Following her solo-debut at age 17 at the Konzerthaus in Vienna, the young Austrian harpist Elisabeth Plank has established herself as an internationally sought-after soloist and ambassador for her instrument. She presents the harp as a versatile and exciting instrument, rich in colours and textures, with its unusual repertoire and a broad stylistic spectrum. Her ambition to sharpen and broaden the harp’s profile has added not only musical rediscoveries but also many new compositions to the harp’s repertoire.

Being at home at the stages of the world, Elisabeth Plank has performed in renowned concert halls and festivals in Europa, Japan and Latin America - such as Musikverein Wien, Philharmony Kharkiv, Konzertsaal Gasteig, Musikverein Graz, or MDR Musiksommer. As a soloist, she has appeared with orchestras such as Camerata Bohemica Prag, Thüringer Symphoniker, NFM Leopoldinum Orchestra, Barockensemble der Wiener Symphoniker or Wiener KammerOrchester. From 2019 to 2021 Elisabeth Plank has been artist-in-residence of Wiener Konzerthaus as part of the "Great Talent"-series.

Both her solo albums "L'arpa notturna" & "1825 - Echoes of Vienna on Historical Harp" were critically acclaimed: "a thoughtful and beautifully played disc [...] Plank has a real command of light and shade. She's adept at creating musical perspective" (Gramophone). Elisabeth Plank has recorded the harp concerto by G. C. Wagenseil with the Barockensemble der Wiener Symphoniker.

A prizewinner in a number of international competitions in Germany, Austria, Italy and Japan (e.g. Musica Juventutis, Internationaler Reinl-Wettbewerb, Osaka International Music Competition), Elisabeth Plank was honoured with the "Young Celebrity Master"-award of "HarpMasters" in Switzerland in 2014.

Born in Vienna in 1991, she had her first lesson at age seven. Only two years later, Elisabeth Plank was accepted as a preparatory course student at the University of Music and Performing Arts Vienna where she also concluded her master studies under the tuition of Adelheid Blovsky-Miller with the highest distinction. In further studies she worked with Mirjam Schröder in Vienna and Fabrice Pierre in Brescia.

In the 2020/21 season Elisabeth Plank had her debuts at the MuTh Vienna and Konzerthaus Berlin, other highlights included a portrait concert as part of the series “Kovacics Entdeckungen”, or concerts as a soloist with orchestras such as Wiener KammerOrchester. Highlights of the current season include Elisabeth Plank’s debut in Harpa Reykjavík, NOSPR and Grafenegg, performances at Musikverein Graz, Young Classics Passau and an extensive tour for Jeunesse Austria. In March 2022 she has released her third solo album “musings” with GENUIN. In September 2022 she will record Mozart's double concerto with ORF Radio-Symphonieorchester Wien under the baton of Howard Griffiths for alpha classics.

www.elisabethplank.com

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