Isabel Dobarro, pianist

Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?

I was first inspired by my sister, who played the piano very well, and later, by concerts I was able to attend in my youth. I vividly remember a concert by Alicia de Larrocha at the Música en Compostela Summer Courses or a performance by Aldo Ciccolini, also in my hometown. My parents love music, and music was essential to my upbringing. We listened to classical music constantly at home and went to concerts regularly.

I was very fortunate to have excellent teachers throughout my school years, such as Spanish pianist José Ramón Méndez, currently a professor at Oberlin College and Conservatory, and José Ramos Santana, a professor at New York University and the University of Hartford. Both have shaped my understanding of music, and I feel immensely grateful for their teachings and support. I was also very fortunate to study with Solomon Mikowksy at the Manhattan School of Music.

What have been the greatest challenges of your career so far?

COVID-19 was undoubtedly a big challenge for the arts community. Also, as I have promoted women composers’ works for quite a long time now, before the Me Too movement, it was challenging to find venues that would be interested in this music, and often, it was initially received with skepticism. Of course, once programmers and audiences discovered these works, they were marvelled by their quality and beauty. But it took time and work. Despite the challenges, I am pleased about the progress in this field and to contribute to making women’s voices heard in classical music.

Which performances/recordings are you most proud of?

All of them are relevant. Of course, some of the biggest stages in the world, such as Carnegie Hall in New York, Teatro Colón in Buenos Aires, and Auditorio Nacional de Madrid, are very dear to me. But smaller halls and more intimate settings could also be magical, as you are closer to the audience.

I am very proud of my two recordings up to date, The Unkown Pauline Viardot, Chamber Songs and Duets, which includes various world premiere recordings of Pauline Viardot’s works, and Kaleidoscope, released with Naxos Grand Piano, which brings together contemporary women composers from all over the world, highlighting unity in diversity. The recovery of historical pieces and the performance of new ones are essential to promote women’s contributions to classical music.

Which particular works/composers do you think you perform best?

I play a lot of contemporary music, as it is essential to contribute to today’s music scene to ensure classical music remains alive and present in today’s society. The possibility to interact with the composers is also a very good motivation. Nevertheless, I also present many nineteenth-century – beginning of the twentieth-century programs, in which I usually include Spanish music (Manuel de Falla, Isaac Albéniz, Rosa García Ascot, Eugenia de Osterberger, etc.).

What do you do off stage that provides inspiration on stage?

In addition to completing a Ph.D. in music at New York University, I am also a lawyer and hold a Master’s degree in International Relations from Harvard University. Thus, these three areas of expertise always interact.

In addition, I collaborate with several non-profit organizations. Musicians are essential to improving the world by inspiring, promoting dialogue, innovating, and facilitating social change. I try to ensure that my concerts reflect my values as a citizen, too.

How do you make your repertoire choices from season to season?

Right now, I am focused on promoting ‘Kaleidoscope’ and closing an international tour. Thus, most of my concerts will present the CD’s programme. However, regarding my chamber music and concerti commitments, I am looking to combine all-time favorites with lesser-known music, either premieres or rarely performed pieces that have a high artistic value.

Do you have a favourite concert venue to perform in and why?

The Palau de la Música Catalana is very special to me. I met my husband there at a concert where I performed Clara Schumann’s piano concerto for the first time as a soloist, and he performed as a solo flutist in Teresa Catalán’s Rondó para un Mayorazgo. The venue is marvellous, and I have beautiful memories associated to it. Of course, Carnegie Hall and Teatro Colón’s acoustics are the closest to perfection; playing there is very easy.

What do you feel needs to be done to grow classical music’s audiences?

I think presenting new works and innovative programming is essential. We cannot expect different results if we always present classical music in the same way. Explaining musical works in an accessible way without compromising the musical quality is the best way to attract new audiences to classical music venues. It is not about turning classical music into what it is not but about presenting it in a way that makes audiences fall in love with it.

What is your most memorable concert experience?

I have many; any time audience members approach me and say that my music has moved them or that my performances have helped them in any way.

As a musician, what is your definition of success?

For me, success is creating a career coherent with one’s artistic and moral values that moves and inspires people.

What advice would you give to young/aspiring musicians?

Find your own voice; do not try to follow or imitate anyone’s steps. Of course, we are all inspired by the great giants of our instrument. In my case, Alicia de Larrocha, Martha Argerich, and Vladimir Horowitz are role models. However, you must find what makes you unique, the repertoire choices that better fit you, and the values you want to transmit through your playing.

What’s the one thing in the music industry we’re not talking about which you think we should be?

My CD ‘Kaleidoscope’ tries to bring two topics to the conversation in the classical music scene: women composers’ perspectives and unity through diversity. Both topics have been long overlooked. Presenting diverse voices to the classical music stage is necessary, enriching the current musical landscape.

What is your present state of mind?

I am thrilled about my present and future musical projects.

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