Ylvali Zilliacus
Swedish violist Ylvali Zilliacus is passionate about chamber music and has since 2004 been a member of the award winning Lendvai String trio with whom she has performed at Wigmore Hall numerous times as well as across Europe. She has worked as a guest with amongst others Uppsala Chamber Soloists, London Schubert Ensemble, London Conchord Ensemble, Aronowitz Ensemble and Stockholm Chamber Soloists. Ylvali has performed as soloist, chamber musician and recitalist at several international music festivals including Oslo, Båstad, Ernen, Brasov, Cyprus Winter Week and Recife Virtuosi and IMS Prussia Cove. Ylvali has a strong interest in period performance practice and has worked together with Andrew Manze in English Concert as well as with the Florilegium.
In 2009 Ylvali was appointed principal viola of Musica Vitae Chamber Orchestra in Sweden. Since then she has also worked regularly as guest principal of the Philharmonia Orchestra. Ylvali has also been a guest principal in Umeå Symphony Orchestra and worked with Chamber Orchestra of Europe and London Symphony Orchestra.
Ylvali studied with Simon Rowland-Jones at the Royal College of Music, David Takeno at Guildhall School of Music and Drama as well as with Tabea Zimmermann at Hans-Eisler Hochschule für Musik in Berlin.

Personal word about the European Camerata

Through my experience of playing in the European Camerata I have learned that bringing players of different nationalities together to make music can create a unique environment.
Music as an international language builds bridges over many differences, and acts as a platform for further collaborations beyond geographical boundaries and cultural backgrounds.
The choice to stand up while performing provides freedom to the players as well as adds to the engaging visual aspect of the orchestra. And since there is no principal conductor in charge the rehearsals are held in a democratic manner making every player feel thoroughly needed and musically involved. By working in projects spread out over the year, each project has a sence of real occasion. The atmosphere is ambitious, positively intense and full of high expectancy. Above all, the feeling of a joint social, as well as a musical, effort is very evident.
Although the ensemble is rather large these necessary conditions provide the ultimate environment for true chamber music making. Which in my experience is quite unique.