Projects like Theresia give to young musicians the possibility to grow and develop their skills in a very lively environment. It is a great opportunity to get precious experience because this is actually real musical life."
Olga Paschchenko, harpsichordist and pianist who performed (and will perform) with Theresia Youth Orchestra in more than an occasion, is one of our favourite musicians: she’s a real pro in the musical field, with a huge experience as a concert player, as well as a contestant in international competitions and as a teacher of advanced students.
Olga, we met last in August 2015, when you played as a soloist with Theresia: what has happened during these three years?
“Life has been quite exciting all these years. For example, I started teaching keyboard instruments in the Conservatories of Amsterdam and Ghent and I issued several CDs; I have also played a lot of different programs on organ, harpsichord, fortepiano and modern piano.”
Your first partnership with the orchestra was in 2012, when you won the Premio Ferrari competition playing the fortepiano: what do you recollect of that experience, after six years?
“That was definitely a great experience back then, I have the most beautiful memories. The orchestra was very enthusiastic and played very well under the baton of the wonderful Claudio Astronio.”
In 2020 you will perform again with Theresia, playing Beethoven’s First Concerto under the baton of Alfredo Bernardini, which is one of our principal conductors together with Chiara Banchini and Claudio Astronio. Have you already worked with or met Alfredo Bernardini?
“I totally love Alfredo as a musician and as a person as well: we met at many different occasions and once we did a project with Bach’s Cantatas together.”
You are still playing both fortepiano, harpsichord and modern piano: how can you deal with the technical differences between these instruments? Do you manage to work in contemporary on different projects involving different instruments or do you focus on one at a time?
“My main idea is to play the pieces on the instrument that these pieces were composed for. So I decided to limit myself to keyboard instruments. Accordion is, unfortunately, missing at the moment… However, with all other keyboard instruments I meet on an everyday basis and very often play mixed programs.”
You are now a teacher, as well as a concert player: in your opinion, how much is it important for young musicians to join youth projects like Theresia? Would you recommend to string students to try the upcoming Theresia’s auditions?
“In my opinion, the presence of such projects has a very high significance. The young professionals get a possibility to grow and develop their skills in a very lively environment and to do exactly what they are aiming to do in life. I think it is a great opportunity to get precious experience in such projects because that is actually real musical life.”
Olga Pashchenko’s cd reviewed by The Gramophone: “An outstanding rendition”
By Emilia Campagna - October 21, 2015
Olga Pashchenko got a glowing review on The Gramophone for her cd entirely devoted to Beethoven.
Olga Pashchenko got a glowing review on The Gramophone for her cd entirely devoted to Beethoven. The cd program includes: the 32 Variations on an Original Theme, the two Sonatas op. 49, the Variations and a Fugue on an original theme and the G minor Fantasia op. 77.
As Jed Distler writes, “This disc features a Christopher Clarke instrument (modelled on a Fritz piano from Vienna, c1818), whose well-regulated action and varied timbres will likely attract fortepiano mavens. More importantly, Olga Pashchenko has an exceptional way with Beethoven. She imbues both little Op 49 sonatas with a disarming simplicity that can only be borne out of sophistication. You’ll notice, for example, the subtle yet palpable tension and release in the inflections and accents of No 1’s Rondo and the flexible advantages of playing No 2’s Menuetto with the feeling of one beat to the bar.”
Flattering words are used for the interpretation of the 32 Variations: Her outstanding rendition of the 32 Variations in C minor boasts many impressive moments, from the suavely dispatched triplet sequences in Vars 19 21 to the spacious, slightly disembodied sonorities that she conjures up in Vars 28 and 30. Pashchenko has obviously invested a good deal of thought and practice time into the G minor Fantasia, Op 77, yet she pounces on the sudden loud declamations and dives into the wild scales, truly evoking the music’s improvisatory genesis.”
Critic Jed Distler focuses on a comparison between the interpretation of Olga Pashchenko and Brautigam’s one: “In contrast with Ronald Brautigam’s engagingly taut and headlong Eroica Variations, Pashchenko zeroes in her attention on individual variations, revealing her fondness for expressive asides in the form of rubato, tenutos and rounding off phrases at the end of major sections. She especially gilds Var 5’s melodic lilies, while her soft-grained broken octaves in Var 6 arguably downplay the urgency of Beethoven’s unexpected reharmonisation of the theme, which Brautigam brilliantly underlines by slightly accelerating the basic tempo. But Var 8 features alluring pedal effects and a cheeky double-note cadenza right after the final fermata, while the fugue’s playful, almost jazzy lightness contrasts with Brautigam’s surging drive. Thicker passages sometimes lose definition with the ambient resonance, yet otherwise the sound is fine.”
Last summer Olga Pashchenko performed with Theresia Youth Baroque Orchestra as a soloist in the Double Concert by CPE Bach; we are meeting her again soon: Olga will play basso continuo in the concerts scheduled in November in Lodi and Padua.
translation by: Charlotte Michi Assen Boyadjiev is the second soloist that played with Theresia this summer: he played the fortepiano, Olga Pashchenko the harpsichord. Also Assen is an acquaintance of Theresia, he took part at the Premio Ferrari in 2012, winning the Second Place and the “Theresia” Special Price for the best performance of a concert written by Mozart. 34 years, he […]
Assen Boyadjiev is the second soloist that played with Theresia this summer: he played the fortepiano, Olga Pashchenko the harpsichord. Also Assen is an acquaintance of Theresia, he took part at the Premio Ferrari in 2012, winning the Second Place and the “Theresia” Special Price for the best performance of a concert written by Mozart. 34 years, he was born and grew up in Bulgaria but lives in Hannover since the age of 18: “I moved to Hannover to study, and except for an experience at the Cornwell University in 2008, where I specialized with Malcolm Bilson, I have always been in Germany. Even after finishing my studies – I obtained the last degree in 2010 – I remained in Hannover, where I teach performance practices on early keyboards.”
The keyboard world is immense: you have specialized in one field or you continue to play the piano beside the harpsichord and the fortepiano?
“I never abandoned the modern piano and sometimes I still play it in concert: but my primary interest is the fortepiano, the early instrument, in which all those technical features that make “modern” today’s piano are lacking. In this sense my repertoire ranges up to Debussy: he played Pleyel and Erard pianos, that have no crossed strings like Steinway. Thus they are still fortepianos, even if the boundary is very thin. Exploring this border is something that fascinates me a lot.”
To switch from the modern piano to the fortepiano is a matter of technique?
“Not necessarily: it’s rather the sound that changes, due to the construction differences I mentioned before: the color is different, also there is a difference in the registers that in the modern piano disappeared for the benefit of a greater consistency between high notes and low notes.”
What have we gained and what have we lost in the transition from fortepiano to pianoforte?
“Culture and taste change, and so do habits: in the eighteenth century music was performed in small rooms, and the low volume of the fortepiano was not a problem. But today concert halls are immense, and obviously the organizers want to fill them. If we think of the Carnegie Hall: of course listeners of the last rows can not grasp the subtleties of the sound of fortepiano. I like to do this example: a modern piano is like a big red German sedan, perfect to drive fast and safe on the highway: but what if we have to drive in the alleys of Palermo? The car becomes cumbersome, the risk of scratching it is high, we get stuck and this stress ruins the pleasure of observing all the details that surround us. If we go on horseback, instead, we go slower but we enjoy the trip. To change metaphor, the music of Mozart is like the architecture of an eighteenth-century city: playing it on the piano means you have to accept continuous compromises.”
Let’s talk about CPE Bach’s Concert: have you ever played it before?
“No, and I am very glad for this opportunity: the Double Concerto has been the most popular composition of CPE Bach, because it’s special and spectacular music, that puts together the two instruments highlighting their features: there are many passages in Olga’s part where the baroque style of the harpsichord features the writing. If we switched the parts and I played hers on the fortepiano, and vice versa, we would loose the special flavor of the music.”
How is it working with Theresia?
“I feel very comfortable, musicians react very fast to the solicitations of Chiara Banchini, which is very open to our comments, to our proposals. I think that this concert is even more difficult for the orchestra than for the soloists: some passages are perfect for the keyboard but much more uncomfortable if played on the violin. What is more Bach asks electricity to the orchestra from the very first notes.”
translation by: Charlotte Michi Olga Pashchenko is the harpsichordist that has been soloist with Assen Boyadjiev in the Concert for harpsichord, fortepiano and orchestra by Carl Philip Emanuel Bach we performed this summer: it was not the first time we met her, she played with Theresia in 2012, during the final of Premio Ferrari. After […]
Olga Pashchenko is the harpsichordist that has been soloist with Assen Boyadjiev in the Concert for harpsichord, fortepiano and orchestra by Carl Philip Emanuel Bach we performed this summer: it was not the first time we met her, she played with Theresia in 2012, during the final of Premio Ferrari. After three years we asked her how her professional life is going. Born in Russia, 28 years old, Olga lives in Amsterdam, where she concluded her studies last year by graduating in harpsichord: “Actually the one I obtained in Amsterdam is only the last of my many degrees: I first graduated in Russia in four different specializations, piano, harpsichord, fortepiano and organ, then I followed courses in Amsterdam, getting a diploma in fortepiano in 2013 and in harpsichord in 2014.”
Did you decided to specialize in early music?
“To be honest not: I go on playing also the organ and modern piano, therefore my repertoire goes from baroque music to contemporary music. Also with the harpsichord I do not just play early music, I also play Ligeti (Contiuum e Hungarian Rock) and Xenakis.”
Many of your colleagues prefer to concentrate on a more focused repertoire, can we say that you are eclectic?
“Yes, for sure I am, I am inquiring and I think it is very funny and challenging to play four instruments and to face such a vast repertoire.”
What is the difficulty in switching from one instrument to the other?
“From a technical point of view obviously each of the four instruments has its properties, and you need to find the right concentration to change attitude. But it’s a bit like having four different friends, and get to know each of them very well, each with its particularities.”
How do you organize your work? In the period before a concert do you devote yourself exclusively to the instrument that you will be playing?
“That would be nice but it’s impossible, I often have commitments that overlap and I have to study at the same time more repertoires. Of course, it never happens that in the same day I play all the four instruments: I wouldn’t have the time! I can devote myself exclusively to one instrument only in the days just before the concert, like it happened in Dobbiaco during the stage with Theresia.”
About playing more instruments, let’s talk about CPE Bach’s Concert, written for harpsichord and fortepiano: had you ever performed this concert before?
“No. I knew this piece but I had never studied it. It’s a really interesting composition, especially considering the fact that at the time of CPE Bach composers wrote for keyboard often without indicating precisely for which instrument the piece was written. In this case, instead, two different keyboards, the harpsichord and the fortepiano, are clearly indicated.”
You already played with Theresia three years ago during the Premio Ferrari for fortepiano, winning the First Price: what has that experience meant to you?
“It has been very important: rarely it occurs to play so much the fortepiano in a competition. I played solo repertoire and two concerts, one of them written by Ferrari that I unfortunately had not the chance to perform again.”
After the first rehearsal in Dobbiaco with Theresia and Chiara Banchini what is your impression?
“Excellent, of course: it’s nice to work with Chiara Banchini because she plays and performs at the same time, she drives the orchestra with authority and at the same time she is part of it.”
Double interview: Olga Pashchenko and Assen Boyadjiev
By admin - August 21, 2015
Olga Pashchenko and Assen Boyadjiev will be performing with the “Theresia Youth Baroque Orchestra”, conducted by Chiara Banchini, Carl Philipp Emanuel Bach’s double Concert for Harspichord. Fortepiano and Orchestra in Dobbiaco and Bolzano. We made a short video-interview during the rehearsal at the Centro Culturale of The Grand Hotel in Dobbiaco!
Olga Pashchenko and Assen Boyadjiev will be performing with the “Theresia Youth Baroque Orchestra”, conducted by Chiara Banchini, Carl Philipp Emanuel Bach’s double Concert for Harspichord. Fortepiano and Orchestra in Dobbiaco and Bolzano.
We made a short video-interview during the rehearsal at the Centro Culturale of The Grand Hotel in Dobbiaco!
Incontriamo Assen Boyadjiev, protagonista al fortepiano nel Doppio Concerto di CPE Bach
Assen Boyadjiev è il secondo solista che si esibirà con Theresia: lui al fortepiano, Olga Pashchenko al clavicembalo, anche Assen è una conoscenza di Theresia, perché anche lui nel 2012 partecipò al Premio Ferrari aggiudicandosi il Secondo Premio e il Premio Speciale “Theresia” per la miglior esecuzione di un concerto di Mozart. 34 anni, è nato e cresciuto in Bulgaria, ma vive ad Hannover da quando ne aveva 18: “Mi sono trasferito ad Hannover per studiare, e a parte un’esperienza nel 2008 alla Cornwell University dove mi sono perfezionato con Malcolm Bilson, sono sempre rimasto in Germania. Anche dopo aver finito gli studi – l’ultimo diploma l’ho conseguito nel 2010 – sono restato ad Hannover, dove svolgo la mia attività di docente insegnando Prassi esecutive sulle tastiere antiche.”
Quello delle tastiere è un mondo immenso: tu ti sei specializzato in un solo ambito o hai continuato a suonare il pianoforte accanto a clavicembalo e fortepiano?
“Il pianoforte moderno non l’ho abbandonato e lo suono occasionalmente in concerto: ma il mio principale interesse è il fortepiano, ovvero lo strumento antico, in cui mancano quegli accorgimenti tecnici che rendono “moderno” il pianoforte odierno. In questo senso il mio repertorio va fino a Debussy: lui suonava pianoforti Pleyel ed Erard, che non hanno le corde incrociate come gli Steinway. Sono dunque ancora fortepiani, anche se il confine è a quel punto molto sottile. E proprio esplorare questo confine è una cosa che mi appassiona molto.”
Passare dal pianoforte moderno al fortepiano è una questione di tecnica?
“Non necessariamente: piuttosto, è il suono che cambia, proprio per le differenze di costruzione a cui accennavo prima: il colore è diverso, inoltre c’è una differenza nei registri che nel pianoforte moderno invece è sparita a favore di una maggiore omogeneità tra bassi e alti.”
Cosa abbiamo guadagnato e cosa abbiamo perso nel passaggio tra fortepiano e pianoforte?
“La cultura e il gusto cambiano, e così le abitudini: nel Settecento la musica si faceva in piccole sale, e il volume ridotto del fortepiano non era un problema. Ma oggi le sale da concerto sono immense, e naturalmente gli organizzatori vogliono riempirle. Pensiamo alla Carnegie Hall: certo gli ascoltatori delle ultime file non potrebbero cogliere tutte le finezze del suono del fortepiano. A me piace fare questo esempio: un pianoforte moderno è come una grande berlina tedesca, perfetta per andare veloci e sicuri su un’autostrada: ma se si deve guidare nei vicoli di Palermo? Diventa ingombrante, rischiamo di graffiarla, restiamo bloccati e questo stress rovina il piacere di tutti i dettagli che ci circondano. Se andiamo a cavallo, invece, si va molto più piano ma ci si gode il viaggio. E per cambiare ancora metafora, la musica di Mozart è come l’architettura di una città settecentesca: suonarla sul pianoforte moderno significa accettare continui compromessi.”
Parliamo del Concerto di CPE Bach: l’avevi mai suonato prima?
“No, e sono molto contento di questa occasione: il Doppio Concerto è stata la composizione più popolare di CPE Bach, perché è una musica speciale e spettacolare, che mette insieme i due strumenti esaltandone le caratteristiche: ci sono infatti molti passaggi nella parte di Olga in cui lo stile barocco del clavicembalo caratterizza la scrittura. Se ci scambiassimo le parti e io suonassi la sua al fortepiano, e viceversa, questo farebbe perdere il sapore speciale della musica.”
Com’è il lavoro in questi giorni con Theresia?
“Mi trovo molto bene, i musicisti dell’orchestra sono molto veloci a reagire alle sollecitazioni di Chiara Banchini, che peraltro è anche molto aperta ai nostri commenti, alle nostre proposte. Credo che per l’orchestra questo concerto sia ancora più difficile che per i due solisti: certi passaggi sono perfetti per la tastiera, molto più scomodi se li si suona con il violino. Inoltre Bach chiede elettricità all’orchestra fin dalle prime note.”
Assen Boyadjiev is the second soloist that played with Theresia this summer: he played the fortepiano, Olga Pashchenko the harpsichord. Also Assen is an acquaintance of Theresia, he took part at the Premio Ferrari in 2012, winning the Second Place and the “Theresia” Special Price for the best performance of a concert written by Mozart. 34 years, he was born and grew up in Bulgaria but lives in Hannover since the age of 18: “I moved to Hannover to study, and except for an experience at the Cornwell University in 2008, where I specialized with Malcolm Bilson, I have always been in Germany. Even after finishing my studies – I obtained the last degree in 2010 – I remained in Hannover, where I teach performance practices on early keyboards.”
The keyboard world is immense: you have specialized in one field or you continue to play the piano beside the harpsichord and the fortepiano?
“I never abandoned the modern piano and sometimes I still play it in concert: but my primary interest is the fortepiano, the early instrument, in which all those technical features that make “modern” today’s piano are lacking. In this sense my repertoire ranges up to Debussy: he played Pleyel and Erard pianos, that have no crossed strings like Steinway. Thus they are still fortepianos, even if the boundary is very thin. Exploring this border is something that fascinates me a lot.”
To switch from the modern piano to the fortepiano is a matter of technique?
“Not necessarily: it’s rather the sound that changes, due to the construction differences I mentioned before: the color is different, also there is a difference in the registers that in the modern piano disappeared for the benefit of a greater consistency between high notes and low notes.”
What have we gained and what have we lost in the transition from fortepiano to pianoforte?
“Culture and taste change, and so do habits: in the eighteenth century music was performed in small rooms, and the low volume of the fortepiano was not a problem. But today concert halls are immense, and obviously the organizers want to fill them. If we think of the Carnegie Hall: of course listeners of the last rows can not grasp the subtleties of the sound of fortepiano. I like to do this example: a modern piano is like a big red German sedan, perfect to drive fast and safe on the highway: but what if we have to drive in the alleys of Palermo? The car becomes cumbersome, the risk of scratching it is high, we get stuck and this stress ruins the pleasure of observing all the details that surround us. If we go on horseback, instead, we go slower but we enjoy the trip. To change metaphor, the music of Mozart is like the architecture of an eighteenth-century city: playing it on the piano means you have to accept continuous compromises.”
Let’s talk about CPE Bach’s Concert: have you ever played it before?
“No, and I am very glad for this opportunity: the Double Concerto has been the most popular composition of CPE Bach, because it’s special and spectacular music, that puts together the two instruments highlighting their features: there are many passages in Olga’s part where the baroque style of the harpsichord features the writing. If we switched the parts and I played hers on the fortepiano, and vice versa, we would loose the special flavor of the music.”
How is it working with Theresia?
“I feel very comfortable, musicians react very fast to the solicitations of Chiara Banchini, which is very open to our comments, to our proposals. I think that this concert is even more difficult for the orchestra than for the soloists: some passages are perfect for the keyboard but much more uncomfortable if played on the violin. What is more Bach asks electricity to the orchestra from the very first notes.”
Intervista a Olga Pashchenko, solista con Theresia
Olga Pashchenko è la clavicembalista che sarà solista assieme a Assen Boyadjiev nel Concerto per clavicembalo fortepiano e orchestra di Carl Philip Emanuel Bach: non è la prima volta che la incontriamo perché suonò con Theresia nel 2012, nella Finale del Premio Ferrari. Dopo tre anni, ci siamo fatti raccontare come va la sua vita professionale. Nata in Russia, 28 anni, Olga vive ad Amsterdam, dove lo scorso anno ha concluso gli studi diplomandosi in clavicembalo: “Quello di Amsterdam in verità è stato l’ultimo dei miei tanti diplomi: prima mi sono laureata in Russia in quattro diverse specializzazioni, pianoforte, clavicembalo, fortepiano e organo, poi ad Amsterdam ho seguito i corsi diplomandomi in fortepiano nel 2013 e in clavicembalo nel 2014.”
Hai deciso di specializzarti nell’ambito della musica antica?
“A dire il vero no: continuo a suonare anche l’organo e il pianoforte moderno, quindi il mio repertorio va dal Barocco alla musica contemporanea. Anche con il clavicembalo non mi limito all’antica, suono Ligeti (Contiuum e Hungarian Rock) e Xenakis.”
Molti tuoi colleghi preferiscono concentrarsi su un repertorio molto più focalizzato, possiamo dire che tu invece sei eclettica?
“Sì, lo sono sicuramente, sono curiosa e trovo molto divertente e stimolante suonare quattro strumenti e affrontare un repertorio così vasto.”
Qual è la difficoltà nel passare da uno strumento all’altro?
“Dal punto di vista tecnico ovviamente ognuno dei quattro strumenti ha le sue caratteristiche, e serve la giusta concentrazione per cambiare atteggiamento. Ma è un po’ come avere quattro amici diversi, e conoscerli a fondo, ognuno con le sue particolarità.”
Come organizzi il tuo lavoro? Nel periodo che precede un concerto ti dedichi esclusivamente allo strumento che dovrai suonare?
“Sarebbe bello ma non è possibile, perché spesso ho impegni che si sovrappongono e devo sudiare contemporaneamente più repertori. Certo, non succede che nella stessa giornata io li suoni tutti e quattro: non ne avrei il tempo! Però posso dedicarmi esclusivamente ad un solo strumento solamente nei giorni immediatamente precedenti il concerto, come accade qui a Dobbiaco durante lo stage con Theresia.”
A proposito del fatto di suonare più strumenti, parliamo del Concerto di CPE Bach, scritto per clavicembalo e fortepiano: l’avevi già eseguito in precedenza? “No. Lo conoscevo ma non l’avevo mai studiato. E’ una composizione interessantissima, soprattutto pensando al fatto che al tempo di CPE Bach i compositori scrivevano per tastiera spesso senza indicare precisamente a che strumento era destinato il pezzo. In questo caso invece sono indicati chiaramente due strumenti a tastiera diversi come il clavicembalo e il fortepiano.”
Hai già suonato con Theresia tre anni fa in occasione del Premio Ferrari per fortepiano, vincendo il Primo Premio: che cosa ha significato per te quell’esperienza?
“E’ stata molto importante: raramente si ha l’occasione di suonare così tanto il fortepiano in concorso. Avevo presentato repertorio solistico e due concerti, di cui uno di Ferrari che purtroppo non ho più potuto eseguire.”
Dopo la prima prova qui a Dobbiaco con Theresia e Chiara Banchini qual è stata la tua impressione?
“Ottima, naturalmente: è bello lavorare con Chiara Banchini perché lei suona e dirige contemporaneamente, quindi guida autorevolmente l’orchestra ma allo stesso tempo ne fa parte.”
Assen Boyadjiev and Olga Pashchenko , the two soloists that will perform with Theresia Youth Baroque Orchestra on 21th and 22nd August, are old friends of the orchestra. As a matter of fact, we met in our first experience: it was October 2012 and Theresia was just born!
Maybe you don’t know that Assen Boyadjiev and Olga Pashchenko , the two soloists that will perform with Theresia Youth Baroque Orchestra on 21th and 22nd August, are old friends of the orchestra. As a matter of fact, we met in our first experience: it was October 2012 and Theresia was just born! Both Assen and Olga took part in the first edition of Premio Ferrari, an International Fortepiano Competition held in Rovereto: Theresia was the resident orchestra and had the task of performing with the soloists during the final stage, conducted by Claudio Astronio. It was a thrilling evening, with all the competitors performing Mozart’s Concerto K 271, and Concerto n. 1 op. 5 and “Capriccio” op. 28 by Giacomo Gotifredo Ferrari. Besides Olga and Assen, final competitor were also Nicoleta Ion (Romania) and Elizaveta Miller (France). At the end, the Jury chaired by Malcolm Bilson gave the First Prize to Olga Pashchenko . Assen took the Third Prize and the “Theresia” Special Prize for the best performace of Mozart’s Concerto too. So, when our artistic director Mario Martinoli decided to schedule the Double Concerto for Harpsichord and Fortepiano by CPE Bach it was a natural decision to invite Assen Boyadjiev and Olga Pashchenko : now we are looking forward to the stage with Chiara Banchini. Sure it will be challenging and stimulant for all of us. In the meantime, let’s browse the photo album looking for old pictures of the collaboration beetwen Theresia, Assen Boyadjiev and Olga Pashenko: give a look to the photo gallery!
Ecco un’anteprima degli scatti realizzati dalla nostra fotografa Morgana Marchesoni durante la Finale e in alcuni momenti di prova dell’orchestra. Buona visione!
Ecco un’anteprima degli scatti realizzati dalla nostra fotografa Morgana Marchesoni durante la Finale e in alcuni momenti di prova dell’orchestra. Buona visione!
Olga Pashchenko è la vincitrice del Premio Ferrari. A lei anche il premio della Critica mentre gli altri premiati sono Elizaveta Miller (Secondo Premio), Assen Boyadjiev (Terzo Premio e Premio speciale “Theresia”) e Nicoleta Ion (Quarto Premio). Theresia Youth Baroque Orchestra e il suo direttore Claudio Astronio sono felici di aver accompagnato i finalisti del […]
Olga Pashchenko è la vincitrice del Premio Ferrari. A lei anche il premio della Critica mentre gli altri premiati sono Elizaveta Miller (Secondo Premio), Assen Boyadjiev (Terzo Premio e Premio speciale “Theresia”) e Nicoleta Ion (Quarto Premio).
Theresia Youth Baroque Orchestra e il suo direttore Claudio Astronio sono felici di aver accompagnato i finalisti del Premio Ferrari, in un lavoro intenso e di grandissima soddisfazione, in cui l’orchestra ha dato prova di grande coesione e professionalità!
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