Portrait María Dueñas

María Dueñas

Violin
©Sonja Müller
General Management

Spanish violinist María Dueñas has emerged as a luminous talent in classical music, captivating audiences with her extraordinary range of tonal colours, impeccable technical prowess, and interpretations that blend artistic maturity with bold expressiveness. The New York Times praised her ability to breathe "new life into well-known pieces" and described her as a "22-year-old violinist who has something to say, and the skill to say it brilliantly".  

Her meteoric rise led to an exclusive contract with Deutsche Grammophon, a significant milestone in her burgeoning career. María Dueñas' debut album, Beethoven and Beyond, released in 2023, showcased her remarkable interpretation of Beethoven's violin concerto, featuring cadenzas composed by herself. This recording, made with the Wiener Symphoniker under Manfred Honeck, earned her the prestigious Opus Klassik award as Young Artist of the Year in 2024, adding to an extraordinary array of grand and first prizes at international competitions, including the Senior Division of the Menuhin Competition, the Vladimir Spivakov International Violin Competition and the Zhuhai International Mozart Competition. Her unique interpretative approach has also been recognized by the Rheingau Music Festival, BBC Radio 3 and the Princess of Girona Arts and Letters Award. February 2025 marked the release of her second Deutsche Grammophon album, an ambitious project centered around Paganini's legendary 24 Caprices and works inspired by Paganini from composers spanning from Berlioz to contemporary artists. 

Establishing herself as a globally recognized soloist, she has already collaborated with the world’s leading orchestras such as the Philadelphia Orchestra, San Francisco Symphony, Pittsburgh Symphony, Cleveland Orchestra, Staatskapelle Berlin, Staatskapelle Dresden, Oslo Philharmonic, NHK Symphony Orchestra, Deutsche Kammerphilharmonie Bremen, Munich Philharmonic, NDR Elbphilharmonie Orchester, Bamberger Symphoniker, Wiener Symphoniker, Swedish Radio Symphony Orchestra, Philharmonia Orchestra, Accademia di Santa Cecilia, Chamber Orchestra of Europe, Danish National Symphony Orchestra, and the Orchestre de Paris, alongside a constellation of esteemed conductors including Yannick Nézet-Séguin, Herbert Blomstedt, Christian Thielemann, Marin Alsop, Christoph Eschenbach, Manfred Honeck, Kent Nagano, Marek Janowski, Daniel Harding, Alain Altinoglu, Alan Gilbert, Cristian Măcelaru, Paavo Järvi, Vasily Petrenko, Andrés Orozco-Estrada, Santtu-Matias Rouvali, Vladimir Spivakov, Gustavo Gimeno and Jukka-Pekka Saraste, among others.

Her strong artistic partnership with Los Angeles Philharmonic and Gustavo Dudamel has yielded several notable achievements, such as performances at the Hollywood Bowl's 100th Anniversary celebration, the world premiere of Gabriela Ortiz's violin concerto Altar de Cuerda with concerts at Walt Disney Concert Hall, on tour in Barcelona, Paris and London, and sold-out premieres at Carnegie Hall and in Boston. The recording of this work is part of the album Revolución diamantina which won three GRAMMY Awards in 2025.

A versatile artist with a remarkable passion for composition, the creative endeavors of María Dueñas include Homage 1770, a piece for solo violin inspired by her debut album and Beethoven's legacy, Farewell, a solo piano piece, and cadenzas for most of the violin concerto repertoire. In August 2024, she released Julian Lawrence Gargiulo's Sonata No. 4 From the Window for Deutsche Grammophon, showcasing her commitment to contemporary music. As a chamber musician, she has forged significant artistic collaborations with highly respected partners, such as baritone Matthias Goerne, pianist Itamar Golan, and violinist Renaud Capuçon.

Her remarkable fusion of classical tradition and contemporary innovation led her to play the reincarnation of Kathleen Parlow in the film Measures for a Funeral by Sofia Bohdanowicz, rediscovering Johan Halvorsen's long-lost violin concerto op. 28. This masterpiece was brought to life in a stunning performance with the Orchestre Métropolitain under the baton of Yannick Nézet-Séguin, which premiered at the 2024 Toronto Film Festival.

Highlights of the past season included a tour of Japan with Deutsche Kammerphilharmonie Bremen and Paavo Järvi, performances with the Cleveland Orchestra, a return to the Pittsburgh Symphony Orchestra under Manfred Honeck, her debuts with Staatskapelle Dresden under Andrés Orozco-Estrada und Staatskapelle Berlin under Christian Thielemann, a concert at the Tanglewood Festival with the Boston Symphony Orchestra under Andris Nelsons as well as recitals with pianist Alexander Malofeev at the Carnegie Hall, at Pierre Boulez Saal Berlin, and at the Salzburg and Edinburgh Festivals.  

In the 2025-2026 season, María Dueñas' schedule continues to brim with high-profile engagements, such as the continuation of her collaboration with the Philadlephia Orchestra and Yannick Nézet-Séguin, a tour of Europe mit Sir Antonio Pappano and the Chamber Orchestra of Europe as well has her performance at the Nobel Prize Concert in Stockholm together with Semyon Bychkov. She will give her debuts with the Vienna Philharmonic under Karina Canellakis at the Salzburg Mozart Week and with the New York Philharmonic under her long-standing artistic partner Manfred Honeck.  Another milestone in her career will be the celebration of Maestro Zubin Mehta's 90th birthday together with the West-Eastern Divan Orchestra, with concerts in Madrid and Barcelona in February 2026.

María Dueñas performs on a Nicolò Gagliano violin from 17?4, on loan from Deutsche Stiftung Musikleben, and has also been entrusted with the Stradivarius Camposelice from 1710 by the Nippon Music Foundation.

This biography may not be published in edited/abbreviated form without prior consent of KünstlerSekretariat am Gasteig. 




3. October 2025 - 19:30

Dublin, National Concert Hall Dublin

Ludwig van Beethoven: Konzert für Violine und Orchester D-Dur op. 61

Info & Tickets



17. October 2025 - 20:00

Paris, Auditorium de Radio France

Erich Wolfgang Korngold: Konzert für Violine und Orchester D-Dur op. 35

Info & Tickets



18. October 2025 - 20:00

Auditorium de Radio France

Erich Wolfgang Korngold: Konzert für Violine und Orchester D-Dur op. 35

Info & Tickets



  • All evening, though, the centre was Dueñas: less about display than about the living drama between held breath and release, about turning the concerto’s long walk into one unbroken sentence. In that sense, she didn’t merely play Beethoven; she let the piece breathe.
  • Manche Werke, so scheint es, warten nur darauf, bis endlich jemand kommt, der zeigt, was wirklich in ihnen steckt. Für das Violinkonzert von Erich Wolfgang Korngold ist das María Duenas. Die Spanierin, noch keine 21 Jahre alt, entwirft eine vollgültige Persönlichkeit, widerspenstig, mit charaktervollem, bisweilen gar säurehaltigem statt lukullischem Ton. Die Solostimme des Konzerts mag träumerisch lyrisch getönt sein, doch María Duenas kann sich auch geräuschvoll durchsetzen, resolut austeilen, die Spiccato-Passagen aufspießen, als ob ein Strawinsky sie geschrieben hätte. Korngold hat in diesem Werk musikalische Themen aufgegriffen, die er in Partituren für Hollywood-Filme verwendet hatte. Schwer zu sagen, ob er bei der kompositorisch kunstvollen Verarbeitung an eine bestimmte Schauspielerin gedacht hat. Bei María Duenas fühlt man sich eher an eine trotzig souveräne Katharine Hepburn denn an eine verliebt leidende Ingrid Bergman erinnert. Sogar den biografischen Hintergrund dieser Person lässt sie erahnen: Duenas artikuliert auch längere Phrasen mit Nachdruck durch, sägt in der Höhe so unbarmherzig, dass gleich zwei Bogenhaare reißen, und wenn sie einmal gleichsam einen charmant klingenden Augenaufschlag macht, sollte ihr Gegenüber sich dennoch nicht in Sicherheit wiegen. Einfach furios.
  • Bei Licht besehen handelt es sich … um ein fünfsätziges Violinkonzert, in dem der Solist alles an geigerischen Finessen und funkelnden Einlagen aus sich herausholen kann, zu dem er fähig ist. Das ließ sich hier die junge Geigerin Maria Dueñas nicht zweimal sagen und glänzte vor allem mit fabelhafter, technischer Perfektion, über die man nur staunen konnte. Und dennoch hatte ihr Spiel Seele, was besonders wichtig war. Es stellte sich der Eindruck ein, dass sie mit Haut und Haaren mit diesem Lalo verwachsen war. Irgendwelche spieltechnischen Hürden brauchte Dueñas nicht zu fürchten und tat es mit der größten Selbstverständlichkeit auch nicht.
    Dresdner Neueste Nachrichten
    Mareile Hanns, "Spanisches Gold und böhmische Melancholie", 07.10.2024
  • María Dueñas gefällt mit schönem, aber nie ins Süßliche abgleitenden Ton, edelsteinpräziser Phrasierung und maximaler Präsenz. Eine Künstlerin, die stets die Balance zwischen spieltechnischer Brillanz und Tiefe des Ausdrucks zu wahren versteht und die Korngolds akustischen Breitwand-Sound so zelebriert, dass jeder Anflug von Kitsch außen vor bleibt. Diese traumwandlerisch sichere Gratwanderung begeistert, weil das Spiel der Spanierin, die in Wien studiert, auch in den virtuosesten Passagen stets unprätentiös bleibt.
    Erlanger Nachrichten
    Hans von Draminski: Die Brillanz und der schöne Ton, in: Erlanger Nachrichten, 06.10.2023
  • Beethoven & Beyond: She has really earned this recording. And she’s certainly got everything it takes to be both a superstar and a musician of the first order: imagination, intelligence, flawless technique, interpretive insight beyond her years, a temperament fiery and passionate yet graceful and lyrical, and a view of the work that is at once thoughtfully personal and highly individual without being in the least idiosyncratic or courting difference for difference’s sake [...]. I’ve been listening to this concerto since I was a junior in college, have acquired several recordings along the way (and listened to countless more); yet having listened to it now four times all the way through, I can’t think of one that has given me greater pleasure, few as much. 24 Caprices: [Her] Nicolò Gagliano violin [,] brilliant on the upper ones, from which Dueñas produces a kaleidoscopically dazzling range of color, sonority, touch, and dynamic shading, a variety directly mirrored in her gloriously variegated interpretive approaches to and characterizations of the individual numbers [...]. Like the pieces themselves, she’s everywhere spontaneous, impetuous, unbridled, impulsive, sometimes even reckless yet without ever losing control. Even better, she often sounds like she’s having fun [...]. Dueñas’s 24 Caprices is on every level the most exciting new album I’ve heard so far this year.
  • Maria Duenas‘ singuläre Interpretation der Paganini-Caprices (ergänzt um die in der künstlerischen Nachfolge entstandenen Werke) steht nun in einer stolzen Reihe auf Augenhöhe mit außergewöhnlichen Pionierleistungen, wie wir sie von Salvatore Accardo, Nathan Milstein (berühmt geworden ist seine Paganiniana – Variationen über Caprice Op. 1) oder Itzhak Perlman kennen. Anhören und genießen!



Lothar Schacke

Lothar Schacke

Director, General Management
e-mail
+49 89 44488790
Eva Oswalt

Eva Oswalt

Head of Artist Operations
e-mail
+49 89 44488796

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