Elisabeth Plank  
Elisabeth Plank

Viennese harpist Elisabeth Plank was accepted at the age of nine as preparatory course student at the University of Music and Performing Arts Vienna where she later studied with Prof. Adelheid Blovsky-Miller and graduated in 2015 with highest distinction. She received further tuition by Mirjam Schröder in Vienna and Fabrice Pierre in Brescia.
Elisabeth Plank made her solo debut at age 17 at the Konzerthaus in Vienna and has ever since performed around the world as soloist and chamber musician for institutions and festivals like Musica Juventutis, Young Classic Europe, Rio Harp Festival, World Harp Congress and the Schönberg Center.
Elisabeth Plank debuted as soloist with orchestra in 2006 with the concerto for harp by G. F. Händel at the Royal Chapel Vienna. Performances with the “Concerto for Flute“ and Harp by W. A. Mozart and the "Danses" by C. Debussy followed with orchestras such as the Camerata Bohemica Prag or Thüringer Symphoniker.
Her first CD "L'arpa notturna" released by the prestigious German label ARS Produktion in 2017 received the Bank Austria Art Award and gained enthusiastic reviews in Austrian and abroad. In autumn 2018 Elisabeth Plank has recorded the harp concerto by G. C. Wagenseil with the Baroque Ensemble of the Vienna Symphonic Orchestra. In 2019 she presented her acclaimed new solo album "1825". The title takes reference to the instrument of the recording, the historical double-action harp which was created in that year by the Paris firm of the Érard Brothers.
Elisabeth Plank is prizewinner of national and international competitions like the International Reinl-Competition, Osaka International Music Competition and the Musica Insieme Competition and was honored with the "Young Celebrity Master“ Award of in Switzerland in 2014.

Three compositions have already been dedicated to the young harpist: "Sonatine for Harp" by Andreas Wykydal (world premiered in London 2014), a harp concerto by Onur Dülger: "Bai-Ulgan" (world premiered at the Radio Concert Hall Vienna 2015, Webern Ensemble, Jean-Bernard Matter) and "Central Plank" for solo harp by Arturo Fuentes (world premiered at the Jeunesse Zwettl 2017).
Recent engagements include her debut at the Kharkiv Philharmony, solo tours to Japan and South America, a solo recital in Jerusalem, solo programs for the Jeunesse and her debut with the Thüringer Symphony Orchestra. Highlights of the past season included Elisabeth Plank's solo debut in Musikverein Wien, a recital as artist-in-residence for Salvi Harps' Arpissima concert-series and solo-programs for Jeunesse Musicale Austria.

Recent engagements include a South America tour, appearances at concert series such as "Young Musicians" at the Musikverein Wien and "Révélations - Jeunes Interprètes" in Biel.

This season has been Elisabeth Plank's first season as "Great Talent" of the Wiener Konzerthaus, further highlights include performances at MDR Musiksommer, Música en el MNAD Buenos Aires and at the Musikverein in Vienna for the celebrations of its 150th jubilee. Highlights of the current season include a portrait concert as part of the series “Kovacics Entdeckungen”, concerts as a soloist with orchestras such as Wiener KammerOrchester, as well as her debuts at the MuTh and the Konzerthaus Berlin.



Plank has a real command of light and shade. She's adept at creating musical perspective; a soft-edged, almost muted accompaniment against which foreground figures glint and sing in shades that can range from the brilliant to the sombre, often within the same phrase. [...] This is a thoughtful and beautifully played disc
Gramophone, Richard Bratby, July 2017

A consummate musician capable of producing any shade of color in polished splendor, all with a gift few of us have: to make it sound easy. [...] A command of the instrument and its many moods is what sets Elisabeth apart from the very first note [...] Elisabeth is not playing the music, but embodying it [...] (Hindemith) The line of phrase sings, even in the second "Lebhaft" movement that could all too easily be an exercise in technique. [...] This idea of bel-canto-playing-throughout-no-matter-what-is-required-technically is especially apparent in the pedal harp showcase by Wilhelm Posse, "Variations on the Carnival of Venice". [...] in Elisabeth's hands, it takes on a new magnitude of possibility. She detaches each voice, allowing them their individuality and creating the startling effect of two players. [...] perfect dramatic timing.
Harp Column, Alison Young, October 2017

Plank created a canvas of many timbres ranging from almost orchestral-sounding tutti to faraway dreamy utterances, her playing bristling with virtuosic competence and clean melodic lines, expressiveness and fantasy. [...] Plank creates it in a rich multi-layered soundscape of majestic, modal utterances. [...] Plank's playing of this bitter-sweet movement leaves the listener deep in his own thoughts. [...] Plank's playing of it shows that virtuosity and terse content do not rule out expressiveness.

Music Critique, Pamela Hickman, December 2017

De jonge Weense harpiste Elisabeth Plank bewijst met haar debuutalbum l'Arpa notturna niet enkel de mogelijkheden van de harp als instrument, maar ook haar eigen muzikale neus bij het uitzoeken van geschikte composities. [...] Muzikaal werd iedere compositie afzonderlijk duidelijk bestudeerd.
Klassiek Centraal, Veerle Deknopper, August 2017

Die junge, preisgekrönte Harfenistin Elisabeth Plank, eine der großen Nachwuchshoffnungen Österreichs
Niederösterreichische Nachrichten, July 2017

Virtuosität bewies auch die eigentliche Solistin des Abends, Elisabeth Plank, mit dem Harfenkonzert B-Dur von Händel. [...] bei Debussys "Danses", die ganze Bandbreite an Ausdrucksmöglichkeiten entfalten zu können. Auf Elisabeth Planks zarte Glissandi und atmosphärisch entrückten wie schwärmerischen Klänge antwortete das Orchester mit Zurückhaltung.
Ostthüringer Zeitung, Friederike Lüdde, July 2017

Auf höchstem Profi-Niveau zeigten sich die norwegische Flötistin Ingrid Søfteland und die österreichische Harfenistin Elisabeth Plank in Mozarts zuweilen ätherischem Doppelkonzert C-Dur KV299. Da blieb kein Wunsch offen an Präzision des Zusammenspiels und himmlischer Wohlklänge - vor allem im Andantino. [...] Ovationen der Zuhörer.
Passauer Neue Presse, November 2016

We will be happy to send you music samples and further information about Elisabeth Plank on demand.
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