orchestra: DISTINGUISHED ACHIEVEMENT

Kǎrin Hendrickson is a conductor who brings equal passion to orchestra, opera, and audience with her transformative spirit on the podium. Her career includes some of the world's leading orchestras, from the London Symphony Orchestra to the Belgian National Symphony, Pittsburgh Symphony to the BBC's flagship ensembles.  Her work, forging deep musical partnerships with orchestras and audiences across three continents, reflects technical command and draws orchestras and audiences alike into the emotional heart of the music.

OPERA: DISTINGUISHED ACHIEVEMENT

Selected from a competitive international field of over 80 candidates, Kǎrin was invited to the Dallas Opera's Hart Institute of Women Conductors, and the following year she was chosen as one of three top conductors for the Atelier des Créatrices d'Opéra at Festival d'Aix-en-Provence. Recognized for her lyrical sensitivity and dramatic musical storytelling, she subsequently won the prestigious European Network of Opera Academies Young Conductor Residency from among candidates representing Dutch National Opera, Snape Maltings, Helsinki Festival, and Opera Narodowa (Poland).  Her most recent opera credits include Music Director for Opera Holland Park’s production of Hänsel and Gretel, Music Director for the premiere and tour of Opera for the Unknown Woman (Melanie Wilson/Fuel Opera), Music Director for Bloomsbury Opera, Chorus Master for The Royal Opera House, Covent Garden, and Chorus Master for Longborough Festival Opera. Karin prepared The Gulbenkian Orchestra’s semi-staged production of Eugene Onegin for Lorenzo Viotti.

COLLABORATIVE ARTISTRY ON MAJOR PROJECTS

Kǎrin’s background as a pianist, a professional choir member, and also as an orchestral conductor has made her an ideal colleague to support many of the world's leading conductors during their most ambitious projects or complex collaborations.  She has prepared orchestras or choirs for Marin Alsop (Britten War Requiem/Southbank Centre; Bernstein’s MASS/Southbank Centre; Women of the World Orchestra/World Economic Forum, Davos, Switzerland; Britten Pears Orchestra/Snape Maltings), Lorenzo Viotti (Gulbenkian Orchestra/semi-staged Eugene Onegin), Vladimir Jurowski (London Philharmonic Orchestra/Proms). Karin served as Assistant Conductor for Alsop's first international tour as Music Director of the São Paulo Symphony—encompassing the BBC Proms, Snape Proms, Rheingau Musik Festival, and the Concertgebouw, and also prepared the choirs for Alsop's 2023 European tour of Too Hot to Handel: Gospel Messiah with the BBC Concert Orchestra (PBS broadcast 2024) and National Radio Orchestra of Poland, bringing both precision and expressive depth to each preparation.

INTERNATIONAL PEDAGOGUE

Kǎrin’s work with young musicians reflects her commitment to passing forward the artistry she values, and she maintains an international profile as an exceptional orchestra and opera pedagogue. She has prepared the Concertgebouworkest Young for international concerts with Andrés Orozco-Estrada, worked with the LSO/Guildhall Orchestra Artistry programme for Michael Tilson Thomas, and also for Gustavo Dudamel's LSO/LA Phil youth orchestra collaboration. She has conducted all of the UK’s major conservatories, as well as the Royal Conservatory of Ghent (Belgium), and fulfilled three Guest Artist appointments at North Carolina School of the Arts included leading Bernstein's MASS, the complete Nutcracker Ballet, and a PBS-aired film production of The Nutcracker, each demanding musical achievement and the ability to inspire young artists toward excellence.

SHAPING THE FUTURE OF ORCHESTRAL ARTISTRY

In 2025, Kǎrin accepted the position of Director of Orchestras and Director of Graduate Orchestral Conducting at the University of New Mexico—a deliberate investment in the next generation of orchestral musicians and conductors at a pivotal moment in the institution's history. Her work at UNM runs parallel to her continued professional engagements, allowing her to bring real-world insight from international podiums directly into the training of those who will follow. UNM is poised to become a major force in American music education: the university is building the $84-million dollar Center for Collaborative Arts & Technology (CCAT), a stunning 60,000-square-foot facility designed by Diller Scofidio + Renfro (the visionary architects behind Lincoln Center, MoMA, The Broad, and Juilliard facilities worldwide) that will include a 600-seat performance hall, state-of-the-art rehearsal spaces, and cutting-edge collaborative environments. Combined with UNM's recent designation as an All-Steinway School, these resources position the university as an emerging destination for serious music study in the American Southwest. For Kǎrin, this appointment represents an opportunity to mentor the conductors and orchestral musicians who will sustain the art form's vitality—preparing them not just technically, but as thoughtful communicators and collaborative artists. Those interested in applying for the programs at The University of New Mexico should click here.

ARTISTIC FOUNDATION

Kǎrin’s musical journey began early: she started piano lessons at age 4, and by age 23, her composition “Carry the Flame” was selected as the official Salt Lake City Winter Olympic Torch Relay Theme Song, recorded by Aretha Franklin for NBC Records—an early indication of her ability to create music that speaks to vast audiences.

Her conducting studies with Anthony Maiello (George Mason University) and legendary pedagogue Gustav Meier (Peabody Conservatory) preceded graduating with Distinction from the Royal Academy of Music under Colin Metters, where she received two Gordon Foundation awards and the Fred Southall Memorial Prize in her final year. Other formative recognition includes nomination for the Nestlé-Salzburg Festival Young Conductors award, training at the Mozarteum under Siemens Prize winner Peter Gülke, talent grants from The Peabody Conservatory, and an award through Marin Alsop's Taki-Alsop Fellowship.

Kǎrin began her conducting career in the United States as Assistant Conductor to the professional choir Choralis, and also their award-winning chamber choir, Echos, while singing in both.  When she moved to the UK to train at the Royal Academy of Music, she continued singing with the London Philharmonic Choir under conductors Yannick Nézet-Séguin and Vladimir Jurowski.