Olga Chelova, pianist

Who or what inspired you to pursue a career in music, and who or what has had the greatest influence on your musical life and career?

I can answer this question in two parts.

First, what truly inspired me was a life-changing accident in my early childhood. I was an uncontrollable, energetic, joyful, and restless child. One day, while climbing onto a kitchen cupboard to reach some sweets, I accidentally caught a boiling samovar with my foot and poured scalding water over my body. There was almost no chance of survival, and I spent forty days in the hospital.

After that experience, everything became absolutely clear to me: music is the meaning of my life. I felt it with complete certainty – as if it were a calling or a mission. From that moment on, I developed an irresistible, passionate desire to play the piano and to live inside music. I knew I would never give up.

Second, the most important influence on my musical life and career was meeting my teacher, Professor Grigory Gruzman. When I came to study with him for the second or third time from Paris – for an intensive period of three weeks, during which I took around twenty-five lessons – I experienced a profound transformation. Despite already being a laureate of international competitions and a scholarship holder of the ELES Foundation in Berlin, I learned more about music and piano in that short time than in all my previous years of study combined.

By then, I had already completed many years of formal education at the Hochschule für Musik Hannover and the Mozarteum University Salzburg. Yet my work with Professor Gruzman opened an entirely new dimension of understanding and artistic depth for me.

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

I may not be very original when I say that one of the greatest challenges has been competitions -and the recovery after them.

However, there is another challenge I can name, although I speak about it with some reluctance. In public, we are used to sharing only positive things. But I believe that finding the strength to speak openly about difficult experiences can help others.

For me, music, life, and career are inseparable. One of the most painful challenges I have faced was recovering from mobbing during my time in Hannover.It manifested particularly strongly during weekly performances in the chamber hall, where every mistake I made was met with mockery, and I was often either dismissed or ignored. I was not born in Germany, and my German was not perfect – people would imitate me and make fun of my accent.

From the moment I began my studies in Hannover, I stopped sleeping normally. I became ill, and for a long time I did not understand what was happening to me. Only later, already as a postgraduate student at the Mozarteum University Salzburg, I was able to name it: it was mobbing. There were periods when I could not sleep for weeks. I continued practicing constantly and fighting, but it was incredibly difficult. Although I had successfully passed my entrance exams, I sometimes could not perform – or even play in lessons – because of what I had experienced. The environment was such that it seemed designed to break my ability to play. It took me years to begin restoring myself. Even now, healing and the search for inner balance remain part of my daily life.

During my time in Paris, I wrote a cantata about this experience. One day, while walking in the rain, painful memories from Hannover suddenly returned. I entered a café, ordered a coffee, and began to cry. I took out a notebook and wrote the text in German: “Gottes Mühlen mahlen langsam.” When I returned home, I immediately composed the music. In that moment, I felt as if my soul had been released from pain.

After performing this cantata, many people wrote to me, thanking me for speaking openly about this subject. They told me that the piece gave them strength to stand up again after experiencing mobbing themselves.

At that time, I was reading Émile Zola and reflecting on his friendship with Paul Cézanne. As young men in Aix-en-Provence, Zola was bullied at school, and Cézanne defended him. The next day, as a gesture of gratitude, Zola brought him a basket of apples. Later, Cézanne said: “I want to conquer Paris with an apple.”

For me, this is a powerful example of how suffering can be transformed into art – and how even the most painful experiences can become a source of strength and creation.

Which performances or recordings are you most proud of?

I would not describe this feeling simply as pride, but rather as a profound sense of fulfillment and inner joy, especially in connection with my recently released album Reflections on Chopin.

With this recording, I brought to life a deeply cherished, lifelong vision: to delve into the essence and to record Frédéric Chopin’s complete cycle of 27 études – Op. 10, Op. 25, and the three études without opus numbers – as a single, organically unified whole.

In my childhood, at the legendary Stolyarsky School, I encountered these works not as mere technical studies, but as living, breathing sound worlds – voices imbued with inner life and poetic meaning.

Over time, this perception evolved into a broader and more contemplative vision: I came to experience the études as a reflection of the universe itself – 24 pieces like 24 hours of a day, tracing a full arc of existence: awakening and farewell, radiance and shadow, innocence and profound tragic depth.

In my interpretation, they are interwoven through invisible harmonic constellations and spiritual resonances. Even the silences between the pieces become charged with meaning – they breathe, they speak, they extend the musical narrative beyond sound.

In a deep inner dialogue with Johann Sebastian Bach – whose Well-Tempered Clavier remained a lifelong compass for Chopin – these works unfold not only as virtuoso miniatures, but as intimate philosophical meditations on time, destiny, and the fragility of human existence.

Inspired by Boris Pasternak, I perceive them as musical reflections on the human condition. I have given each étude its own poetic title, inviting the listener to become not merely an observer, but a co-creator of meaning.

From visionary messages to cries of despair, from playful luminosity to transcendent stillness, a carefully shaped dramaturgical cosmos unfolds – brought to life on a Steinway D concert grand piano.

I stand for a deeply humanistic conception of art – one that transforms virtuosity into expression, and technique into a language of the soul.

For me, Reflections on Chopin is far more than a recording. It is the crystallization of an inner journey, a tribute to Chopin’s spiritual legacy, and a profoundly personal artistic statement.

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

Probably Beethoven’s sonatas, and the music of Chopin, Johannes Brahms, Robert Schumann, Ferenc Liszt, and Sergey Rachmaninov.

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

For me, the deepest sources of inspiration lie in nature, in other forms of art, and above all, in literature.

I feel a profound connection to nature. I was born by the sea in Odessa, and being near the sea remains, for me, a state of pure happiness – something I carry within me and deeply miss.

I am equally drawn to the world of visual art. During my years in Paris, I visited the Louvre and the Musée d’Orsay almost every week, immersing myself in painting, and I also studied drawing and painting there. This constant dialogue with visual art continues to shape my musical imagination.

Movement is another essential source of inspiration. I love dancing, and I am deeply inspired by athletes – especially figure skaters, whose performances often transcend sport and become true theatre, where music, gesture, and emotion merge into a single expressive language.

I practise Tai Chi every day – without exception. It is both a discipline and a form of inner work, helping me to develop concentration, balance, and a deep sense of presence.

Literature is my most important and constant source of inspiration. Writers such as Leo Tolstoy, Thomas Mann, Heinrich Böll, Émile Zola, and J. D. Salinger have profoundly shaped my inner world.

From an early age, one idea has stayed with me and continues to guide me in the most difficult moments on stage: “Play for the Fat Lady.” This image comes from Franny and Zooey and represents a deeply humanistic artistic philosophy. It originates in the story of the Glass family, where Seymour and Zooey speak about performing not for fame or recognition, but for an imagined listener – the “Fat Lady.” Zooey describes her as a simple woman sitting on her porch, fanning away flies and listening to the radio. The meaning is profound: to play for her is to perform with complete honesty, simplicity, and love – without any trace of vanity, without the desire to impress critics or a sophisticated audience. It is an act of service rather than self-display.

At the same time, this idea carries a deeper spiritual dimension: Zooey says that there is not a single person in the world who is not Seymour’s “Fat Lady.” In other words, every human being deserves to be approached with respect, compassion, and truth. In this sense, performing becomes not only an artistic act, but also an ethical and almost spiritual one.

I am also deeply passionate about languages. This has become a daily source of inspiration and a foundation for precise, profound work on musical interpretation. Reading great literature in the original language opens entirely new emotional and intellectual dimensions.

For me, language and music are inseparable. Knowing Polish for Frédéric Chopin, French for Claude Debussy, and German for the great Austro-German repertoire allows me to enter more deeply and authentically into the inner world of each composer, revealing new layers of meaning in their music.

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

Very often, a work begins to live within me long before it appears in my concert programs. I hear it inwardly – it resonates, unfolds, and gradually matures over time. This is the first stage of my artistic process: a silent, inner dialogue with the music.

Only later do I move to the second stage – an intensive and conscious engagement with the instrument itself, where this inner vision begins to take physical and sonic form.

Sometimes, in the most unexpected moments, a sudden clarity arises. I remember walking through Frankfurt train station when I experienced such a moment: I instantly understood that I had to devote myself to Piano Concerto No. 3 by Sergei Rachmaninov. It was not a rational decision, but rather a recognition – as if this music had always existed within me, waiting to be realised. Now, this concerto has become almost physically present in my hands, as though it has fully entered my artistic being.

At other times, repertoire choices arise through external encounters that resonate deeply with my inner world. Recently, I was invited to perform at the Erfurter Herbstlese. I had never been there before, and the invitation immediately sparked my curiosity and enthusiasm.

The organiser proposed that I perform the Musical Moments by Franz Schubert, and I felt an immediate and profound joy. It was not simply a suggestion, but a meeting point between an external impulse and an inner readiness.

As a result, in the 2026/27 concert season, works by Schubert – one of the composers closest to my heart – will hold a central place in my programs.

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

For many years, my favourite concert hall was the Richard-Jakoby-Saal [in Hannover], with its exceptional acoustics and outstanding instruments. I experienced many wonderful concerts there as a listener, and I loved performing there myself.

Here is a live recording from my concert dedicated to the 200th anniversary of Franz Liszt’s birth, where I performed Sonetto del Petrarca 104 and 123 on the Erard grand piano:

I also cherish the Liederhalle Stuttgart and the Mozartsaal of the Alte Oper Frankfurt – not only for their incredible acoustics, but also for the cultured and deeply attentive audiences who come simply to immerse themselves in music.

Especially dear to me is the experience of performing at the Église Saint-Éphrem main hall. It was an unforgettable, almost sacred experience – an environment charged with spiritual energy that profoundly shaped the music that emerged there.

At the same time, I love discovering or creating new concert spaces spontaneously. When I walk through a city or travel, I sometimes sense intuitively that a particular place has the right energy- that a piano could be placed there and music could be born. I trust these impulses, and they often lead to some of the most inspired and magical performances of my life.

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

I actively work on this through my international festival, the Mörfelden-Walldorf Music Festival, which I created with one of its main goals being to expand the audience for classical music.

From my perspective, there are several key elements that help achieve this:

1. Concerts in unusual spaces. For example, we have held performances inside a water tower, where the audience listens from the stairs, inside the tower, and even outside. Many people who have never attended a classical concert, and even their children, are often intimidated by the strict and formal atmosphere of traditional concert halls. By offering a more informal, relaxed setting, where questions are welcomed and curiosity is encouraged, we allow audiences to engage freely. This is exactly what happens at my festival.
2. Educational format and accessibility. All concerts follow an educational approach – Gesprächskonzerte – with explanations about composers and their music, and all concerts are free of charge. The festival also includes masterclasses for highly gifted musicians and workshops for children, including those from immigrant families, regardless of language or financial background. Children who attend for the first time, learn something new about music, and have the chance to try an instrument themselves, often return again. In this way, the audience grows organically.
3. Art as a means of doing good. Donations collected during the concerts are given to a children’s hospice. Creating positive impact through art also increases interest in classical music.
4. Projects promoting dialogue and peace. The festival includes collaborations where artists from Russia, Ukraine, and diverse religious backgrounds – Muslim and Jewish – perform together. Addressing current and relevant social themes through concerts fosters dialogue and adds profound meaning to our work.
5. Historical and memorial venues. I organised concerts in historical locations, including a former concentration camp subcamp, in cooperation with the Margit-Horváth Center Walldorf. Together with Professor Grigory Gruzman, we performed there in 2025, and a new concert is planned this year featuring works by composers who were murdered in Theresienstadt. Rabbi Alina Treiger will also participate as a singer.
6. High artistic standard. Another important project this year is a concert with orchestra conducted by Wolfgang Seeliger, featuring soloists from Professor Gruzman’s class, including myself – all laureates of international competitions. In 2025, outstanding pianists such as Hélène Tysman (finalist of the Warsaw Chopin Competition), Lovre Marušić, Yumeka Nakagawa, Yuewen Yu, and others performed at the festival. I am especially proud that the young, exceptionally gifted pianist Justus Eichhorn also performed. The presence of top European pianists ensures a high artistic standard and attracts audiences who know that our concerts are of the highest quality. Despite this, we offer the concerts free of charge, supported by foundations, making world-class music accessible to all.
7. Interdisciplinary and open-air projects. This year, the festival includes an open-air concert in a sculpture park, combining different art forms, with an expected audience of around 30,000. The integration of multiple art forms also helps attract broader interest in music.
8. Special dedications and educational focus. The 2026 festival is dedicated to the anniversary of Professor Grigory Gruzman, giving it a special artistic and symbolic significance. We are highlighting his teaching career and featuring recordings of his classes over the years, combined with educational programming. Professor Gruzman’s lifelong dedication to teaching, alongside his international career as a pianist, embodies the values we uphold in the festival. He also serves as a member of the festival’s honorary committee.

I am deeply grateful that the festival is supported by the mayor, Karsten Groß, as patron, and that a non-profit association was established to help sustain it. This association was formed by members of the public who approached me with the idea. The Frankfurt press has called our festival one of the most important cultural events of the year.

Through all of these initiatives – innovative venues, educational programming, interdisciplinary projects, historical awareness, and a commitment to the highest artistic standards – I strive to expand and deepen the audience for classical music, making it accessible, engaging, and meaningful for everyone.

What is your most memorable concert experience?

After one concert in northern Germany, a man came to me in tears. He told me that his parents, both over ninety, were dying. After visiting them in the hospital, he felt he had no strength to live. He said that by chance he came to my concert, and after it, he felt reborn. He received strength, energy, and faith that he would endure. For me, his words meant everything.

As a musician, what is your definition of success?

To give people joy, strength, and faith.

What advice would you give to young musicians?

Never stay where you feel bad, where you are not growing, not valued, not respected. No matter how famous the teacher or institution, leave immediately. Do not waste time. There is a Japanese saying: the longer you stay on the wrong train, the more expensive the return becomes.

At the same time, never give up. If something does not work a thousand times, begin again a thousand times. What matters is that you rise one more time than you fall.

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

Psychological preparation of a musician for competitions and performances. 

Mental health. Musicians need professional psychological support—just like athletes.

In any situation – whether at competitions, agencies, concert series, festivals, or recording studios – there should be a specialist who helps the artist focus, find the right words, and manage emotional challenges. This is especially crucial for young musicians, who often face intense crises. Many leave their families and move to other countries for study, finding themselves completely alone.

I believe that every conservatory or Hochschule für Musik should have a specialist who truly understands the specific demands of a musician’s profession and can support students on their path toward competitions and performances.

The second issue that is rarely discussed is the organization of concerts. This is not an easy task. After creating my festival, I personally experienced just how colossal this work is – and how deeply grateful artists must be for every opportunity to perform, for every invitation that allows them to share their music with the world.

I have also developed an even greater respect and gratitude for all organizers, for their enormous effort and dedication, which make these opportunities possible.

What’s next? Where would you like to be in 10 years?

I try not to think too far ahead. I always strive to live fully in the present moment, focusing on the tasks and opportunities that lie immediately before me, and experiencing gratitude for everything I have.

For example, I feel immense happiness about upcoming concerts featuring the presentation of my CD Reflections on Chopin in Bologna, Italy, and in Greece during this concert season. Each performance, each connection with the audience, is a meaningful step on my journey – more important than distant projections.

What is your idea of perfect happiness?

When everyone I love is healthy and happy.

What is your most treasured possession?

My family and my festival.

What is your present state of mind?

A deep feeling of gratitude for everything I have.

Olga Chelova’s new album Reflections on Chopin is available on CD and streaming on the Neos label

olgachelovapiano.com