bayerisches Staatsorchester, Staatskapelle Dresden, and Vienna’s ORF Radio-Symphonieorchester, among many others. Auerbach’s works for orchestra are performed by the world’s leading conductors, including Manfred Honeck, Christoph Eschenbach, Alan Gilbert, Neeme Järvi, Vladimir Jurowski, Charles Dutoit, Andris Nelsons, Osmo Vänskä, Hannu Lintu, and Marin Alsop, to mention only a few.

During the 22-23 season, Lera Auerbach performed concerts with Hilary Hahn at Wigmore Hall in London and Boulez Saal in Berlin. She also conducted Tchaikovsky’s 5th Symphony with Enescu Philharmonic in the subscription series, as well as played and conducted Mozart’s Piano Concerto K466.

Other recent season highlights also included WienModern’s 3.5-hour production of Demons & Angels with Auerbach as conductor. Washington D.C.’s National Symphony premiered her 4th Symphony “ARCTICA” – a work commissioned by the National Geographic Society. Also, her Concerto for Violoncello and Orchestra “Diary of a Madman” commissioned by the Munich Philharmonic, Chicago Symphony, Borusan Istanbul Philharmonic Orchestra, and Royal Stockholm Philharmonic Orchestra, received its global premieres with cellist Gautier Capuçon.

Her 4th Violin Concerto “NYx: Fractured Dreams” was commissioned and premiered by the New York Philharmonic with Alan Gilbert and Leonidas Kavakos, and the Vienna Radio Symphony Orchestra premiered her symphonic poem Eve’s Lament with Marin Alsop. In 2022, the Nuremberg State Philharmonic presented the world premiere of Symphony No. 5 “Paradise Lost” conducted by Joana Mallwitz, and her Symphony No. 6 ‘Vessels of Light,’ a commission of Yad Vashem – The World Holocaust Remembrance Center, was unveiled in Lithuania as part of the city’s Cultural Capital of Europe celebrations and received its American premiere at Carnegie Hall on April 19, 2023.

Amare at the Hague will present a two-week Auerbach Festival in October 2023, including all aspects of her artistic offerings, conducting, piano performance, composition, poetry, and visual art.

Her music is championed and recorded by today’s most prominent classical performers, including violinists Gidon Kremer, Leonidas Kavakos, Daniel Hope, Hilary Hahn, Vadim Gluzman, Vadim Repin, Julian Rachlin; cellists Alisa Weilerstein, Gautier Capuçon, Alban Gerhardt, David Finckel; violists Kim Kashkashian, Nobuko Imai, and Lawrence Power, and many others.

Auerbach is equally prolific in literature and the visual arts. She incorporates these forms into her professional creative process, often simultaneously expressing ideas visually, in words, and through music. She has published three books of poetry in Russian, and her first English-language book, Excess of Being – in which she explores the rare form of aphorisms. Her next book, an illustrated work for children, A is for Oboe, published by Penguin Random House, won Audiofile Best Audiobook 2022. She is the recipient of the 2021 Marsh Hawk Press – Robert Creely Memorial Award for her English poetry manuscript “Morning Music”.

Auerbach has been drawing and painting all her life as part of her creative process. Her visual art is exhibited regularly, included in private collections, and represented by leading galleries.

Lera Auerbach holds multiple degrees from the Juilliard School in New York and the Hannover University of Music, Drama, and Media in Germany. Her teachers include Milton Babbitt, Rosalyn Tureck, Joseph Kalichstein, and Einar Steen-Nøkleberg. The World Economic Forum in Davos, Switzerland, selected her in 2007 as a Young Global Leader, and since 2014, she has served as a Cultural Leader. Boosey and Hawkes / Sikorski publish her music, and recordings are available on ECM, Deutsche Grammophon, Nonesuch, Sony Classical, Alpha Classics, BIS, Cedille, and many other labels.

See Lera Auerbach conduct the RSNO on 8 and 9 October 2024.

Former BBC New Generation Artist, winner of both First Prize and Audience Prize at London’s 2009 Handel Singing Competition, Ruby also holds a Borletti-Buitoni Trust Award and was shortlisted for a 2014 Royal Philharmonic Society Music Award. Through her blossoming catalogue of recordings and lovingly curated performances, she has become known for her interpretations of the music of the baroque and 20th and 21st Century.

Given her background and her wide range of interests, it comes as no surprise that Ruby is a passionate programmer, curator and collaborator. She has forged particularly close relationships with artists such as Laurence Cummings, Joseph Middleton, Jonas Nordberg, Natalie Clein and Julius Drake, Huw Watkins, United Strings of Europe, The Manchester Collective and the BBC Philharmonic Orchestra. This season 23/24 she was invited to curate and perform in a series of three concerts for BBC Northern Ireland as well as to present Inside Music for BBC Radio 3.

Ruby’s captivating capacity for communication and connection with audiences has lead to invitations to perform at Wigmore Hall, Berlin Philharmonie, Amsterdam Concertgebouw, Vienna Konzerthaus and Musikverrein, Palais Garnier and Philharmonie de Paris and in the US at both the Frick Collection and Carnegie Hall, New York. Festival appearances have included the BBC Proms, Cheltenham, Edinburgh International, Newbury, Aldeburgh, Aix en Provence, Gent Festival OdeGand, Göttingen, Marlboro and Spitalfields.

She has worked with a host of conductors including Rinaldo Allesandrini, Ivor Bolton, Laurence Cummings, Thierry Fischer, Pablo Heras Casado, Jun Markl, Juanjo Mena, Gianandrea Noseda, Marc Minkowski, Hervé Niquet, Thomas Søndergård, John Storgårds, and Osmo Vänskä.

On the opera stage Ruby has sung productions for Theater an der Wein (Roggiero in Rossini’s Tancredi, and Fortuna in L’Incoronazione di Poppea), Aix-en-Provence Festival (Euridice L’Orfeo), Opéra de Toulon (Rose Maurrant Street Scene) and Potsdamer Winteroper (title role, Theodora) and in the UK has performed major roles with English National Opera, Garsington Opera and for Scottish Opera.

Ruby’s vibrant discography continues to grow and includes solo recital recordings for major independent labels such as BIS, Chandos, Delphian and Hyperion.

Her first solo orchestral disc is a tribute to Giulia Frasi, Handel’s lyric muse. (OAE Laurence Cummings Chandos records).

Recorded for BIS and dedicated primarily to female composers of the 17th century, ‘Heroines of Love & Loss’ was released to huge critical acclaim, receiving a Diapason d’or award. ‘Clytemnestra’, the highly praised album of orchestral songs by Mahler, Berg and Rhian Samuel, in collaboration with BBCNOW, received a nomination for a Gramophone Award.

Ruby has recorded Mahler Symphony No. 2 with the Minnesota Symphony under Osmo Vänskä, a solo recital disc with Joseph Middleton titled ‘Songs for New Life and Love’ including works by Mahler, Ives and Helen Grime and a programme with United Strings of Europe, featuring Golijov’s ‘Three Songs for Soprano and String Orchestra.’

Recent releases include the critically acclaimed ‘Echo’ with pianist and composer Huw Watkins and ‘End of my Days’ with the Manchester Collective, which was record of the month in the BBC Music Magazine and received 5* in the Times.

Future recording projects for BIS include ‘Amidst the Shades’ with lutenist Jonas Nordberg, and ‘Inheriting the Earth’ with United Strings of Europe. A further recording with the Manchester Collective is due to be released later this year featuring a commission by Edmund Finnis together with Britten’s ‘Les Illuminations’. This programme was rapturously received whilst on tour in the UK in 2023.

 Ruby’s passion for performing new repertoire has also led to her becoming a champion of female composers. Pieces by Helen Grime, Deborah Pritchard, Judith Weir and Errolyn Wallen have been commissioned for her.

“Ruby Hughes is increasingly proving to be a key singer of the early 21st century” Klassik Music Magazine

See Ruby Hughes perform Handel’s Messiah with the RSNO on 2 January 2025. 

When did you join the RSNO?
I joined the RSNO in June 2005.

Where are you from?
Leamington Spa.

Where did you study?
I studied at the Richmond School, and Royal Conservatoire of Scotland (formerly RSAMD).

What do you enjoy most about being in the RSNO?
I love playing percussion in the Orchestra. The variety of instruments we get to play along with the different sounds we add to the Orchestra makes the job very interesting.

Tell us your favourite RSNO story/memory so far.
On tour in Austria, Walter Weller invited the whole Orchestra to dinner and we had a great evening – though the local wine made sure the following morning wasn’t much fun! My greatest memory was playing brass bells at the the end of ‘Mahler 2’ in the Festival, half way up the choir stalls with the Orchestra, Choir and Organ at full pelt. It was an unforgettable moment.

What do you enjoy doing when you’re not playing with the Orchestra?
When I’m not playing with the Orchestra, I spend free time in the garden and hill walking, and cycling when the weeds are at bay.

Do you have any hidden talents?
I enjoy cooking – I’m not sure how talented I am at it, though!

If you could have dinner with anyone (alive or dead) who would it be, and why?
I would have dinner with George Mallory. I would know if he did get to the top of Mount Everest, and if so, how.

You’re stranded on a desert island. You’re allowed 3 CDs and 1 book. What would they be, and why?
Oscar Peterson – Gershwin Songbook Trio. I love the Oscar Peterson Trio and choosing one album is hard, but their subtle musicianship adds a quality to Gershwin’s already wonderful songs. Nitin Sawhney – Beyond Skin. I could listen to this album over and over and not get bored – also with lots of time on my hands I could work out how they did ‘The Conference’. Strauss – Alpine Symphony.