Svetlana received the highest critical acclaim after Opening 2018- 19 Season Concert with Eastern Connecticut Symphony Orchestra & Maestro Toshi Shimada in ” The Day” by Lee Howard:
The highlight of the evening had to be Sergei Rachmaninoff “Rhapsody on a Theme of Paganini”, Op. 43, featuring the smoking hot playing of pianist Svetlana Smolina, who came out on stage in glittering red gown so beguiling that the audience chuckled when she sat in front of the keys. Never letting her concentration waver, Smolina proceeded to pounce on each note with either great ferocity or eager tenderness, majestically alternating between a clump of chords and a cascade of shimmering harp like high notes. This rhapsody is a real showpiece and the execution of the work was exquisite. Shimada wringing every last sentiment out of the string section while Smolina alternately marched and gambled up and down the keys right up until the humorous and unexpected ending.
The audience gave Smolina and the orchestra one of the most extended standing ovations ever during an ECSO concert.”
Svetlana performed with brilliant violinist Vadim Repin at the Porsche Classic Night that was held on January 12, 2018 at the Porsche Center Rostov Center.
Svetlana ‘s new CD Release – live compilation from the Tippet Rise Festival Concerts Highlights – is on Pentatone Oxingale Series “Tippet Rise Opus 2016.”
The new live compilation on the PENTATONE Oxingale series samples music by Scriabin, Chopin, Stravinsky, Rachmaninoff, and Antón García Abril, in tremendous performances by pianists Svetlana Smolina, Christopher O’Riley, Anne-Marie McDermott, Stephen Hough, Jenny Chen, Yevgeny Sudbin, and Julien Brocal with Cellist Matt Haimovitz, trumpeter Elmer Churampi, and soprano Emily Helenbrook.
“Svetlana Smolina sparkled with the Italian concerto, the E-minor Toccata and a Prelude and Fugue from the Well Tempered Clavier.”
– International Herald Tribune, Davis Stevens
“The performance (Stravinsky Les Noces) had plenty of fervor and clattering colors. Yet it was nuanced, dusky and organic.The soloists – dynamic Russian pianists ( Svetlana Smolina) were mesmerizing”
– Anthony Tomassini, New York Times
Svetlana is excited to announce a week-long residency in Singapore, giving a charity concert with Lee- Chin Siow on March 4 at Resorts World Sentosa Theatre
and teaching two masterclasses at Nanyang Academy of Fine Arts (NAFA) and at Mandeville Conservatory of Music.
Svetlana is returning to perform with the South Florida Symphony in 4 cities ( at Miami Arsht Center, Key West Tennessee Williams Theater, Fort Lauderdale Broward Center for the Performing Arts, Boca Raton Florida Atlantic University ) on February 19 to 23.
On February 8, 2017, Svetlana performed at Carnegie Weill Hall with Singaporean violinist Lee-Chin Siow and French eurythmist Gabrielle Armenier.
Their program “East Meets West” featured works of Bizet – Horowitz, Frank, Ravel, He Zhanhao/ Chen Gang and two U.S and New York Premieres of a work by Singaporean composer Kam Kee Yong and Chinese composer Yao Chen. BBC World News featured their recital on the Newsday, Sunday 6 PM evening edition.
Violino Vadim Repin
Pianoforte Svetlana Smolina
Claude Debussy Sonata n. 3 in sol minore per violino e pianoforte L. 148 Sergej Prokof’ev Sonata n. 2 in Re maggiore per violino e pianoforte op. 94bis César Franck Sonata in La maggiore per violino e pianoforte Maurice Ravel Tzigane, rapsodia da concerto
Lakshminaryana Subramaniam’s popular “SaPa Show” is a weekly TV program that gets broadcast all over India and to many other countries via satellite. It was created at the Subramaniam Academy of Performing Arts’ initiative. Svetlana and Vadim found an interesting way of talking about their respective instruments and letting viewers experience how they sound.
Concerts for the 25th Lakshminarayana Global Music Festival, in partnership with the Trans-Siberian Art Festival, featured Vadim Repin and his duo partner Svetlana Smolina at the piano. Performances took place at Chowdiah Memorial Hall (a hall that attracts particular interest in that it is built exactly in the shape of a violin) in Bangalore on January 10 and at the Sri Shanmukhananda Chandrasekarendra Saraswathi Auditorium in Mumbai on January 13. Check out some photos here!
Steinway Piano Gallery Charlotte SPG – Live ! is producing Svetlana’s video and audio recording albums, recorded live at the Steinway Gallery on December 4, 2016.
The first Holiday teaser of the many upcoming ones is now online! Enjoy Tchaikovsky Trepak!
On December 2-5, 2016, Svetlana was a resident artist at Steinway Galleries in North Carolina. She performed, gave master classes, recorded, and appeared on Davidson WDAV 89.9 FM Public Radio Show.
Svetlana Smolina performing Rachmaninoff Second Piano Concerto with Dublin Philharmonic Orchestra / Maestro Derek Gleeson LIVE from Changsha Concert Hall (from 2016 January Dublin Philharmonic New Year China Tour).
Svetlana performed at The 2015 “Summer Dream” Gala evening, organised in aid of the Prince Albert II of Monaco Foundation as part of “2015 – Russian Year in Monaco,” in the Salle Garnier, Monte-Carlo Opera. Vlaadimir Fedorovsky was the presenter for this concert
Svetlana was the soloist on New Year China tour with Dublin Philharmonic & Maestro Derek Gleeson performing Rachmaninoff Concerto in 7 cities including Suzhou, Harbin New Opera House and Symphony Hall, Wuhan, Tianjin and in Changsha opening their new concert hall.
Svetlana Smolina is featured in the Talent Scout column of the August issue of Keyboard Magazine.
She talks about her formative years, influences and offers advice to beginning musicians. Click here to read the full interview.
Svetlana Smolina was invited to adjucate The 1st International Student Piano Competition of Shanghai 2014 in China. During the Piano Competition, Svetlana also gave a Recital and Masterclass at Shanghai University.
Svetlana Smolina brilló en Lima
(Ópera Perú) La pianista rusa Svetlana Smolina hizo una particular y muy intensa presentación este jueves 24 de setiembre en el Auditorio Santa Úrsula.
El evento fue especial ya que la joven intérprete dedicó al público limeño un programa doble, algo muy inusual en las salas de concierto. En la primera parte, Smolina ofreció un recital de piano en el cual demostró su versatilidad interpretando obras de Tchaikovsky, Schumann, Chopin y Liszt. Esta obras tenían como tema conductor el amor. Hablamos de la suite “Cascanueces” de Tchaikovsky, Scherzos de Chopin, “Widmung” de Schumann, y “Liebestraum” de Liszt. Todas las obras fueron aplaudidas efusivamente.
En la segunda parte Smolina interpretó el famoso segundo concierto para piano y orquesta de Rachmaninov, junto a la nueva Orquesta FIlarmónica Teresa Quesada, la cual está conformada por los mejores músicos del país. La orquesta estuvo bajo la dirección el experimentado Pablo Sabat.
Así es como Svetlana Smolina mostró su versatilidad y talento en un programa intenso que dio grandes satisfacciones al público.
“Thanks to an excellent control of dynamics and timbre, Smolina found the right feeling with Vadim (the two of them have been playing together since 2014)…”
The Concert. With Russian pianist Svetlana Smolina at the Teatro Lirico di Cagliari: Vadim Repin, what a premium class!
One confirmation and one surprise. This is how one could summarize the chamber music evening that took place two days ago at the Teatro Lirico in Cagliari as the second event of the 2017 concert season.
The star of the event, Siberian Vadim Repin, showed the validity of class and experience. The ex-violin prodigy, pupil of Zakhar Bron and winner at the age of 16 of the prestigious Reine Elisabeth-Competition in Brussels, has gone into a gradual heightening like a long-distance runner intensifying his pace when the see the finishing line. If the execution of the Sonata No. 3 in G Minor by Debussy and the Sonata No. 2 in D by Prokofiev was carried out as in the textbook, the change of gear was noticeable in the second half of the concert with the Sonata in A by Franck. Vadim won the audience’s applause with his communicative immediacy and his daredevil virtuosity, which became exalted in Tzigane, concert rhapsody by Ravel, signature of an authentic premium class.
The surprise of the evening was the Russian pianist Svetlana Smolina, statuesque in her long, fiery-red dress. Thanks to an excellent control of dynamics and timbre, Smolina found the right feeling with Vadim (the two of them have been playing together since 2014), who from her singing appeared to gain mellifluousness and freshness along the way. The pianist from Novgorod did not suffer from the carismatic personality of her illustrious colleague and demonstrated a consolidated artistic maturity.
At the end, the two artists repayed the audience’s enthusiasm (the only shame being a few absences too many) with two elegant and applauded encores on tunes from „Eugene Onegin“ by Tchaikowsky. –Fabio Marcello
“The Russian Smolina has assets of performances both as soloist and with orchestra (among others, the St. Petersburg Philharmonic and the New York Philharmonic) and in recital.”
About the complexity and the extreme virtuosity of Tzigane, concert rhapsody, composed by Maurice Ravel in 1924, the French violinist Hélène Jourdan-Morhange one day wrote: “It is as if Ravel had wanted to evoke all the wizardry of Paganini.”
The famous song is part of the program of the second round of the concert season of the Teatro Lirico in Cagliari, on stage tonight for the session A, 20.30.
On stage, nine years after the last performance before the audience Cagliari, back forty-five Siberian violinist Vadim Repin, accompanied at the piano by the young and talented Svetlana Smolina.
Former child prodigy – five years old the first public performance, at sixteen the triumph in the most prestigious of the world violin, “Reine Elisabet” Brussels – Repin in his career he has collaborated with such conductors James Levine caliber, Riccardo Muti, Zubin Mehta and has performed, among others, the Berlin Philharmonic, the London Symphony Orchestra, the Orchestra of la Scala in Milan.
For its part, the Russian Smolina has assets of performances both as soloist and with orchestra (among others, the St. Petersburg Philharmonic and the New York Philharmonic) and in recital.
The evening’s Lyric has three other pieces of law entered in the great tradition of chamber music: Sonata no. 3 in G minor for violin and piano by Debussy (completed in October 1916, when the winds of war raged on Europe and the French musician was already seriously ill), the lovely Sonata no. 2 in D major for violin and piano by Prokofiev and, finally, the Sonata in A major for violin and piano, a wedding gift the Belgian composer Franck friend violinist Ysaÿe. An unmissable event for music lovers chamber. – Fabio Marcello
It was fusion all the way. The Lakshminarayana Global Music Festival conducted by legendary violinist L Subramaniam mesmerized Bengalureans on Tuesday. In sync at the Chowdish Memorial Hall were violinist Vadim Repin, pianist Svetlana Smolina, Norwegian Cellist Audun Sandvik, and LS’ children, musicians, Bindu and Ambi Subramaniam. The band combines traditional Indian music with elements of pop, rock, and jazz to create contemporary world music. View for more pictures from the Lakshminarayana Global Music Festival.
“Vadim Repin tears it up at Koerner Hall”, Toronto Performing Arts Examiner / Recital with Vadim Repin, Koerner Hall/ Royal Conservatory
…Svetlana Smolina on the piano, who more than held her own while presenting a contrasting style that was every bit as pleasing to watch.
…The next piece was a bit of an aural surprise. Ravel “Tzigane” — in that one
there was an authenticity to the music that both Repin and Smolina provided, along with a vivacious energy that made it difficult to resist tapping your foot to.
During the second half there was a palpable connection between Repin and Smolina that suggested the two have been playing together longer than they have. They fed off each other beautifully, with one nodding for the other to begin and the synchronicity between them simply flawless. Their performance of the two Tchaikovsky pieces, “Meditation” and “Valse-Scherzo”, embodied everything characteristic of the Russian’s compositions: there was a larger-than-life aspect to it with bold brush strokes, and yet a sense that beneath the grandiosity there lay unrevealed secrets. Both Repin and Smolina glided over the passages easily, disguising the inherent difficulty in Tchaikovsky’s notes as a rush of notes up is complicated by accidentals on the way down.
They made Stravinsky’s “Divertimento” look just as easy to play. There’s a flow and charm to this ballet suite that’s not present in many of Stravinsky’s other works and by being played first after the intermission, it’s a pleasant bridge between the two halves.
It’s a little difficult to believe that for Repin, with all his talent and renown, it was his first time at Koerner Hall. Judging by the enthusiastic adoration — which also resulted in an encore piece, Onegin’s aria by Tchaikovsky — it certainly won’t be his last.
NY Steinway Recital, Steinway Hall, NY
Tonight’s Steinway Hall concert was poignant and awe-inspiring…
The Schumann-Liszt Widmung was a romantic, yearning work, showcasing immediately Ms. Smolina’s virtuosity and aplomb. She tore into the keyboard with confidence and poise. The Schumann Arabesque in C major was balletic in tempo, swirling with feverish dervish. Chords and volume shifted with drama. The Rachmaninoff Variations on a Theme of Corelli was also drama-driven, with the initial theme followed by brief treble trills and filmatic mystery. Islamey by Balakirev was approached with thrilling keyboard attacks, as the theme was evocative of birds swirling in flight. It had exotic, Asian infusions. But, it was the Strauss/Schulz-Evler Concert Arabesque on a theme by J. Strauss, “On the Beautiful Blue Danube” that brought the crowd to its feet. In between a fantasy theme that resembled a glass harmonica merging with a harp, the strains of the “Blue Danube Waltz” emanated with liquid languor and luscious luminosity. At times it evoked Ravel’s La Valse, with its theatrical vibrancy and transfixing surreal-ness. Ms. Smolina sparked the imagination with the magic of this Concert Arabesque.
After intermission, for the Tchaikovsky Trio in A minor, “In Memory of a Great Artist”, Ms. Smolina was joined by Mr. Daurov on cello and Mr. Morozov on violin. This Trio was an homage to Tchaikovsky’s friend Nikolai Rubenstein. Ms. Smolina once again introducing swirling, dreamlike musicality on the sumptuous Steinway. The “Andante flebile, ma non tanto” was then followed by the “Tempo di Mazurka” Variation, with supple and symmetrical measures.The “Moderato”, then “Variazioni Finale e coda”, were both replete with sensational string flourishes, that matched the first-class virtuosity of Ms. Smolina on the Steinway.
iPalpiti Concert in Disney Concert Hall, Mark Swed, Los Angeles Times
“Svetlana Smolina, an outstanding Russian pianist with a luxuriant tone, was the evening’s soloist. She caught both the flicker of the young Sun-god and also found urgency in the flashy solo part.”
Chopin Spectacular lives up to its title, Gayle Williams, Richard Storm, Sarasota Herald Tribune
“Smolina displayed full command and charmed her way through Preludes of op. 28… Playing with vigor and vitality, easily shifting from one mood to another, sure of technique and subtle phrasing.The second part of program was devoted to Etudes and Waltzes…the pianist produced dazzling effects entirely appropriate to the genre..Smolina brought audience close to frenzy, just as dear Fryderick did in his concerts.”
New York Times, Paul Griffiths
“Svetlana Smolina created a storming, breathing piano in Scriabin’s Fantasy in B minor…”
Anthony Tomassini, New York Times
“The performance (Stravinsky Les Noces) had plenty of fervor and clattering colors. Yet it was nuanced, dusky and organic.The soloists – dynamic Russian pianists ( Svetlana Smolina) were mesmerizing…”
Los Angeles Times, Daniel Cariaga
PIANIST SHOW STRAVINSKY’S CHARM
“Smolina’s defining of the lyrical aspects in the music she played made her performance cherishable…”
Ms.Smolina has excellent technique – makes astute artistic choices playing with very relaxed and stable arm-and she is a stunning showperson, dressing in an elegant gown like Marlene Dietrich’s. The pair (with violinist Bela Horvath) work very well together and make beautiful music.”
Local Arts Live by Sharon Torello “Music at Monica’s”
“Smolina selected a mix of mostly romantic era music that contained so many rapid sequences that I’m quite sure I’ve never heard that many notes played on a piano in one concert before. The wonderfully balanced and lively acoustic of Saint Monica’s sanctuary and a brand new Steinway piano helped to highlight her fiery performance. Smolina somehow managed to maintain solid melodic clarity even in through the most finger blurring passages. The engaged audience gave her a rousing standing ovation in the end, and it wasn’t one of those, slowly rising “I guess I should stand because everyone else is” ovations. It was a genuine expression of appreciation to a supremely talented musician.”
The Listener Magazine, New York, Patrick Meanor
“Svetlana Smolina performed flawlessly Prokofiev First and Ninth Sonatas. She played these very challenging pieces with a facility and mastery that highlighted her impeccable technique and clarity of vision. Later the next evening she performed one of those phenomenally difficult arrangements by Mikhail Pletnev- of a section of “Nutcracker Suite”. Had I been in the other room, I might very well have mistaken it for Pletnev himself- it was so romantically rendered. The next evening, Svetlana Smolina performed the Four Etudes by Stravinsky (op.7) with a maturity and confidence that made those difficult pieces sparkle with youthful vitality.”
International Herald Tribune, Davis Stevens
“This was part of a survey of Rachmaninoff’s works for two pianos, which included the two suites brilliantly displayed by Maxim Mogilevsky and Svetlana Smolina, and the playful “Polka Italiana” in which Smolina was joined by Alexander Korsantya…
Other highlights of this marathone included… the “Corelli Variations” with Smolina as the superb soloist.”
International Herald Tribune, Davis Stevens
“Svetlana Smolina sparkled with the Italian concerto, the E-minor Toccata and a Prelude and Fugue from the Well Tempered Clavier.”
EYE CONTACTS ARE ENOUGH FOR COMMUNICATION, Martin Schrahn, Rugh Nachrichten, (Ruhr KlavierFestival)
“Smolina/ Mogilevsky impress as a coordinated duo in the best way- alone eye contacts are enough for communication…Amazing in all respects, their playing has expressive strength and sense for tone qualities.”
Independent, the London, Laurence Hughes
“It was a relief to move on to the Four Etudes op. 7 – played with alternating deftness and thoughtfulness by Svetlana Smolina.. In the excerpts from The Firebird, Svetlana showed an energy and fire that were almost startling in so slight a frame… but any (orchestral) inadequacies were forgotten in the hushed intensity of those radiant chords leading into the final flourish…If Svetlana Smolina can be said to represent the future of Russian music, then surely we have nothing to fear for the great musical tradition of that remarkable country.”
The Flint Journal
“Svetlana Smolina played with astonishing dynamism and skill. Her rendition of the wildly difficult cadenza of Rachmaninoff 3 rd Concerto was most impressive.”
Covent Garden Magazine, London, Graham Watts
“And the pianist (Svetlana Smolina) thoroughly deserved the audience’s unrestrained praise.”
“Wesdeutsche Allgemeine Zeiitung”, JAHRHUNDERTHALLE Bochum, Germany, Anja Renczikowski, (Ruhr Klavier Festival)
“The culmination of the evening was the performance of the “Poeme de l’ extase” op.54, for two pianos and the “Prometheus”, op. 60, for three pianos… interpreted by Alexander Toradze with Svetlana Smolina and Maxim Mogilevsky- an acoustical and visual sea of flames (these works were recorded by WDRWestdeutscher Rundfunk television) came very near to the messianist ideas of the composer).”
International Herald Tribune, David Stevens
“Svetlana Smolina and Maxim Mogilevsky collaborated handsomely on the Concerto for Two Pianos, to wind up the opening session.”
Financial Times, Andrew Clark
“In the hands of Svetlana Smolina and Maxim Mogilevsky, Rakhmaninov’s Suite No. 2 for two pianos provided a formidable climax.”
Herald Tribune, Michael Tumelty
“Apparently demure and rather poetic 20 year old Svetlana Smolina showed her teeth and muscles in a huge performance of one of the most interesting pieces of the long afternoon…”
“PIANIST BRINGS AUDIENCE TO ITS FEET” Elkhart Truth, Marcia Fulmer
“It was the artistry of the 20-year old pianist that brought the audience to its feet… Mrs. Smolina was in complete control of the emotionally lyrical, technically intimidating work… Mrs. Smolina’s incredibly fluid – and incredibly strong – fingers invested each change of mood and movement with exactly the right texture, depth and sense of being…In Svetlana Smolina, Rachmaninoff’s Third found a perfect match…She was phenomenal!”
MARVELOUS IMAGE, IRON WILL, Nizhny-Novgorod Times, Ludmila Patiaeva
“The image of a young lady immediately disappeared when Svetlana touched the keys. In Griffes Sonata the harsh pressure of the nervous motives interchanged with the falls into the silence, the madness and hope competed with each other for the right of the existence. The romantic contrasts, the falls and the raises especially impressed in the romantic Etudes of Chopin and in the Liszt “Mephisto Waltz”. The success of the entire concert was obvious: Svetlana Smolina presented herself as the professional of the highest rank.”
GRAND RESULT ON STEINWAY BY RUSSIAN COUPLE”, New Jersey Star- Ledger, Peter Wynne
“Russian born pianists, Maxim Mogilevsky and Svetlana Smolina dazzled all with the performances “Dumka”, Seasons”, Piano Sonata in G Major and Eugene Onegin for two pianos (Tchaikovsky). With two powerhouse players and two Grand Steinways on stage the sound could be overwhelming, but it did provide more than a hint of power…Watching the two perform was a delight… Nearly 35 minutes in performance, the G Major sonata requires a performer with power to spare. Smolina was up to the challenge, pouring massive waves of sound over her listeners in the works many dramatic moments. And yet she was equally capable of matching the composer’s more intimate thoughts.”