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Who or what inspired you to take up the piano and pursue a career in music?

My instrument fell into my hands at the age of ten, as a present from my father. I immediately liked it and spent a lot of time practicing, attending concerts, reading books about composers, listening classical music radio stations, collecting cds… I never actually asked myself about having a career, until I reached the age where we’re asked to choose what we want to do in our lives. It just came up logically.

Who or what have been the most important influences on your musical life and career?

My professor, Agathe leimoni. She encouraged me to play in concerts, festivals and competitions, but also masterclasses where I met many other pianists and teachers. This was very enlightening.

What have been the greatest challenges of your career so far?

I consider any performance a challenge in itself. It always involves lots of stress, which adds a difficulty to daily practice. Also, being able to preserve my self-confidence while facing the audience.

Which performances/recordings are you most proud of?

Perhaps the series of concerts I gave in Moscow, at the Gnessin Academy, Tchaikovsky State Conservatoire and the Scriabin Museum.

Which particular works do you think you play best?

Although I don’t make this kind of judgment very often, I would say: L’isle joyeuse by Debussy, Liszt’s transcription of Bach’s Prelude and Fugue in A minor for organ and the Bach/Busoni Chaconne.

How do you make your repertoire choices from season to season?

I play the music I like the most. Since I already have a list, I could plan concerts until I reach the age of 120! Though I’m always likely to add some pieces to it, as I listen to a lot of music.

Do you have a favourite concert venue to perform in and why?

As long as I have a good piano and a good acoustic, I don’t really mind. But even without that, I’m always glad to be invited to play somewhere.

Favourite pieces to perform? Listen to?

The one I like to play most is Tchaikovsky’s Piano Concerto No. 1.

As I also dance a little ballet, so I couldn’t not love this composer and his ballet classics like The Nutcracker and Swan Lake. generally, I like all kind of ballet music.

If I had to choose another one, it would be Chopin’s Fourth Ballade, both listening to and playing as it is really wonderful.

Without naming any particular piece from this era, I listen to a lot of Baroque music. I must also add Prélude a l’après-midi d’un faune by Debussy and The Rite of Spring by Stravinsky (I recently discovered the four hands version of this last piece as well as a four piano version both of which I love).

Who are your favourite musicians?

Since I already mentioned some composers in the last question, I will mention some interpreters: Horowitz, Cziffra, Arrau, Cortot

Apart from classical, I also love jazz. I can listen to hours of Nina Simone (I particularly love her way of incorporating classical piano into jazz with her Bach-like improvisations), Ella Fitzgerald, Nat King Cole in his early years, Bill Evans, Art Tatum and Oscar Peterson to name but a few.

Last but not least, some musicians from Chanson française like Jacques Brel and Georges Brassens.

What is your most memorable concert experience?

I will call the jury for a joker on this one.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

The clichés are true: Believe in yourself, don’t compare yourself with the others, enjoy what you do, and work hard. Also, you have to know how to take breaks from time to time and avoid exaggerations that can lead you to obsessive compulsive disorder.

Where would you like to be in 10 years’ time?

Living in my “tour d’ivoire”.

What is your idea of perfect happiness?

It’s not something I could describe with words

What is your most treasured possession?

My family

What do you enjoy doing most?

Travelling and visiting new places

Sofia makes her UK debut at the Hebden Bridge Piano Festival on Sunday 24th April in works by Scarlatti, Rameau, Bach/ Busoni, Chopin and Debussy. Further details here

Sofia Matsagou studied at the Hellenic Conservatory of Athens and at the Schola Cantorum in Paris and went on to win prizes at several international piano competitions. She has performed extensively in Greece and also in Belgium, Paris, Italy and Russia.

More about Sofia here 

 

 

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(photo © Benjamin Ealovega)

Who or what inspired you to take up the piano and pursue a career in music?

I discovered the piano at a very young age but I remember feeling instantly connected to the instrument and knew almost immediately that I wanted to be a musician. I didn’t understand what that implied but I was very sure and have been ever since.   I also played the violin for about eight years until it became clear in my early teens that I had to be a pianist.

Who or what were the most important influences on your musical life and career?

I’ve been so lucky to have always had wonderful teachers who understood how I needed to develop at different stages. I established a very good and solid foundation with my first teacher, Ilana Davids, so that when I went to study with Imogen Cooper at 14 I was ready to be introduced to a completely new way of thinking and listening. It was extremely liberating and overwhelming.

After that I studied with Joan Havill, who has so much experience and detailed knowledge both as a performer and a teacher. She has helped me tremendously to feel more in control of my body and mentally stronger on stage so that (hopefully) there is an uninhibited flow from the imagination to the keyboard.

Equally importantly, my mother has always supported and understood me and in a way we discovered music together when she took me to the Purcell School. Families often have to make huge sacrifices to create the right atmosphere for a serious musical education.

What have been the greatest challenges of your career so far?

Trying to reconcile developing as a musician with developing a career and dealing with the business side of things. Being on time for flights.

Which performance/recordings are you most proud of?

I was proud of my performance of Bartok’s 3rd Concerto with the CBSO last November as I think it’s such an imaginative and subtle piece and I felt we were able to find a free and natural way of communicating with each other. My performance of some Ligeti Etudes in the summer felt like death but I adore these pieces and find them beautiful and fascinating and was so happy that people in the audience felt that too.

Which particular works do you think you perform best?

It’s probably not for me to say, but I always love playing Mozart, Beethoven, Schubert, Schumann, Chopin and much more.

How do you make your repertoire choices from season to season?

Pianists have such a wealth of great works to choose from and I always choose far more than I could actually play. I try to think of interesting programmes which have some kind of narrative or idea behind them and I also love including little-known works alongside more famous ones. I think a recital programme should be a kind of statement of one’s musical personality.

Do you have a favourite concert venue to perform in and why?

Wigmore Hall is maybe the ideal recital venue, and I also love Symphony Hall, Birmingham and St. James’ Church in Chipping Campden is really special.

Favourite pieces to perform? Listen to?

Too many to choose from.

Who are your favourite musicians?

Again, there are so many, but just to mention a few, Alfred Cortot, Pablo Casals, Jacques Thibaud, Radu Lupu, Richard Goode, Alfred Brendel , András Schiff, Steven Isserlis, Imogen Cooper and Fischer-Dieskau.

What is your most memorable concert experience?

The most recent one.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

That the music is bigger than us

Where would you like to be in 10 years’ time?

Here, with a whippet beside me.

What is your idea of perfect happiness?

The Goldberg Variations

What is your most treasured possession?

My EpiPen, because I have a nut allergy and I literally couldn’t live without it.

What do you enjoy doing most?

Playing the piano.

Mishka Rushdie Momen performs at the Hebden Bridge Piano Festival, 22-24 April 2016. Further details here

Mishka Rushdie Momen, born in London 1992, studied with Joan Havill and Imogen Cooper at the Guildhall School of Music and Drama and has also periodically studied with Alfred Brendel and Richard Goode. She has twice been invited by András Schiff to participate in his summer class in Gstaad as part of the Menuhin Festival.

In November 2014 Mishka was unanimously voted the 1st Prize winner of the Dudley International Piano Competition and performed Bartok 3rd Concerto with the City of Birmingham Symphony Orchestra conducted by Michael Seal at Symphony Hall, Birmingham. In September the same year Mishka won 2nd Prize at the Cologne International Piano Competition and most recently she was a prizewinner at the Dublin International Piano Competition 2015. She was awarded the Prix Maurice Ravel at the 2013 Académie Ravel in St. Jean-de-Luz, France where she returned to give three concerts at the Ravel Festival last Spring. Previously she was selected for the Tillett Trust Young Artist Platform Scheme 2012-2013 and other prizes include the Kenneth Loveland Gift and First Prize in the Norah Sande Award 2012, First Prize in Piano at the Tunbridge Wells International Young Concert Artists Competition 2010, the Chopin Prize at the EU Piano competition 2009, Prague, and at the age of 13 she won 1st Prize in the Leschetizky Concerto Competition, New York.

Mishka has given solo recitals at the Barbican Hall, the Bridgewater Hall, The Venue, Leeds, St. David’s Hall , Cardiff and in the Harrogate and Chipping Campden Festivals. Her concert experience includes most major London venues including the QEH, RFH, Purcell Room, Wigmore Hall, and abroad in New York, France, Germany, Prague, and Mumbai.

www.mishkarushdiemomen.com

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Who or what inspired you to take up the piano and pursue a career in music?

I started to play the piano when I was 9, but the real “call” to music as a career came later, around 14… I liked almost all subjects at school, but none of them was giving me the same sensations that I felt while I was playing the piano, and sitting at my desk at school I found myself thinking what I would like to play, people I wished to play with or the next occasion to perform in public… therefore I understood that it could be worthwhile to spend my life making music.

Who or what were the most important influences on your musical life and career?

Among my teachers, the strongest influence is the Italian maestro Sergio Fiorentino. Besides being an exceptionally gifted pianist and musician, he was an extremely humble man, a true gentleman (the kind you can hardly find nowadays), one of the most positive people I’ve ever met. The most significant thing I took from his lessons is the importance of the natural flow of music, and to give priority to the composer rather than the interpreter: his Beethoven was German, his Rachmaninoff Russian, his Cimarosa Italian… He also had the most impressive technical skills I have ever heard, but he used them always as a tool to better realize musical ideas, never to show how huge his talent was.

What have been the greatest challenges of your career so far?

To push myself against the odds, and take the responsibility myself to make my dreams come true, with all the consequences that entails. I come from a very simple family. All I had was my wish to become a musician: no one in my family and friends could help me to fulfill my goals, neither with money nor with culture and advice. And despite a strong personality, sometimes you get tired, because if you really want something, soon or later you’ll find a way to pursue it. Never give up.

Which performances/recordings are you most proud of?

Well, I am hardly ever really proud of a performance; when it goes really well I feel a mix of happiness and adrenaline. It’s great to have been truly inside music, but what makes me particularly happy is when people tell me, after the concert, that they felt deep emotions flowing in the hall, and looking in their eyes I see they’re really moved. This is what music is for. Scientific studies discovered that during a musical performance the brains of musicians and audience tend to work at the same frequencies. This is simply amazing and proves that communication during a concert is not only intended in a metaphorical sense.

Which particular works do you think you perform best?

I feel very close to the late romantic repertoire, like some of Rachmaninoff’s works; I also feel comfortable with the Argentinian composers of the 20th century like Ginastera and Guastavino. It might have something to do with my Italian blood and my passionate temperament: I love the mix of the Latin character with the Progressive tendency in Ginastera and with the popular tradition in Guastavino, the result is an extremely characterized style with a perfect balance between such different elements.

How do you make your repertoire choices from season to season?

Until a couple of years ago I was more free to follow my fantasies and desires of the moment… Now with my concert activity increasing, I have to take into account my medium-to-long-term plans. Anyway, despite what I must play, I always struggle to take the time to study what I need for my personal growth and for my personal pleasure.

Also, I constantly try to keep some contemporary music in my recital programs. A few years ago, during my first playing of some preludes by a Finnish composer, some of his words introducing the composition impressed me: “there’s no old music and new music, there’s only new music, because every old music has been new music once”. This is why it has no meaning for me to play a concert without at least one piece by a living composer.

Do you have a favourite concert venue to perform in and why?

I don’t have a venue where I perform as a habit, for now. Nonetheless I felt a very special feeling with two audiences: in Prague and London. I was impressed by people’s education, elegance and sensitivity in Prague, and never felt so well understood, musically. And I fell in love with London, a deeply concentrated audience, no one was there for other reasons but listening (well) to music. And London is so energizing, an artist needs so many inputs… many people in central and south Europe don’t like London but I really do.

Favourite pieces to perform? Listen to?

At the moment I’m enjoying Rachmaninoff’s Elegy and the Cantos Populares by Carlos Guastavino. Among the pieces I often play with great pleasure, Liszt’s Paraphrase on the Quartetto from Verdi’s Rigoletto. It’s a masterpiece of the truly inspired Italian melody (what we call “cantabile”) and the perfect knowledge of conducting parts (Verdi used to keep on his bedside table the scores of Haydn and Beethoven’s string quartets).

I have to admit that I don’t really listen to classical music very often in my free time, but when I do it’s usually from my laptop or tablet. The internet is great for that: I also like to watch interviews and documentaries about people like Horowitz, Michelangeli, Rachmaninoff, from whose words we can learn so much about what music means in a life. I love that video in which Horowitz plays Schumann’s Traumerei in Moscow (when he went back to Russia to give a recital, the last one in his country, at the Conservatory): the atmosphere was so full of palpable emotion that many people in the audience couldn’t resist crying… no words were needed. That’s why music was considered by Schopenhauer the highest among the arts.

Who are your favourite musicians?

The ones who decide to take the courage to help others, without asking for something in exchange. Rachmaninoff helped so many musicians, and so did Schumann. It requires an effort, nowadays: we live in an extremely competitive world and it seems that every success of another musician is a missed one for another. I do not share that way of thinking: everyone’s success is a marked point for music, consequently a marked point for every musician.

But speaking of people I find inspiring, I very much like Maxim Vengerov’s performances and masterclasses; I also enjoyed watching Andras Schiff’s masterclasses on Beethoven Sonatas and the speech he gave about his performance of Bach’s Das Wohltemperierte Klavier. And, overall, what I can watch and watch without getting tired is Sergio Fiorentino. On the internet you can find not only his performances but also some “musical interviews” which will surprise you in many ways.
 
What is your most memorable concert experience?

Recently I debuted at Shanghai Symphony Hall. It was a great sensation and I was thrilled about performing in such a concert hall, walking down the corridors seeing on the walls the photos of the greatest concert musicians ever and thinking “I have been walking on the same ground in a while”. I was wondering if people would like my repertoire and my way of playing… then, after the last note and during the encores, the audience was so warm and enthusiastic that I completely forgot my doubts. I think that in the end when you put a true message inside your notes, it reaches the destination, regardless of how far the country and the local culture can be from yours.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

In my opinion the most important thing to understand before deciding to dedicate your life to music is this: working with music is working on (and with) yourself, first. It requires great honesty, humbleness, a strong will and overall you should like the idea of starting a new research project every day, every time you deal with the same piece of music. You must develop the capability of listening to others and recognizing their own value. In other words, I believe you have to be a good human being first, then work hard to become a good musician.

Where would you like to be in 10 years’ time?

Still making music and traveling as much as possible. I like discovering new places, cultures, people, foods; I can’t get tired of that, and I can’t spend too much time in the same place.

What is your idea of perfect happiness?

Enjoy the beautiful moments of life, possibly sharing them with my loved ones.

What is your most treasured possession?

I think the less you possess the more free you are, and I love freedom. I tend to spend my money on life experiences rather than objects. Till some years ago I thought that my piano was my treasured possession, then, moving to another country without it, I discovered my treasure is music, which is inside me, not in a specific keyboard of 88 keys. Actually I like to think of myself not as a pianist, but as a musician who uses the piano.

What is your present state of mind?

Enthusiastic! I’m more and more involved in my new project, whose name is ‘Ritratti’ (Portraits). It’s a new recording, music around the idea of the portrait, by 20th century and contemporary composers, and a tour, in which I’ll meet other artists and work in collaboration with them. It will take me in US, Australia, Canada and even farther… I can’t wait.

Cristina Cavalli’s ‘Ritratti’ project is now live on the Indiegogo crowdfunding site. Full details here

Cristina Cavalli, Italian born, began studying music with Lidia Palo Giorgi and graduated in Piano at the Conservatory “G. Nicolini” of Piacenza and in Chamber Music at the Conservatory “B. Maderna” of Cesena; alongside her academic path she attended courses and masterclasses with notable musicians, among which most important to her were the Italians Sergio Fiorentino, Pier Narciso Masi and Marisa Somma. She continued her studies at the Accademia Incontri col Maestro of Imola, where she obtained the Master Diploma in Chamber Music. She appears frequently in concerts both as soloist and as chamber music partner, in a repertoire ranging from the 17th century to contemporary music. Her interest in this latter has enabled her to enrich her musical experience by taking part in important events such as Contemporary Music in Streaming, Novurgia (Milan), Dentro la Musica (Rome, Accademia di Santa Cecilia) and Festival di Nuovo Musica (Reggio Emilia). Several works by European and American composers have been dedicated to her, and she is often asked to give the First Playing of new piano pieces (Milan, Shanghai, London, Helsinki, Belgrade, Rome among others). She has played for the Universities of Macerata, Piacenza and Bologna and has recorded for the Italian national TV channels RaiSat3, Canale10, and the Finnish Alfa TV; her performances have been broadcasted by Radio Vaticana, Radio Belgrade and many others.

As soloist and chamber musician she has appeared in important venues in Europe and Asia, including Shanghai Symphony Hall, Sala Verdi of Milan, Auditorium Parco della Musica of Rome, Wuxi Grand Theatre and Shandong Grand Theatre (Jinan) in China, Zus Concert Hall of Prague, Teatro Ateneo of Madrid, Teatro Cavallerizza of Reggio Emilia, St. James Piccadilly in London, Sala Eutherpe and Auditorio Caja España of Léon and Teatro Ruskaja of Rome, always drawing success and great feeling with the audience. She performed in United Kingdom, Netherlands, Finland, Italy, Germany, Spain, Serbia, Czech Republic, Macedonia, China and Inner Mongolia; last May 2015 she made her debut at Shanghai Symphony Hall with a very successful solo recital, carrying on her first China Tour with eight concerts and three masterclasses. Ms Cavalli is an official member of ECMTA, European Chamber Music Teachers’ Association (Helsinki), ILAMS, Ibero Latin American Music Association (London) and she is also Honorary Advisor of IIME, International Institute for Music Education (Honk Kong). Parallel with traditional concert activities, she is constantly collaborating with other artists to creative projects in which music is combined and synthesized with different arts. In 2010 she presented Mediterraneo, a musical journey along the coasts of the Mediterranean Sea, starting from some Italian music suggestions and ending with Flamenco. Between 2012 and 2014 she ran the artistic direction of Chamber Music in Italy (concerts and masterclasses in the beautiful island of Ischia) and Florestano in Roma (music and more in the heart of Rome). She is now engaged in her new project, Ritratti (Portraits).

In her vision, Ms. Cavalli privileges the development and diffusion of classical music among people of all ages, country and condition; because of this spirit of sharing, she is often involved in charity initiatives, seeing music as a powerful way to improve and enrich people and life, children’s life in particular.

Cristina currently lives in Madrid.

www.cristinacavalli.com

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Dinara Klinton, London, April 2015

Who or what inspired you to take up the piano and pursue a career in music? Who or what were the most important influences on your musical life and career?

My passion for music probably started in my mother’s womb, as she is a piano teacher, and I must have heard her play at that stage. According to my family, the sound of the piano was what worked best to calm me down when I was a baby, and when I learned to stand I started playing non-stop – picking up whatever I heard around me and on TV. I remember the day when I was four and my mum brought me to the Special Music School in my hometown Kharkiv (which is similar to the Purcell and Menuhin schools in the UK). She didn’t want me to become a professional musician, as she has had to endure many difficulties herself, but she felt that I had “abilities” (“talent” was a prohibited word) and had desire for it. After half a year of lessons, I was playing works such as Bach’s Inventions and Mozart’s Sonata Facile. I didn’t feel it was anything difficult, but I remember working at it a lot. It is only now that I realise it was because I was a prodigy, but then it was strictly forbidden to say anything like that around me. Three years later I won 1st Prize at the Vladimir Krainev International Competition, and since then Krainev has played a very important role in my life, career and in the development of my taste and musicianship. He was an extraordinary teacher: listening to his “kids” (students or laureates and scholars of his Foundation) he could suggest one tiny thing, which would make the whole work shine. I have never been an official student of his, but I have played for him many times at masterclasses and before his scholars’ concerts. I have to mention that I have always been blessed to have the best teachers – from the very beginning, and I wouldn’t have achieved anything without them.

What have been the greatest challenges of your career so far?

I think it is believing in myself. Due to the nature of our work as musicians, those of us who have had to spend long hours practising from childhood are resigned to a certain level of solitude and hesitation. It makes us more sensible and responsive, but sometimes it is a disadvantage in this cruel world.

Which performances/recordings are you most proud of?  

There have been some performances I was quite pleased with, but I have never been satisfied. I’m quite happy with my latest CD recording of Liszt’s complete Transcendental Études. This was my dream project, and it was sponsored by the prestigious Benjamin Britten Fellowship at the Royal College of Music. I became the first ever recipient of this award, which is generously supported by the Philip Loubser Foundation.  I was also pleased with my performances in the Tchaikovsky and Chopin competitions last year.

Which particular works do you think you perform best?

I have been told that romantic music is my mother tongue. I agree, but would not limit it to that, as I genuinely enjoy and feel pretty much “at home” playing baroque, Mozart and Russian music.

How do you make your repertoire choices from season to season? 

There is a long list of pieces I have been wanting to learn for personal and educational reasons for a long time. And another list of those works I have been asked to play. So, these lines cross sometimes, but in general I’m lucky to be able to learn and perform a huge range of repertoire each season.

Do you have a favourite concert venue to perform in and why?

If I have to pick one, that would be the Great Hall of Moscow Conservatory. Rachmaninoff, Richter, Gilels, Horowitz, Rubinstein and many others worshiped by me from an early age played on this stage, and just this thought gives me an amazing feeling and inspiration. In general, the concert stage (no matter which one) is my favourite place in the world. It is the place I feel most comfortable, doing something I am living for. I am fortunate to be a City Music Foundation Artist who also help me secure great performing opportunities. 

Favourite pieces to perform? Listen to? 

Whichever pieces I perform become my favourite. I don’t think it’s possible to deal with any music without utter dedication to it. I really love listening to orchestral and vocal music: the principle qualities of which pianists should always be aiming for.

Who are your favourite musicians? 

The immortal composers. Among the pianists – I would mention a few giants from the older generation – Rachmaninoff, Horowitz, Gilels, Rubinstein.

What is your most memorable concert experience?

At the moment I would say my performance of Rachmaninoff’s 3rd Concerto with the Philharmonia Orchestra last year. During the rehearsal I was tempted to stop playing and just to listen how beautifully they “sing.” It is an unbelievable feeling to listen to a great orchestra and be on stage with them!

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Music is connected to very hard work. The criteria that performances are judged by are very subtle and sometimes blurred. Our ultimate aim should be to create magic, which should leave the listeners’ souls with newly formed ideas plus a feeling of goodness and kindness. Also, to be knowledgeable about and prepare for other aspects of a career in music such as promotion, contracts and personal development, something which City Music Foundation have really helped me with.

Dinara Klinton’s new album Liszt’s Études d’exécution transcendante is now available on the Genuin Label. More details here.

City Music Foundation’s mission is to turn exceptional musical talent into professional success by equipping outstanding musicians at the outset of their careers with the tools, skills, experience and networks they need to pursue music as a viable and rewarding livelihood. 

 

Pianist Dinara Klinton was born in Ukraine and has recently completed the Artist Diploma in Performance course at the Royal College of Music. Dinara is the first recipient of the prestigious Benjamin Britten Fellowship, generously supported by the Philip Loubser Foundation. Prior to this she was awarded a Master of Performance degree with distinction at the RCM where she was under the tutelage of Dina Parakhina. Upon graduating from the Moscow Central Music School, where she studied with Valery Pyasetsky, she went on her Graduate Diploma with Honors at the Moscow State Conservatory, where she worked with Eliso Virsaladze. Since 2014 Dinara is the City Music Foundation artist.
Dinara has won many awards in prestigious international competitions, including Third prize at the BNDES International Piano Competition in Rio de Janeiro, Brazil (2014), Second Prize and Special prizes for the best performance of the Semi-final recital, Chopin’s composition and Paderewski works at the 9th International Paderewski Competition in Bydgoszcz, Poland (2013), Second Prize at the Ferruccio Busoni International Piano Competition in Bolzano, Italy (2007), Grand Prix at the Berne Interlaken Classics International Piano Competition (2010), Grand-Prix at the Vladimir Krainev International Competition for Young Pianists (2006), First Prize at the International Seiler Piano Competition (2003) and Second Prize at the Tchaikovsky International Competition for Young Musicians (2004) . She has also received the Diploma for the best semi-finalist at the XVII International Chopin Competition in Warsaw (2015) and Diploma of Outstanding Merit at the Hamamatsu International Piano Competition in Japan (2006).
Dinara has appeared at many international music festivals including the Rheingau Music Festival, International Festival of Piano “La Roque d’Antheron”, Aldeburgh Proms, Cheltenham festival. She has performed all over the globe in such venues as Royal Festival Hall, Cadogan Hall in London, Tchaikoivsky Concert hall in Moscow, Great hall of Moscow state Conservatory, Konzerthaus Berlin, Gewandhaus zu Leipzig, Warsaw Philharmonic, Tokyo Sumida Triphony Hall. She has also worked with many orchestras such as The Philharmonia Orchestra, Lucerne Symphony Orchestra and the St Petersburg Philharmonic Orchestra. Dinara’s playing has been broadcast on the radio and TV in Russia, Ukraine, Germany, Italy, France, USA, Canada, Brazil, Japan, UK (BBC2, BBC Radio3).
Dinara made her debut recording at the age of sixteen, with Delos Records, and the album Music of Chopin and Liszt. Her second album ‘Liszt Études d’exécution transcendante’ is available now.

www.dinaraklinton.com

Photo: Benjamin Ealovega