Varduhi yeritsyan et bruno mantovani biography
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Born in Moscow, now she is 14 years old and lives in Venice.
Started to study piano at the age of 4. During first 2 years studied intensively with Maestro Alexander Maykapar,
Massimo Somenzi, a Venetian native, studied piano with Maria Italia Biagi and is a distinguished student of Rio Nardi and Alfredo Casella. He graduated from the Conservatory “Benedetto Marcello” in Venice with the highest honours.
The bass Evgeny Stavinsky was born in Russia, in a family of musicians. He completed his studies as singer and choir conductor at the Academy of Choral Art and perfectioned himself at the Maggio Musicale Fiorentino where he performed the title part in Mozart’s DON GIOVANNI,
Varduhi Yeritsyan occupe une position singulière dans le paysage pianistique actuel. Par sa double culture héritée de grands maîtres comme Brigitte Engerer, Mstislav Rostropovitch, Denis Pascal,
Né le 8 octobre 1974, Bruno Mantovani est un musicien polyvalent, avant tout compositeur, mais aus
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Varduhi Yeritsyan
Born in Armenia on Labour Day and living in France since the age of 20, Varduhi Yeritsyan holds an uncommon place in the current pianistic landscape. Through her twin cultures inherited by great masters such as Brigitte Engerer, Vladimir Krainev, Msitslav Rostropovich, Denis Pascal and Claire Désert, she is both a specialist in the Russian repertoire and a regular interpreter of the French repertoire. After graduating from Yerevan’s Tchaikovsky Specialised Music School for gifted children, she studied at the Paris Conservatory (CNSMDP), where she obtained the highest prizes for piano and chamber music. She then completed a postgraduate cycle in both areas, studying with, respectively, Brigitte Engerer – her true mentor ever since her arrival in France – and cellist Marc Coppey.
In 2007, Varduhi Yeritsyan won the Paris Conservatoiry’s Avant-Scènes annual student contest. She has also won accolades from the Natixis-Banque populaire, Tarrazi, Nadia et Lili Boula
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Bruno Mantovani
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After Eclair de lune for three principal snare drums, three ensembles and electronics, and after my Concerto for two violas written for Tabea Zimmermann and Antoine Tamestit, inom felt compelled to compose a new work for double solist, and ended up choosing the piano. First of all from a desire to write for Varduhi Yeritsyan and François-Frédéric Guy, but also because the confrontation between that orchestral instrument, itself duplicated, and a symphonic mass offered me infinite sound perspective options. Though the piano writing contains nothing radically innovative, the profusion of repeated notes (using both instruments and in simultaneity) creates a percussive dynamic timbre ranging from a murmur to a violent surge. Often in echo, most of the time in simultaneity, the two soloists ganska simply comprise a meta-instrument, counterpoint being rather absent from this score that favours the collision between energies over the superimposition of lines. As thi