Precision, poetry, and an irresistible feeling for narrative are key talents which fuel the career of acclaimed Belgian clarinettist Roeland Hendrikx. Hendrikx is in high demand as a concert soloist, and he has appeared with a great selection of acclaimed orchestras. Especially noteworthy was his recent Mozart tour across Flanders and The Netherlands with the London Philharmonic Orchestra, under the baton of Edward Gardner. Roeland Hendrikx’ presence on concert stages around the world should not obscure his deep love of chamber music. In 2015, Roeland founded the Roeland Hendrikx Ensemble, which focuses on the rich repertoire for clarinet, piano and strings. Hendrikx’s latest release “The clarinet as prima donna” features clarinet concertos and opera arias by Weber with the Rheinische Philharmonie and award-winning arranger Andreas Tarkmann, who fashioned a new cadenza for the first concerto, and recomposed the central aria from Der Freischütz, for clarinet and orchestra. Roeland Hendrikx’s other recording activities bear testimony to an unusual versatility. He enlisted the venerable London Philharmonic Orchestra to enregister the Mozart, Finzi and Bruch concertos (2018), an accomplishment that “had it all”, according to Diapason: “accuracy, lyricism, elegance”. He tackled Steve Reich’s New York Counterpoint (2020), followed by a crossover project which fused Saint-Saëns Carnaval des Animaux and Apollinaire’s literary Bestiaire in a chamber-musical Animal Farm.