For Ivan Karizna, music begins with the human voice. His playing is drawn to works that speak, fracture, sing and struggle — music in which intimacy can suddenly become physical and visceral.
For Ivan Karizna, music begins with the human voice. His playing is drawn to works that speak, fracture, sing and struggle — music in which intimacy can suddenly become physical and visceral.
For Ivan Karizna, music begins with the human voice. His playing is drawn to works that speak, fracture, sing and struggle — music in which intimacy can suddenly become physical and visceral.
About Ivan Karizna
For Ivan Karizna, music begins with the human voice. His playing is drawn to works that speak, fracture, sing and struggle — music in which intimacy can suddenly become physical and visceral.
For Ivan Karizna, music begins with the human voice. His playing is drawn to works that speak, fracture, sing and struggle — music in which intimacy can suddenly become physical and visceral.
About Ivan Karizna
Biography
A life in narrative, sound and the human voice.
A life in narrative, sound and the human voice.
Belarus-born French cellist Ivan Karizna is a musical storyteller with an instinct for contrast — from whispered intimacy to visceral intensity, combining a commanding physical presence with an unusually intimate, vocal and emotionally direct style of playing. His performances move naturally between whispered lyricism and visceral intensity, with a strong sense of music as narrative and human speech.
Belarus-born French cellist Ivan Karizna is a musical storyteller with an instinct for contrast — from whispered intimacy to visceral intensity, combining a commanding physical presence with an unusually intimate, vocal and emotionally direct style of playing. His performances move naturally between whispered lyricism and visceral intensity, with a strong sense of music as narrative and human speech.
Recent reviews have echoed this distinctive combination. Limelight praised his “poetic magic and power” with the Sydney Symphony Orchestra and described him in Perth as a “songster and storyteller”, while Nürnberger Nachrichten called him a “profound musical storyteller and poet”.
Recent reviews have echoed this distinctive combination. Limelight praised his “poetic magic and power” with the Sydney Symphony Orchestra and described him in Perth as a “songster and storyteller”, while Nürnberger Nachrichten called him a “profound musical storyteller and poet”.
Recent seasons have marked a major expansion of Karizna’s international orchestral career. In December 2025 he stepped in at short notice with the London Philharmonic Orchestra and Edward Gardner, performing Saint-Saëns’ First Cello Concerto and Bloch’s Schelomo. In 2026 he toured Australia with the Adelaide, Queensland, Sydney and West Australian Symphony Orchestras in Shostakovich, Dvořák and Schumann. The same season saw the Dutch premiere of Thomas Larcher’s Cello Concerto at the Concertgebouw with the Netherlands Philharmonic and Dima Slobodeniouk, alongside appearances with the Netherlands Radio Philharmonic and BBC National Orchestra of Wales.
Recent seasons have marked a major expansion of Karizna’s international orchestral career. In December 2025 he stepped in at short notice with the London Philharmonic Orchestra and Edward Gardner, performing Saint-Saëns’ First Cello Concerto and Bloch’s Schelomo. In 2026 he toured Australia with the Adelaide, Queensland, Sydney and West Australian Symphony Orchestras in Shostakovich, Dvořák and Schumann. The same season saw the Dutch premiere of Thomas Larcher’s Cello Concerto at the Concertgebouw with the Netherlands Philharmonic and Dima Slobodeniouk, alongside appearances with the Netherlands Radio Philharmonic and BBC National Orchestra of Wales.
Karizna’s repertoire spans the central cello canon and new music, with a particular affinity for works in which lyricism, psychological intensity and the human voice meet. Schumann and Shostakovich sit naturally alongside composers including Thomas Larcher, Huw Watkins and Giovanni Sollima, whose Lamentatio has become a recurring encore in Karizna’s performances.
Karizna’s repertoire spans the central cello canon and new music, with a particular affinity for works in which lyricism, psychological intensity and the human voice meet. Schumann and Shostakovich sit naturally alongside composers including Thomas Larcher, Huw Watkins and Giovanni Sollima, whose Lamentatio has become a recurring encore in Karizna’s performances.
He has worked with conductors including Vladimir Jurowski, Edward Gardner, Dima Slobodeniouk, Tarmo Peltokoski and Markus Poschner, and has appeared with orchestras including the London Philharmonic, Rundfunk-Sinfonieorchester Berlin, Rotterdam Philharmonic, Netherlands Philharmonic and Radio Philharmonic, Sydney Symphony and other leading European and international ensembles.
He has worked with conductors including Vladimir Jurowski, Edward Gardner, Dima Slobodeniouk, Tarmo Peltokoski and Markus Poschner, and has appeared with orchestras including the London Philharmonic, Rundfunk-Sinfonieorchester Berlin, Rotterdam Philharmonic, Netherlands Philharmonic and Radio Philharmonic, Sydney Symphony and other leading European and international ensembles.
A prizewinner at both the Tchaikovsky and Queen Elisabeth Competitions, Karizna has been described by András Schiff as “one of the best cellists of his generation”. As a chamber musician he has collaborated with artists including Gidon Kremer, András Schiff, Renaud Capuçon and Christian Tetzlaff.
A prizewinner at both the Tchaikovsky and Queen Elisabeth Competitions, Karizna has been described by András Schiff as “one of the best cellists of his generation”. As a chamber musician he has collaborated with artists including Gidon Kremer, András Schiff, Renaud Capuçon and Christian Tetzlaff.
Karizna plays the 1760 Tassini cello formerly owned by Paul Tortelier, on generous loan from a member of the Stretton Society. He divides his time between Paris and Amsterdam.
Karizna plays the 1760 Tassini cello formerly owned by Paul Tortelier, on generous loan from a member of the Stretton Society. He divides his time between Paris and Amsterdam.
Artist’s statement
“Music only becomes art when you make a story.”
“Music only becomes art when you make a story.”