Elizaveta Frolova – „I strive to immerse myself completely in the composer’s musical and artistic universe.“
Elizaveta Frolova – Kawai Artist Series.
Elizaveta Frolova, a classical pianist and Kawai Artist, is renowned for her exquisitely sensitive playing and captivating performances. Being laureate of numerous prestigious international piano competitions and with a significant social media following, she has made a name for herself in the music world. We had the opportunity to spend some time with Elizaveta to learn more about her journey and musical aspirations. Enjoy our interview with Elizaveta!
- How did your journey with classical music begin? What inspired you to start playing, and who were your biggest musical influences growing up?
My journey with classical music began in a rather enchanting way. At the tender age of three, I found myself captivated by the sight of my older brother, Nikita, seated at our family piano. He was creating sounds that seemed almost magical to my young ears. I couldn’t resist the urge to mimic his movements, trying to recreate the beautiful melodies he produced.
This imitation became the catalyst for my own musical journey. Recognising my interest, my parents made the pivotal decision to introduce me to formal piano lessons. What truly sets my story apart is the extraordinary lengths my mother went to in order to nurture my newfound passion. In a touching display of dedication, she embarked on her own musical education, taking private piano lessons solely to guide me through my first steps in piano playing and music theory.
Throughout my musical education, I’ve been blessed with extraordinary teachers who have left an indelible mark on my artistry. Their influence continues to shape my performance, my perception of musical substance, and my understanding of culture and art to this day.
In Moscow, I had the privilege of studying under Vera Choroshina, a remarkable professor with boundless energy. As a direct pupil of Heinrich Neuhaus, one of the most eminent figures in the Russian piano school, Vera Choroshina brought with her a legacy of excellence and a depth of knowledge that was truly awe-inspiring. Her magnetic personality and the sheer scope of her musical understanding created an environment where learning transcended mere technique—it became a study of the very essence of music.
Vera Choroshina never focused solely on technique; instead, she nurtured my musicality and lyricism. Her unique pianistic approach allowed me to add entirely new colours to my performance. I began to see the structure of compositions more thoughtfully, understand their logic, feel the harmonic background more confidently, and appreciate the value of each chord in a piece. She showed me the importance of working with images, vertical and horizontal aspects, and balancing sound and texture. We also worked extensively on phrasing and intonation, and I realised that the piano could be transformed into virtually any musical instrument or even a large symphony orchestra.
We paid special attention to sound production, and today I pass on this invaluable knowledge to my own students. These insights aren’t found in books or recordings. They form the code of my performance, which critics today describe as magnetic, lyrical, and simultaneously deeply moving and powerful. This is the essence of the Russian piano school, which I now combine with the best traditions of the European, and particularly French, schools.
After the Academic College at the Moscow Conservatory, I was accepted as into the Paris National Conservatory, studying under Professor Jacques Rouvier. This marked a significant life change as I moved from Russia to France, learning French in just a few months. Jacques Rouvier is a remarkable person, an inspiration, and a great pianist and teacher.
I was also fortunate to refine my playing at the Schola Cantorum in Paris under Igor Lazko, an outstanding pianist who has had a distinguished international career as both a performer and a teacher.
Each of these experiences and influences has shaped my musical journey, contributing to the artist I am today.
- As a young pianist, what challenges have you faced in the classical music world? Do you feel there are unique obstacles for young female musicians today?
As a young pianist, I’ve been incredibly fortunate in my journey through the classical music world. I’ve had the privilege of studying under remarkable teachers and participating in international competitions, where I’ve been honoured to win several prizes. Today, I’m living my dream of sharing my music on stage and passing on my knowledge to future generations of pianists at a French conservatory.
However, this path hasn’t been without its challenges. The long hours of solitary practice, the relentless pressure for perfection, and the fierce competition have at times weighed heavily on my shoulders. One particularly significant challenge was my move to France. It was a complex period for me, as I began a new life in a different country, immersed in a new culture and artistic environment. While I’ve always held French culture in high regard, with a special reverence and tenderness, it was nonetheless a formidable challenge. This experience ultimately made me stronger, more confident, and showed me that for an artist, there are no boundaries. Each challenge has been an opportunity for growth, and this resilience has only strengthened over time.
Regarding the question of specific obstacles for young female musicians today, I must say that my personal experience doesn’t necessarily reflect the difficulties that some may encounter. I’ve been fortunate in many ways. However, I’m acutely aware that the world of classical music has seen positive evolution in terms of equal opportunities, even if there’s still progress to be made.
I believe it’s crucial to continue pushing for greater representation and equality in all aspects of the classical music world – from programming choices to leadership positions in orchestras and music institutions. While my journey has been largely positive, I recognise that this isn’t the case for everyone, and I’m committed to using my platform to advocate for positive change.
In my view, the key to overcoming obstacles, whether gender-related or otherwise, lies in unwavering dedication to one’s art, continuous self-improvement, and a willingness to challenge the status quo. As young musicians, we have the power to shape the future of classical music, making it more inclusive, diverse, and vibrant for generations to come.
- What drew you to the Shigeru Kawai grand piano? Many pianists have strong preferences when it comes to instruments. What is it about the Shigeru Kawai that resonates with you?
I am proud to be a Kawai artist today. My special connection with Shigeru Kawai pianos began many years ago, I vividly recall the first time I played a Shigeru Kawai concert grand piano – it was an amazing experience that I can only describe as falling head over heels in love. The infinite palette of tonal colours and regularity, precision and touch were simply exceptional.
This perfect symbiosis between pianist and instrument is what makes the Shigeru Kawai truly exceptional. Two years ago, I was fortunate with the incredible opportunity to have a Shigeru Kawai in my home. It continues to amaze me, surprise me, and inspire me.
- Do you have a special connection to any particular composer or piece? Is there a composer whose music speaks to you on a deeper level, and why?
From childhood, I had a great interest in Rachmaninoff, his work and personality, about which I learned a lot from published memoirs about the musician. Rachmaninoff is one of the greatest inspirations for me. His Third Piano Concerto is one of my favorite pieces in classical music. Therefore, when I play music by Russian composers, people often have tears in their eyes. And this is valuable to me. I show what real Russian music and Russian culture are. I like playing Tchaikovsky’s music. He is one of the geniuses I sincerely admire; the depth and spirituality of his music have always eluded me. These words of his are characteristic: „With all my heart and soul, I wish that my music would spread, that the number of people who find comfort and support in it would multiply.“ His wish was realised. His music, a powerful expression of exceptional depth, sincerity, spirituality, and deep emotions, is close to my heart. My listeners feel this; I am like a conductor who tells people the story of the world order through notes.
Among my favourite works by Tchaikovsky is the Sixth Symphony. This symphony is one of the works that made me cry. This last work of Tchaikovsky is an amazing picture of farewell to life, depicted in the „Adagio lamentoso.“ It evoked many thoughts in me, especially due to Tchaikovsky’s death, which followed a few days after the first performance of the symphony. The composition was conceived by Tchaikovsky as the completion of all his creation, and so it happened. Tchaikovsky’s Sixth Symphony can be viewed as a musical autobiography of the composer. I believe there is incredible spiritual power in this.
Rachmaninoff and Tchaikovsky are not the only composers I love to perform. I admire the performance of Chopin and Liszt, their understanding of matter. I also like playing Rameau. A Baroque master who created a new style of writing: „What have I been doing for twenty years when I was the most unknown of all musicians? I created the science of harmony and learned to compose music like which had not yet sounded,“ he wrote. His harpsichord works present some of the most progressive keyboard works in the history of French harpsichord music; he acquires extraordinary expression and passion with a rich and powerful language.
I also love his operas „Les Boréades,“ „Castor et Pollux,“ „Les Indes Galantes“; I made transcriptions of some fragments for piano, and will play one of them at my next concert. The music is absolutely wonderful. And of course, Bach. I consider this composer’s work a miracle described in religion. I rely on Glenn Gould, who said that if he had to spend the rest of his life on a desert island, listening to and playing the music of any composer during all this time, that composer would almost be Bach. I think I would do the same.
- How do you interpret and bring your own voice to classical works? Many pianists strive to balance tradition with individuality. How do you approach this?
Here’s how I approach this exciting challenge:
Before even thinking about interpretation, I strive to immerse myself completely in the composer’s musical and artistic universe. It’s about going beyond the written notes to grasp the very essence of the work and the composer’s deep intentions. This approach involves studying the historical and cultural context, analysing other works by the same composer, and reading their correspondence or writings to understand their personality and artistic vision.
The goal is to develop an very intuitive understanding of the music, This allows for an organic appropriation of the work, without forcing an artificial interpretation.
I seek to grasp the profound musical meaning of the piece, beyond purely pianistic aspects. This involves identifying the overall structure, melodic lines, harmonic progressions, and understanding the natural phrasing of the music. This approach reveals the internal logic and coherence of the work, allowing the interpretation to flow naturally from this deep understanding.
Interpretation is never fixed; it evolves over time and performances. I strive to maintain a fresh and spontaneous approach with each interpretation, adapting to the unique resonances of each piano and hall, the energy of the audience, and sometimes daring to take risks to breathe new life into the work.
- The new Kawai brand slogan is „Instrumental to Life“. What does this mean to you as a pianist and music enthusiast?
„Instrumental to Life“ – this slogan resonates deeply with me as a pianist and music enthusiast. To me, it encapsulates the profound truth that music is not just an accessory to life, but a vital force. As a pianist, I experience how music can transcend the boundaries of language, culture, and even time. It connects us with others, creating a shared experience that can unite strangers in a concert hall or across the globe. „Instrumental to Life“ reminds us that music is a necessity. In a world that can often feel chaotic and disconnected, music remains a constant source of beauty, meaning, and life itself.
- How does playing on a Shigeru Kawai impact your performance? Does the instrument shape your interpretation or playing style in any way?
Playing on a Shigeru Kawai is not just about using an instrument; it’s about entering into a musical partnership. This piano becomes an extension of my artistic self, a conduit for my deepest musical intentions and emotions. It’s-like having a conversation with a highly intelligent, deeply sensitive musical collaborator. The piano’s remarkable tonal palette inspires me to find new colours in my interpretations.
In essence, the Shigeru Kawai doesn’t just impact my performance – it becomes my musical partner, helps me convey every emotion and idea I wish to express.
- What are your aspirations for the future? Do you have dream performances, collaborations, or recordings you hope to accomplish?
My aspirations for the future are as vast as they are exciting. First and foremost, I’m immersed in preparing for a new album, a project particularly close to my heart. Simultaneously, I’m in the process of writing a book on the art of piano playing. This isn’t simply a technical manual, but rather a deep exploration of the relationship between the pianist, the instrument, and the music. In it, I share my reflections on interpretation, creativity, and emotion in performance, hoping to inspire both seasoned musicians and passionate amateurs alike. Of course, my career as a concert pianist remains at the heart of my aspirations. I dream of unique collaborations, perhaps with artists from other disciplines – dancers, painters, poets – to create multidimensional performances that push the boundaries of the musical experience. I’d also like to explore unconventional concert venues, such as historical sites or natural spaces. I also continue to be very active on social media, sharing excerpts from concerts and moments from my musical life. It’s a way for me to demystify the world of classical music and create a direct connection with my audience.
Elizaveta Frolova – Official Homepage
Elisaveta plays a Shigeru Kawai grand piano. www.kawai.de