Since my debut performance of Dvorak’s epic Concerto, I have kept honouring masterpieces such as the Shostakovich, Beethoven or Haydn concertos, but have also sought to breathe new life into hidden or forgotten gems by the likes of Wolf-Ferrari, Bruch or Thuille. My interest stretches from baroque to contemporary music, the latter including masters like Berio or Dutilleux and young, rising stars.
Few things are as inspiring as sharing with audiences the joy of discovering or rediscovering pieces and composers, and I am currently focused on studying and rehearsing a handful of lesser known concertos for performances in 2015 and 2016.
In approaching my solo work, I reject the conventional view of the orchestra as a background accompaniment to the soloist. Great interpretations happen when the orchestra plays as one of two equally important voices, whose careful blend is what the concerto form is all about.