Mordents Magazine: How do you manage to stay on top of things between a concert career, maintaining a YouTube channel, and a lively social media presence? What does your daily routine look like?

AyseDeniz: As a typical artist, I usually don’t have a set schedule as inspiration comes at random times. I absorb a lot of energy from people, so keeping up with my social media followers is a blessing – especially as I’m super lucky to have such amazing fans from all around the world who support me and send me words of encouragement. However, social media & content creation is also a curse as you’re always behind a screen, and it’s very overwhelming because our bodies are much more in need of real humans. Performing live is nothing compared to a digital stream. It’s like a zoom meeting vs. a real meeting. Which would you prefer?? I usually change my schedule according to the upcoming shows projects or interviews, and most other times, I create my own projects to keep being productive and paving my own path! When I have someone to help me, it’s the most amazing feeling – having a team member is such a great way to get work, especially if they are passionate and not money-oriented! I have given my entire life to music, so it’s quite hard for me not to be doing music – I need to force myself to get out of my studio!!

MM: Looking back at your early start at music, how do you feel now? When did you first realize music was the career path you wanted to take?

AD: I wanted to be a pianist at age six and always imagined traveling the world performing… I did that, and I think the younger me would be super psyched about the adult me! I still want to expand my horizon and get into various sectors, including film and tech, so stay tuned for my upcoming projects!

MM: Your experiments with genre-bending have led to you going viral and brought you international fame. What were some of the first rock albums you remember growing attached to?

AD: Definitely The Wall by Pink Floyd!! That’s it… so meaningful deep, and creative. I also loved Nevermind by Nirvana.

MM: A decade since Pink Floyd Lisztified, do you think things have changed in the world of classical music? Has the internet brought the world much-needed democratization of genres, or did it only enforce more divisions?

AD: Absolutely – I think the purists have realized classical music has to adapt to new technologies, and it cannot be contained in a locked history box. The classical musicians are some of the most creative and talented people I met, and it’s so lovely to see them use social media to reach audiences worldwide! I think that the internet definitely brought democratization; however, I wouldn’t say the same about the streaming platforms – They are exploiting artists, and it’s unfair to put a classical artist with a pop artist and pay them by popularity. It should not be a popularity but a quality game.

MM: What’s currently on your playlist?

AD: My composition “Home” questions the meaning of home – what is it? Is it a city, a family, a house, a culture?

MM: When did you first take an interest in composing?

AD: I was always composing as a kid – I’d mostly improvise and then create piano suites with stories and write pop songs when I fall in love… however I was always very shy and scared of showing them to people. I should’ve been braver, but when you study classical music, you’re already playing Mozart, Bach, Beethoven at 9-10 years old, and you have such a huge benchmark that it makes you intimidated! I only shared my compositions after many years – when I accidentally finished a recording session early and had extra time in the studio. I ended up creating the Earth Prelude album, and it went to the top 10 in UK and USA, and Turkey iTunes Charts! Then I realized I could be myself and people like me for my music too!

MM: Unlike most composers, you don’t hesitate to share your writing process. In what kind of way does sharing your work with other people stimulate your composing? Does feedback you get on social media influence the work in any way?

AD: Absolutely – I create all my projects according to my fans! The more I engage, the more satisfied and inspired I get – when I make music all alone in a room, it’s the most lonely feeling!

MM: Can you share some Turkish composers with our readers?

AD: I would say Ulvi Cemal Erkin, Fazil Say, Toygar Işıklı and Pinar Toprak for film scores.

MM: Let’s talk a little about those fantastic music videos filmed in Cappadocia. You shared a lot of the behind-the-scenes experience in your vlog. Looking back now, what was that whole adventure like for you?

AD: Cappadocia is my favorite place on Earth… it was a blessing to be able to film there. I want to do it again!! We took a digital grand to go over hills and got stuck many times… there was also a grand piano in a hotel there and it was great to perform there as you don’t ever see buildings – just caves! It’s a UNESCO World Heritage Site!

MM: Can you tell us a little more about how the idea for the Borderless Piano project first came to be?

AD: During the pandemic, all my concerts got canceled, and I suddenly had so much time and thought – what can I do to give back to my fans so they can also start learning how to play the piano… as they’re all global I called it Borderless Piano Academy! I’m happy to give a discount to Mordents’ readers for BorderlessPiano – (info@borderlesspiano.com with “MordentsVIP” in email subject)

MM: What are you working on at the moment?

AD: I’m working on a new piano album of waltzes!!

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Mordents Magazine: Hello Skylar, how are you? What are you doing these days?

Skylar Brandt: I’ve been very emotional these days! I am currently in my last week of rehearsals before the opening of my Fall Season with American Ballet Theatre. It has been about 18 months since the company has last performed, so I am filled with excitement, joy, nerves, and anticipation. I find myself crying of happiness and gratitude at random points of the day. I am thrilled to be making my New York debut in the iconic role “Giselle” and have been dedicating almost every second of my days and nights to rehearsing and perfecting the role.

MM: 2020 marked a full decade since you first began dancing for the American Ballet Theatre. Can you remember the first time you went to an A.B.T. performance?

SB: Being from New York, I was so fortunate to have attended many ABT performances as a child. I cannot say which was my very first, but I remember treasuring each time I went to the Metropolitan Opera House to watch. I would dance around the famous fountain at Lincoln Center Plaza before and after each show, and I would enjoy getting little candies and “Orangina’s” at the concession. I peered into the orchestra pit with amazement at the sheer number of musicians, and I would lay back in my seat and watch the chandeliers rise just before the curtain went up. Everything was magical at the ballet.

MM: You’ve had a childhood rich with activities and pursuits of all kinds of interests, even apart from dance classes: Philharmonic concerts, Broadway performances, soccer and tennis practice, piano lessons… It’s obvious dance was your most favorite of all these activities – but what was your least fun childhood pastime?

SB: I must say, if I wasn’t dancing, all other activities bored and frustrated me. All I wanted to do was dance. On my first day at soccer camp, a boy kicked the ball so hard into my stomach, it knocked the wind out of me. When I was on the tennis court, I was annoyed that the racquet was so heavy in my hands and that I couldn’t see over the net, let alone hit the ball in. In order to get out of taking piano lessons, I told my mom that I required long, slender fingers for ballet and that I did not want to build the muscle in my hands and arms necessary to play the instrument. I truly wanted to focus all the attention on my ballet. However, attending the philharmonic and other types of shows complimented my desire to learn more about the performing arts.

MM: Representing a new generation of ballet dancers, you’re not afraid to branch out and take up new challenges aside from the ones set to you on the theater stage. For example, you’ve taken part in “Big Ballet”, a Russian dance competition show. It’s hard to imagine any other country in the world that would produce a competitive TV show centered solely on ballet – how do you compare Russia’s reverence for this art form to the way it’s treated in the USA?

SB: When I agreed to participate in “Big Ballet”, I knew that meant that the stakes would be high. Seeing as ballet is so incredibly respected in Russia, I was both excited and nervous about the prospect of appearing in front of millions of critical ballet aficionados. But it was also because of this reason that I wanted to take the opportunity. It was so lovely to be in an environment where ballet is so revered and understood, unlike how it is in the States where ballet dancers are often confused with Broadway performers or are asked what their real jobs are. It is a privilege to dance in a city like New York where there is a large awareness of arts and culture, but I can’t say that this is true of most of the United States, at least to the degree that it is valued in many other parts of the world. I hope that with time and exposure, this will change.

MM: You’ve previously mentioned the importance of personal branding for artists today – what would be some hallmarks of the Skylar Brandt brand?

SB: I try to share the most honest and real parts of myself and my life’s work with my audiences. I really value authenticity and honesty, and therefore, I try to project that. From what I gather from those who follow my journey and career and are so thoughtful to write to me, I think that some of my hallmarks include hard work, self-advocating, and of course, having fun in the process.

MM: You’re active on both Instagram and TikTok, filming your daily practice sessions and short, fun routines. Considering that dance videos represent some of the most popular content on these platforms, do you think they can serve as a way to popularize ballet with a broader audience? Do you see a difference between popularization and bastardization?

SB: I actually find it kind of nice to see how many people (nonprofessionals included) are posting dance routines, as it demonstrates how dance is becoming more mainstream. Of course, there is a definitive difference between most dances we see on TikTok and other content produced by professional ballet dancers and dancers of other styles, but in my opinion, the fact that dance is being celebrated at all is wonderful. I wish that ballet garnered hundreds of millions of views like some of the TikTok trends do, but I can also appreciate the simple fact that ballet does not appeal to everyone.

MM: Many ballet dancers in the past, due to the rigidness of the repertoire in general, have spent their whole careers without ever originating a role. You, however, have created several! How does the process of debuting a role in a new ballet differ from playing an established character or taking part in an already famous routine/work?

SB: The two processes are so varied, but they are both special in their own ways. When I work with a choreographer on a brand new piece, it is akin to a seamstress making a hand-tailored garment. Each step is created on the dancer from scratch, so the choreography usually lends itself to the dancer’s strengths and personality. It is wonderful to begin something new, as choreographers are usually open to the dancer’s input as well, so creating a new work becomes a highly collaborative process. It can also be challenging, though, when a choreographer is using the dancer’s body as their canvas. Repetition of new and different types of steps can be painful and tedious. Someone short and tiny like myself may often be asked to do scary lifts or partnering that could end in disastrous ways. A choreographer might invest much time into sections of choreography that ends up getting scrapped at the end of the day. It can be very exhausting but also rewarding to be a part of new works for these reasons. Established works and characters require a slightly different process. I find that there is more research involved in learning an already created work. There are usually wonderful artists that have interpreted the role before and so there is so much that can be gathered from watching and learning from dancers of the past (and present). The process becomes more about how to make the role your own as opposed to trying to navigate the role for the first time in history. I also find peace of mind knowing that already established works have proven to be physically possible, as I know for a fact that dancers have done the steps before I have!

MM: Being a principal dancer, you are awarded with numerous challenging solos, but the importance of duets can never be understated. What are the qualities a great dance partner must have, and which collaborations do you especially hold dear?

SB: As with any relationship, communication in pas de deux work is key. I find that when a partner is open and willing to listen and to also provide their own feedback, it makes for a recipe for success. There must also be chemistry in a partnership and that is not always easy to come by. I have been so lucky to have danced with so many incredible partners over the years, it is hard to pinpoint which ones have been most special. However, I am always honored to dance with artists who are older than me and have more experience than I. I always have something to learn from being onstage them, even when that something is not explicitly said. Of course, I also enjoy dancing with my closest friends because my existing bonds outside of the studio only strengthen my partnerships inside of the studio and onstage.

MM: During quarantine, you started giving out dance lessons online. What are the challenges, and what are the rewards of teaching ballet by way of the screen?

SB: The wonderful thing about teaching online is that I am able to connect with people all over the world. I have worked with students from Singapore to India, Israel to Indonesia, England to France, the list goes on. It is typically a fun challenge to figure out how to accommodate the time differences. But in all seriousness, it gives me a really nice feeling to be able to meet people I likely would never have the chance to meet and connect with otherwise. The challenge of teaching by way of the screen is the inability to be as hands on as I’d like to be. This said, I try my best to be articulate in my explanations of each correction and to demonstrate fully as much as I can to make the information as understandable as possible.

MM: After your upcoming performances this October in Giselle and Some Assembly Required (and of course, the obligatory staging of The Nutcracker in the holiday season), is there something new and exciting you’ll be working on for next year, and that you can share with us?

SB: I will be making a few special debuts with ABT that I cannot share quite yet but that I am ecstatic about… I will also be returning to Australia in January for a series of seven performances, so I am really looking forward to that.

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Mordents Magazine: Hello Jakub, how are you doing?

Jakub Józef Orliński: I am great, Thank you!! To be honest I wake up every day with the excitement of the things that await me that day. Cannot lie that a lot is going on right now, so maybe that’s why!

MM: You sang with the Gregorianum choir for more than a decade. How has that community experience shaped you, as a person and a performer?

JJO: After so many years I finally understood that this particular experience of being in that vocal group for so many years shaped me musically but also as a person. It was one of the most important things in my life and I had no clue how much I have learned from my teachers Berenika Jozajtis and her husband Leszek Kubiak. They taught me how to shape music, how to enjoy music-making with others, how to have fun creating art and performing it. Besides that, I have learned there how to collaborate and most importantly how to exist in a group. Because it is not as easy as one might think. Because of what I have experienced in those years of singing with Gregorianum I love music, and I truly admire meeting new people, traveling and I have an easy time making new friends. Probably because when I was a kid I just had to talk with others on all of those camps that we used to go to so I got those social skills.

MM: Going viral can for some be a very negative experience – for you it was, of course, the exact opposite. How did you feel with that amount of sudden publicity?

JJO: To be honest there was no sudden publicity. Of course, the video went viral and it gave me an extra boost but I did not see any big change. For sure there were more people on my Instagram and Facebook and the video got to so many people and places that it gave me a much bigger recognition, but there was no sudden boom with publicity because I have already existed on the map for a bit.

MM: Your career has taken you all over the global stage. Do you have a particularly fond memory of a certain performance venue or place you visited during your tours?

JJO: I absolutely love traveling so I have a lot of those memories. For example, my first time singing in Paris with Il Pomo d’Oro orchestra. Definitely, a night to remember. An opera production in Zurich where I made a lot of really good friends plus visited so many beautiful places in the mountains and I love nature so it was like living a dream. My first time in Palau de la Musica in Barcelona was also something extraordinary. There were so many more that it is hard to list them all, so I will just leave you with those few.

MM: Did you have any negative experiences during performances?

JJO: I think only at the very beginning. I remember that when I was studying in Warsaw we used to have those class concerts in some houses of culture. We once had a concert when I was in my second year of studies and at that concert, I was singing an aria from Rinaldo by G.F. Handel. We had a great public of I think 7 people and when I started singing 3 of them left… It was painful. Not only I was just a starting countertenor so I was aware that my voice is quite bad, but also in Poland back then I think some people were not yet ready for a countertenor’s voice. They just did not know what is that.

MM: Opera stardom is not a thing of the past by any means – the idea of it just keeps evolving. What do you think would be the most important qualities of an opera star of the 21st century?

JJO: I don’t know what will be the most important thing, but I know that it’s important to do your things and stay true to yourself. As long as you do that, you should be ok, because it will be authentic and authenticity is something that people are seeking in all sorts of arts.

MM: Countertenors are once again taking center stage. How do you understand this great rise of interest in this rare voice type?

JJO: We observe a big comeback of a male high voice because it has something different to offer. That color, the tone is really grabbing and very interesting. There is so much material from the past to be explored so countertenors are doing that and not only countertenors. There is also a rise in popularity for Early Music which helps with the growing fame of that voice type. But we have to add that there is a huge interest in this particular voice type in contemporary music. New music composers seem to really like the things they can write for a countertenor because they can use their high voice but also the low register so the natural parts of the voice. There are great compositions like “Flight” by J. Dove, “Akhnaten” by P. Glass, and many, many more which include that voice type.

MM: You made a point to explore never before recorded pieces in your debut album, Anima Sacra, and your upcoming album, Anima Aeterna will also consist of sacred arias and motets from the 18th century. How would you describe the beauty of sacred music, in contrast to opera, Romantic Lieder, Baroque cantatas, or Renaissance chansons?

JJO: For me, baroque music, in general, contains true human emotions. Of course, sometimes it is over-decorated, ornamented, and has that splendor and glory which is a bit much but also has that purity and authenticity which really touches the soul. That is why I decided to go on a journey called Anima, so the journey of the soul. Sacred music has so much beauty and with those two albums focusing on sacred music I wanted to show different colors of that style. I wanted to focus on the aspect of emotion, music, form, and style. Those are not religious albums. I wanted to demonstrate how even a sacred text can be relevant to basically everyone.

MM: What is your dream operatic role?

JJO: My biggest one was Rinaldo by G.F. Handel but I have already achieved that so now there are quite a few more Handel roles like Cesare, but also roles like Oberon by B. Britten and once in my life I want to play a tree on stage!!

MM: The Times has called you a “baroque’n’roll” star, and your profile in the New Yorker emphasized your “pop star appeal”. How does it feel to be described by the media in this way?

JJO: I guess they took that “baroque’n’roll” thing from my Instagram where I put #LetsBaRock, anyways I don’t really take much time thinking what media says about me. I am passionate about what I do and I have my ways of doing those things. I always try to deliver the best possible level of my art so that’s what I focus on. The media stuff is a side thing that comes after.

MM: How different is the audience in Poland compared to other countries? Do you feel differently when performing in your home country?

JJO: I feel a difference almost everywhere. Every place has its own vibe and different people. In Spain, people are super alive and sort of crazy enthusiastic, and at the same time in Germany people are very focused and quiet and then after the show, they won’t let you out because of their enthusiasm. It is always good to perform in Poland and here people are also reacting differently so it is actually fun to travel and notice all of those little nuances.

MM: What music do you listen to when you want to relax and unwind from your repertoire?

JJO: Usually some relaxing ambient music, but also, jazz, hip-hop, classical instrumental music, house, funk. I have quite a lot of options.

MM: What are your guilty pleasures?

JJO: A TV series called “Brooklyn 99”.

MM: Choose a karaoke song you’d sing

JJO: “Stand by Me”.

MM: When you go out with your friends, how do you party? Do you go to clubs, or dinners or prefer house parties?

JJO: All the options!! I used to go to clubs a lot, now a bit less, but also love house parties and outdoor situations plus of course it is sometimes nice to go out for a normal dinner with friends.

MM: Do you think breaking down classical dress codes is key to attracting younger audiences? What are some other ways you’d like the industry to approach to keep up with the times?

JJO: Hmmm… I was just tired of the black tuxedo… It’s a bit of a joke. The thing is that I create concept albums and for my albums, I also create the whole visual effect of it. So the cover, booklet the packaging, and the outfit. For “Anima Sacra” program my concert uniform was a black tuxedo with red socks and a red pocket square. For “Facce d’amore” I asked my friend Chi Chi Ude to create those two super cool crazy colored suits for me. And for “Anima Aeterna” I will have another thing. So to answer your question. I don’t think a dress code is a key, but it can attract. I think using new tools is very helpful and just having ideas and delivering them is some sort of a key.

MM: When do you find time for breakdancing with your busy schedule?

JJO: Time management is one of the most important skills to have. I think I developed that skill quite well so there is always time to do things like breaking!!

MM: You understand the importance of an effective album cover. What are some of your favorite album covers by other vocal artists?

JJO: There are few like Funkadelic, ‘Maggot Brain’ (1971), The Roots, ‘Things Fall Apart’ (1999), The Beatles, ‘Abbey Road’ (1969), and there are actually quite a lot more, but those are the classics I like.

MM: Your collaboration with Louis Vuitton for the “Louis 200” project has birthed a version of their famous trunk that emphasizes human movement and passage of time – but also shines with a sense of childlike wonder. How did this collab look like and what has inspired your design?

JJO: I was very happy to take on that adventure. I got approached to participate in the project and what spoke to me was the fact that they hired 200 artists from around the world and we all did it for charity. We could choose one of the charities and then LV did send the money to them in our name. Plus later this year they will put all the trunks into an auction and the profit from that will also go to charity.

Speaking about my design, I was inspired by time and individual personalities. Those were my inspirations. The whole description of my project is on the LV website so if you want to know more I highly recommend checking all the other works and mine too.

MM: As someone who has also modeled before your major career lift-off, how do you see the relationship between fashion and classical music? Do you think artists today need signature styles to capture the new public’s attention?

I don’t think it is necessary but if there is an idea behind the outfit then I buy it and it speaks to me. In general coming also from the background of streetwear fashion I just like it when people have an idea for themselves on what they want to wear and look like.

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Mordents Magazine: When did the organ catch your attention and what made you decide to give it a try? Was it a smooth experience?

Lukas Hasler: I started playing the organ when I was 10 years old. I was fascinated by the incredibleness and tonal flexibility of the instrument so I switched from piano to organ. In the beginning, I still had private tutors before I switched to the University of Music and Performing Arts in Graz in Austria where I started studying at the age of 16.

MM: Tell us about your practice routine both at home or at the venue when you have the real organs.

LH: I don’t really have a practice routine. Some days I practice up to 8 hours at home and at university, on other days it’s much less. Especially when I’m on tour, you have to be very flexible with the practice times because you always come across new instruments in different settings.

MM: You also graduated with a master’s degree in cultural and media management at the University of Hamburg. What are your thoughts on how it’s going to help you in your organist career?

LH: My master’s degree in cultural and media management is certainly of help when it comes to planning, marketing, and contract negotiations. However, I have to say it’s always learning by doing.

MM: When you are on a tour and play on different organs, how long does it take you to get used to a new organ and all of the registration and the sounds of the new space?

LH: It always depends on the size of the organ and the space I play in. Usually, I have one day to prepare before the concert takes place. So it’s a pretty fast adaptation to a new instrument.

LH: And how different is playing in a cathedral or in a concert hall? What do you prefer?

LH: The main difference between a concert hall and a cathedral is acoustics. In a church, the reverberation is usually much longer than in acoustically dry concert buildings. This affects the tempo of my organ playing. It always depends on the repertoire, but I’d say I like both venues the same.

MM: Which venue caused your most favorite performance? Tell us about how you felt?

LH: I had two venues that caused the most favourite performances in my career so far. The first one at the cathedral of Los Angeles and the other one at the Philharmonie of Volgograd in Russia. The reason why these concerts have remained in my memory is the audience – they had been greatly affected by the music and the atmosphere was unique due to the special circumstances. I won’t forget these evening events.

MM: Is playing the organ getting more popular among young people? And are they coming to listen to your performances?

LH: Especially in Russia young people have a great affection for classical music. In my opinion, the organ is becoming more and more popular with younger people. The audience at organ concerts is noticeably younger, there are more and more people under 30. Many of my young followers on Instagram and Facebook come to my organ concerts because they saw my advertisement there. So I really have to say social media has another great impact on this development.

MM: What are the best and the worst parts of being an organist?

LH: The most exhausting thing for me is the time difference between the concerts when touring. Quite often you sit on planes for several hours between concerts and then have to adjust to a completely new instrument. That often demands a lot of energy and flexibility from you. On the other hand, I love meeting new people, places, and instruments and dive into foreign cultures. That is what makes my life so exciting.

MM: You are a composer, too. Tell us about “A portrait”. What’s the story behind it?

LH: “A portrait” is my debut album which I recorded two years ago. It is a journey of my musical preferences and an excerpt of programmes, that I enjoy presenting at concerts in Austria and abroad. My great admiration for Johann Sebastian Bach, the father of the instrumental genre “Prelude and Fugue”, is reflected here in the selection of pieces. As a result, works by Marcel Dupré and Franz Liszt are also played, which follow Bach’s musical tradition. Reflecting on the title of the CD, I have included short improvisations between the pieces on the chorale “Now thank all God”. These evocations span the spectrum from baroque to romanticism to contemporary and they are my personal splash of color in the programme of this CD.

MM: Who are your favorite organ composers?

LH: I don’t really have THE favourite organ composer but I adore Felix Mendelssohn-Bartholdy with his six sonatas for organ and of course Johann Sebastian Bach who is the most famous organ composer of all time.

MM: Share with our readers some not-so-popular yet magnificent organ compositions?

LH: There are some wonderful treasures in the modern organ repertoire. I am thinking, for example, of Thierry Escaich and his “Cinq versets sur le Victimae Paschali”. I can also observe that more and more young organists are composing great pieces for organ or writing wonderful transcriptions for the instrument.

MM: Do you have any hobbies?

LH: As an Austrian, I always try to go skiing in winter. In summer, I like mountain biking a lot and hiking in the mountains. I also extended walks. That’s where I get energy for new projects.

MM: What kind of music besides classical do you enjoy?

LH: I listen to all genres of music. From classical to jazz to pop. It is important to know what is going on in the music world.

MM: Tell us about your upcoming concerts and plans?

LH: Well, due to the pandemic my World Tour 2020 was postponed or partially canceled. Concerts in Australia, China, USA, and Europe would have been planned… For this year there are still some gigs planned, mainly in Europe and maybe also a tour in the US, if the health situation allows.

MM: Oh, and the last one: Are there any initiatives for organ shoes to be less ugly?

LH: LOL! I’ve been asked several times whether I could design “cooler” organ shoes. Maybe something will happen in the future. It is important that you feel comfortable in the shoes you use to play the organ, but of course, the look also plays a role. I advocate more colour! Organists have to be even more courageous in this regard!

Lighting round

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In her thoughtful interview with Mordents Magazine, Astanova shared her opinions on contemporary social media and the world of classical music, as well as the roots of her love for Romantic repertoire.

Mordents Magazine: Considering that many concerts are either delayed or cancelled due to the pandemic, have you started some new projects or discovered some new interests?

Lola Astanova: I’ve been spending a lot of time in the studio, recording several albums and working on my new repertoire. In a way, this “time off” has given me the opportunity to focus on making music without worrying about traveling and touring. So, I’ve stayed pretty busy and productive.

MM: What is the most interesting thing about you that we wouldn’t learn from your biography alone?

LA: I imagine there is more than just one thing. I am a very private person, some may even say reserved or shy. In a way, it’s the opposite of what I look like on stage or on social media, but I like it that way. You may even say there are two Lolas: one – the artist and performer, and the other – the actual person.

MM: You’ve mentioned in past interviews the immense influence of Vladimir Horowitz on you. Can you recall the first time you encountered the music of this great pianist?

LA: I was still a child, just starting out in music. My piano professor used to host these “listening parties” in her home, where she played the rarest and most wonderful piano recordings to her students. She had an incredible collection of vinyl recordings, and I distinctly remember hearing Horowitz’s recording of Chopin’s Sonata No. 2 for the first time. I didn’t know anything about him, but I was in awe, and he instantly became my favorite pianist.

MM: Aside from your dedication to classical repertoire, you also experiment with different styles – from electronic music over pop to your own compositions and arrangements. What draws you towards improvisation and composition?

LA: I think if you have it in you, you simply can’t not compose. Music is how I feel the world and how I express
myself. To be honest, I enjoy composing even more than performing someone else’s music, so going forward you will see me releasing more and more original works.

MM: By all accounts, you’re the classical music star for a new age. You’re forward-thinking and modern, but, still – very devoted to the music of the 19th century. When did you first discover your love for Romantic repertoire, and what inspires you in the works of Liszt, Chopin and Rachmaninoff?

LA: My love for Romantic music is also rooted in my childhood. Obviously, as any young pianist I had to play my fair share of Bach, Beethoven and Mozart, and I think their music is beautiful and timeless, but I was always leaning towards the Romantic composers. Their music gave me a sense of freedom, encouraged self-expression, and even in terms of temperament, I think, the Romantic repertoire is a natural match for my personality and performing style.

MM: You’re very inventive with your choice of performance venues. Your “Ocean Etude” video particularly stands out! How was that? Do you have some interesting anecdotes from concerts or from sets?

LA: Yes, there are stories behind almost every video shoot. For example, while shooting “Love Story” in Venice, it was so freezing cold that I literally had to wear a 40 lbs. fisherman’s coat and winter boots between each take. So, while in the video I am wearing a stylish short summer dress, the condition on the set were not so glamorous. During the shoot for “Ocean Etude”, my piano got hit several times by rather large waves and was almost devoured by the ocean. So, whenever you shoot outside, you can always expect the unexpected.

MM: You’ve performed all over the world. How different are audiences from different countries? Do
you notice any particular changes in your performance reception?

LA: I find that the audiences do indeed differ from country to country. For example, in Russia the public can be reserved at first, and you have to work hard to win them over, but once you do – they adore you. In Mexico people tend to be very passionate, excited, enthusiastic and they really love music. In the United States concertgoers are typically curious, engaged and always very appreciative of the performer. So it is true – each corner of the world is unique.

MM: In recent years, classical music has been steadily moving outside its traditional venues. Back in 2016, Los Angeles Youth Orchestra, led by Gustavo Dudamel, performed in the Super Bowl, marking this event as the first time in 50 years classical music was part of this sports event. You recently had the opportunity to perform as part of the charity tennis tournament Adria Tour. What was that experience like? How do sports fans compare to your regular concert audience?

LA: I love playing the “non-traditional” venues. Playing at sporting events typically generates high energy and
adrenaline pumping more than usual, which is something that excites me while I am on stage. The audience
in Serbia was very warm, indeed. I really enjoyed performing there and hope to return with a full scale concert soon.

MM: You’re, still, one of the rare modern performers who has leveraged social media to their success. You’ve obviously recognised the importance of social media in the contemporary world – why do you think most other classical musicians still resist it?

LA: I suppose it can be daunting, because social media is a mirror of sorts, which can tells you many things about yourself. And sometimes you may not necessarily wish to hear those things, because they can be hurtful, especially if those words conflicts with your own vision of yourself and the world. I think many classical musicians still live in their imaginary bubble, and operate based on some outdated and restrictive views, which are, frankly, no longer supported by reality. They act out of fear of criticism, they worry about phantoms like competitions or newspaper reviews, which once upon a time could make or break a career, but today are largely irrelevant. In my view, any artist has the right, if not the responsibility, to be fearless, to move forward, to adapt, to change, to challenge…in a way, that is the artist’s purpose in life and one can’t fulfill it out of fear.

MM: Since the nineties, there has been a rise in the trend of classical musicians experimenting with promotional strategies people usually associate with pop music. Violinist Vanessa-Mae, for example, was one of the first more prominent virtuosos to shoot extravagant album covers and film music videos. Of course, with the rise of social media, the backlash to those who choose this path has become more visible and direct. What would be your response to those who think bold fashion choices and a more diverse, dynamic approach to how you represent yourself somehow devalue the art-form?

LA: Today’s performance is not just about the music, but also about the visuals, fashion, etc. All those elements help to create an exciting and memorable experience for the audience. Any musician, certainly, has the right to only play sounds (and some do), but to me that would be like asking a film director to only stick to black and white silent movies lest they “devalue the artform”. I think it’s total nonsense. But in the end any artist can do what he or she chooses, and the audience can choose what they want to hear and to see.

MM: Where do you see the classical music world in 100 years in terms of “seriousness”?

LA: The music will survive for as long as humans will continue to feel. But the performance formats will most
certainly change with only a tiny “conservative” classical music segment continuing to exist like a museum piece, interesting mostly for educators and a small group of enthusiasts. Even today those types of performances are not competitive and can hardly generate excitement or ticket sales even among the older crowd, not to mention teenagers. But the new classical music formats will emerge, and the boldest, brightest and most fearless performers will define it and will ensure the genre’s survival. In fact, it is already emerging, and it’s an exciting time to be a performing musician today.

MM: How do you deal with the social media following you’ve amassed over the years? And you try to communicate with your fans as much as you can, which means you devote your time reading comments. Do different opinions affect you?

LA: Being on social media can sometimes feel like a full-time job. It does take a lot of time and effort to create
new and exciting content on a weekly basis. But I enjoy most aspects of it, and communicating with fans, reading and responding to comments is fun, so I try to do that as much as possible. As for different opinions – it really doesn’t bother me, because everyone is entitled to have one. As long as I know that what I do is quality – a negative or rude comment will never ruin my day.

MM: What do you think of the label “influencer”? Do you identify with it?

LA: I think of myself as a musician first and foremost. Still, I do recognize the fact that because of a large number of people that watch me, I have the ability to influence opinions and tastes. But I don’t necessarily like the term “influencer”, because over the past few years it’s gotten greatly diluted and devalued.
Nowadays any person with a few thousand followers on social media calls him or herself “influencer”, but
the truth is – very few people actually have an authentic and engaged social media audience. Many cannot create an engaging content, so they resort to buying fake followers, fake likes, etc. For some those stats create a real dependency and become like breathing, but I was never obsessed with numbers. My audience has grown organically over time, and I feel great knowing that every single person that follows me is there because they really are interested in what I do and we have a connection. Otherwise, I would simply consider it a waste of time.

MM: Your Instagram profile can be enjoyed not only as a selection of various classical music interpretations, but also as a digital fashion runway of sorts. What has been your favourite outfit you’ve worn for a concert performance so far?

LA: I have many favorites, but the one that stands out in my mind is my ‘Muse’ video outfit with huge custommade angel wings. Two wonderful theatre costume designers have worked for nearly a week to create those feather by feather and they turned out amazing. Another one was the Dolce & Gabbana dress made with Swarovski crystals, which I wore in my ‘La Campanella’ video. It was specially selected by maestro Dolce for this video and I thought it worked wonderfully.

MM: The audience has gotten to know you in spectacular, impactful stage fashion – at home you’re a little bit more relaxed, but in your casual videos you’re still wearing pumps and skinny jeans. What’s your style like off-stage and off-camera?

LA: I usually stick with one of two extremes: either the full-on glam look with high heels, perfect hair and makeup or the most basic, casual, no-effort-whatsoever look… (laughs). No makeup, my favorite comfy lounge clothes, and a braid. Usually, there is no in between for me.

Lighting round

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Mordents Magazine: Hello Tianyu, how are you? How have you been spending your time recently? 

Tianyu Zhou: I am not too bad! I think at this point I am already used to the pandemic and I know how to deal with things better than when the pandemic just started. Currently, I have zoom classes, I practice and luckily I have lessons with my most beloved professor Arie Vardi whom I respect and adore very much. I go on set when I have photoshoots and commercial shoots. I have time to chill with my good friends, we chat, we make nice food and drink wine. What else… I watch Netflix, read sometimes and try to keep up with my daily workout routine. 

MM: Any hobbies you enjoy doing or new talents you discovered lately? 

TZ: I love watching movies – especially independent and arthouse films. I have a regular workout routine and I enjoy dancing hiphop very much. For new talents… thanks to Covid-19 I finally know how to cook properly. I used to hate cooking a lot… my way of “making food” before Covid was to just make a simple salad or sandwich where it doesn’t require using a pan or pot haha… but now I am proud of myself for being able to cook well. 

MM: Where would you like to travel first once the pandemic is over? And why? 

TZ: I would probably want to go back home to visit my mother and hang out with my close friends in Canada. I miss them a lot and I didn’t have the chance to see them for more than a year which is very unusual for me. The second choice would be having a spontaneous trip either to Paris, London, Florence or LA because I love the vibe and atmosphere in each city. 

MM: What would you change about classical music industry?

TZ: Less politics which is probably difficult to avoid… more opportunities for musicians to express their voices – not only through their instruments. 

MM: How would you grow classical music audience? 

TZ: Play concerts, create opportunities to have interactions with my audiences, Instagram and Youtube. 

MM: What’s the most interesting thing about you that we wouldn’t learn from your biography alone? 

TZ: I am not sure… really… besides being a musician, I have quite a lot of other interests and things that I do… so it is difficult to say. Perhaps … I also love acting a lot. I had training at the Vancouver Academy of Dramatic Arts and still take classes from take to time (online now). 

MM: Do you play some other instruments? If not piano, what instrument would you choose? 

TZ: I played violin in grade 6 in school and I also played a bit of drum in a high school band. As for now… if I have the chance, I would love to learn cello because I love this instrument so much, the sonority and projection of sound, the tone, the colour, there is so much about this instrument that I am fond of. 

MM: Do you play music other than classical? If yes, what kind? 

TZ: I like to improvise a lot on the piano. I love creating different colours, a variety of moods and emotions without any restraint. I had the opportunity to improvise for a Chinese Drama “Forty-Nine Days·Memorial” directed by Zhang Li. I was given a few episodes to watch beforehand to know the story, the mood, the emotions, the sparks and my feelings towards the drama to build my thoughts. I love the process of it. The best thing about it was…there was absolutely no score and I feel so free to improvise my ideas on the keyboard. One thing I wish to play is jazz.

MM: Favourite/Least favourite composers? And why? 

TZ: My favourite composers are J. S. Bach and R. Schumann. I have always been very close to Bach’s music since I was very young. People tend to find his music hard to play at a young age but it was very natural and easy for me. I think his music is very modern and way ahead of his time. I never really struggle with Bach, his music always fits me like a glove naturally.

I also love Schumann very much. His music always leads me into another zone, a different sphere. His music is crazy, personal, innovative, complex, so much story that it is very difficult to describe by words. I think his music requires us to have intuition, imagination and spontaneity. 

I don’t think I have a least favourite composer… I probably just don’t play them as much… I think Chopin is the least comfortable for me to play because his music is simply difficult, in all kinds of ways.

MM: When you play the piece that you’re tired of (due to practice and frequent performance), how do you approach that emotionally? Does that piece still make you feel something? Which piece was that? 

TZ: There are a lot of pieces that I need to pick up or come back to, whether it’s for competitions or concerts. I either pick the pieces up very fast in a few days/week or prepare them ahead then drop it for a short while and again come back to it before my performances to keep it fresh. 

MM: What achievement are you most proud of? 

TZ: Performing J. S. Bach Goldberg Variations first half joint with other programs in the second half internationally. It was very demanding but I love to challenge myself and I did it. I was also very honoured to be invited to perform at the Royal Castle in Warsaw, Poland for both President and the First Lady of China and Poland. I have never had a performance where I had to go through so many security checks haha… I was also very happy when I knew I was accepted to attend the Lucerne Piano Festival Masterclass a few years ago as they only accepted eight pianists worldwide. 

MM: How do you prepare mentally for Chopin Competition? 

TZ: It’s important to mentally prepare for something immense and important because nothing can go ahead of your Brain. Besides practicing of course, I read about Chopin, I try not to over practice and read the score and try to have a fresh mindset. I am happy that I could still find new things in some Chopin pieces that I have been playing for years. 

MM: Are you nervous? What do you expect? 

TZ: Usually I am not too nervous when I play concerts but because it is Chopin Competition so perhaps my blood will circulate faster haha… but really it depends on the day — how I feel, what time of the day I will be playing, my surroundings and etc 

MM: What are you going to wear?

TZ: Either a classy simple black dress or a jumpsuit and black YSL heels which have been my must wear for almost all my concerts. 

MM: What are you generally most afraid that could happen during live performance? 

TZ: This is a question that actually never really occurred to me before…to be honest, I am quite fearless when I walk up onto the stage to perform because I know I am well prepared. I think there is no point to be afraid of anything because — whatever happens on the stage happens. Sometimes you can’t control it… When it comes to noise from the audience, I would be lying if I said “I am not annoyed or bothered by this at all” but – in a live concert, anything could happen, it’s normal.

MM: How do you cope with negative reviews on your playing (both online and offline)? 

TZ: Well… I think it depends on how to take it, I usually cope quite well with them. If the negative review is in a way helpful, then sure I will take it into consideration but if it’s just rude, aggressive and hurtful for no reason then it’s no point to give a damn or care about it. 

MM: You are also a model. How did that happen? 

TZ: I was shopping for lipstick at MAC in Tel Aviv and their senior makeup artist Netta Szekely, who by the way is one of the most amazing makeup artists I have ever worked with happened to be there on that day helping to choose a lipstick and scouted me. I remember the first thing she asked me was “are you a model?” 

MM: Tell us a bit more about your modelling experience.

TZ: I absolutely love modelling and I think I am very lucky because I have always loved fashion and cosmetics so much and being able to step into this field without asking for it is just amazing, I am very thankful. I have been featured on fashion magazines and some of the brands that I have worked for/with are MAC, Natasha Denona, Biopeptix, Artlist Ltd and more. I have also been featured in commercials that have been broadcasted across Europe on TV and internet. 

MM: How do you balance music with these obligations? 

TZ: Time management is very important, as long as I know what I need to finish within a certain time frame then it’s all good.

I will give you an example of how my day would be like with both photoshoot and practice — I usually wake up around 5:30 am to prepare for my shoots where I would drink dark roast black coffee or Americano (no milk & sugar) then I would put on a face mask and do a simple 15 min workout. Sometimes I wish I could wake up slightly later but my face tends to be a bit swollen in the morning so it takes time for the coffee to kick in to help me to reduce my swollen face haha. Then I go on set… I tend to arrive around 8 A.M to start off with makeup and hair. The shootings usually take about 6-10 hours, it really depends on how many looks we need to accomplish on the day. Let’s say the shoot finishes around 4 PM, at latest 6PM… by this time I am already drained out but I would still force myself to go to the academy to practice for at least 2 hours. Then really.. by the end of the day, the only thing I want to see is my bed haha. 

MM: Do you think that unique fashion is important for a classical musician? 

TZ: I think this really depends on a person’s interest. Because I am also in the fashion field, I feel that it is quite important to have your own style – a dress code that could represent who you are as a person whether it’s on a daily basis or on the stage. This probably doesn’t refer to everyone but sometimes you can kind of tell the personality and the temperament of a person when you see their style of clothing. 

What’s your personal style? 

TZ: My “go to” daily look is a pair of good jeans with a nice shirt. I barely wear dresses… My style is quite simple in a classy, cool and chill way. I usually pair up my outfit with sneakers, sometimes ankle boots. I love accessories such as caps, sunglasses and scarves. 

Lightning round

What are your guilty pleasures? 

Good wine, Cuban cigarillos, dark roast coffee and cheese.

Choose a karaoke song you’d sing

Mmm… I haven’t been to karaoke for way too long so I am not sure what I would choose now but I would probably choose a song by Alicia Keys, Adele or Jay Chou.

Do you listen to other music than classical? What kind? 

I am a big fan of hiphop and R&B music. I also like jazz.  

Musical icons and influences?

For classical music, I was influenced a lot by Martha Argerich and Glenn Gould. 

Favourite non-popular piano pieces? 

Chopin’s Boléro is not played often compared to his other well-known pieces… but it is one of my favourite compositions of his. 

What orchestral work would you love to conduct? 

Beethoven’s Symphony No. 7 and Brahms’ Symphony No. 1, 3 and 4. 

If not a musician, what else would you love to be?

Actress or a fashion designer.

Favourite fashion designer(s)

Karl Lagerfeld and Anthony Vaccarello 

Style icons

Audrey Hepburn 

Favourite model(s)?

My current favourites are Coco Rocha, Irina Shayk, Liu Wen… 

MM: What are some of your current goals, both when it comes to modeling and performing?  

TZ: At this point, especially during Covid-19, I am not thinking too far… I would like to achieve what is in front of me and complete them as well as I can. 

Mordents Magazine: Hello Eva, how are you? How are you spending your time during the pandemic?

Eva Gevorgyan: I am fine, thank you! In such hard times, when many concerts were cancelled, I am learning new repertoire, concentrating on school and watching films.

MM: Any hobbies or new talents recently discovered?

EG: I have started learning German language recently and passed the A1 exam just last week. I go to a fitness club close to my home – and I also like reading books. 

MM: Where would you like to travel first when this pandemic is over? And why?

EG: Many concerts and events were cancelled due to the pandemic, but not all. I was invited to play at Palermo Festival at the end of January, where the quarantine in Italy will be over. I do hope it will happen! Italy is one of the countries I adore – amazing food, wonderful architecture and great history. But I was happy that I had a chance to travel during the pandemics – in July I had a concert in Mariinsky Theatre with Valery Gergiev in Saint Petersburg, in October I was in Switzerland, in Martigny – there was Jeune Chopin Piano Competition.

MM: So, how do you balance music with other obligations?

EG: It’s quite hard – I am in grade 10, so I would like to have 36 hours [in a day], not 24. Also, I think it’s important to do sports, I try to find time for that too.

MM: Do concert pianists get to choose their call? Most famous pianists usually start at a very early age, long before they can actually make decisions for themselves. What do you think about that? 

EG: My story is totally different. My mom is a musician, violist, and she didn’t want me to become a musician. From a very early age, I started asking her to buy me a small violin, because I also wanted to play like her. When I was 3 years old, my mom presented me with a violin, but I didn’t like the sound (I guess it was untuned or I just couldn’t play) and took the violin apart. After that, I started playing piano – I couldn’t break it at least! So I insisted on learning music. I think that it’s good to start at an early age – I can’t remember myself without music, it seems as if it was a part of me from my birth.

MM: What would you change about the classical music industry?

EG: I would like to change the opinion that classical music is just for a small number of people. I would like to popularize classical music, to explain to people who are not musicians that classical music is not so hard to understand, and to encourage more people to come to our concerts.

MM: And how would you grow a classical music audience? 

EG: It would be nice to add classical music lessons to primary schools, to create an Instagram or Telegram channel about it, to create several classical music channels. When I was at the Verbier festival, there were amazing concerts even for the youngest – for example, we played The Carnival of the Animals by Saint Saens and during our live performance there were children’s animated illustrations, drawings, so they were involved in the performance.

MM: What trends in classical music do you like/dislike?

EG: I dislike when the artist likes himself in music more than the music itself. It’s a very fine line to walk – to express your own individuality, but also to play what the composer wants to express.

MM: While on the subject of composers, which are your favorite and least favorite? 

EG: My favourite composers are Chopin, Scriabin, Liszt – I love the romanticism of Chopin, the sensitivity of Scriabin, the brightness and tragedy of Liszt. I feel very comfortable playing their music. Actually I like all composers, but my least favourite is maybe Saint-Saens, though I like several of his pieces.

MM: How do you choose your repertoire?

EG: Usually I listen to a piece and understand that I want to play it. Sometimes my Professor offers me something. For example, she suggested I should play Hindemith Suite 1922, while I have never listened to it before.

MM: What pieces are you afraid to put into your repertoire? And why?

EG: I can’t say I am afraid to put something in the repertoire. I wish to play all Preludes and Fugues by Bach, but I understand that in that case, I would need to play only them for some period of time because it’s a huge amount of work. Some other pieces, I don’t think I’m ready for yet, like Brahms’ Concerto no. 1. I think I need to grow up a bit more for that one!

MM: Do you sometimes play pieces that you don’t like?

EG: Yes, it happens sometimes. But what is interesting – after some time, pieces I didn’t like first, become pieces I love. I discover the sense and the soul in them. 

Usually, though, I change my repertoire very quickly and don’t have time to get tired of the piece. But when I am tired due to frequent performances or practice, I try to imagine myself as one of the audience members, who came to the concert and is listening to this piece for the first time. Then I find something new and fresh.

MM: What are some of the achievements you’re most proud of?

EG: There are several: performances in Mariinsky Theatre with Valery Gergiev, ICMA Discovery Award, playing in front of Martha Argerich in a jury and getting the first prize at Jeune Chopin piano competition, and being a laureate of Cliburn and Cleveland junior piano competition.

MM: How do you prepare mentally for Chopin Competition?

EG: Now I don’t play Chopin too much. For me Chopin Competition is not an ordinary competition, it’s a feast of Chopin, celebration, and joy from the unique atmosphere in Warsaw, magic, which I have been waiting for for so long. I am nervous, just a little bit because the program is very big and there are some pieces I have never played. Anyhow, I have a positive attitude and expect amazing emotions, which will be with me for my whole life.

MM: You are one of the youngest contestants. Do you feel any pressure? 

Actually, I already got used to playing in competitions, so I feel no pressure, but anticipation. For me, it’s important to convey my musical ideas, not just play notes.

MM: You were photographed for the November issue of Tatler magazine last year, and had the fun opportunity to step into the shoes of a model. Do you think that unique fashion is important for a classical musician? 

EG: I think yes if you are a personality you will have your unique fashion, your image at any case. For me, it’s important to go from what you have inside, not just to create external artificially. 

MM: If you were not limited by dress code – what would you wear for your performance?

EG: I appreciate comfort, so I would wear pajamas and slippers!

Lightning round

What are your guilty pleasures?

I adore eating lots of nice food.

If not a musician, what else would you love to be?

A ballerina!

Choose a karaoke song you’d sing:

Maybe something from Billie Eilish.

What music do your friends ask you to play for them?

All my friends are musicians, so usually they ask me something like: “Let’s play a double piano concerto by Poulenc?” 

Musical icons and influences?

Mikhail Pletnev, Evgeny Kissin, Arturo Benedetti Michelangeli, Martha Argerich, Emil Gilels, Denis Matsuev…

What period is a perfect match for you in terms of both music and fashion? 

Middle of the 19th century.

Prelude or Fugue?

Fugue.

Major or Minor?

Major.

Chopin Op. 10 or Chopin Op. 25?

Op. 10. 

MM: Thank you for your time, Eva, and good luck on the 18th Chopin Piano Competition!

EG: Thank you so much for your amazing, unique questions!