Antonina Suhanova, 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?

Although neither of my parents are musicians, I am immensely grateful for their support and dedication from the very beginning of my musical journey. The older I become, the more I appreciate the tremendous work my first piano teachers did for me and for my development back in my native Latvia.

I was also very fortunate to meet and work with many brilliant musicians during my studies at the Guildhall School of Music and Drama, but above all, my professor Ronan O’Hora, whose support has remained important to me throughout the years. I remember our very first encounter, when he asked me, “What is it really you want to do in life?” When I gave him my answer, he simply said, “Well, then you should do it!” I have learned an enormous amount from him – not only as a pianist, but also about pedagogy, musicianship, and our approach to life within the profession.

There have also been many other figures who have greatly influenced me over the years. To name just three among many: Robert Levin, who encouraged me to explore a wider repertoire and nurtured in me a zest for taking greater risks in performance; Matti Raekallio, whose almost jeweller-like attention to repertoire and detail greatly expanded my score-reading skills; and Yefim Bronfman, who has been, and continues to be, a great influence and an inspiring example of what it means to be a great pianist.

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

I think the biggest challenge for me has been learning to be less self-critical and negative about my career and daily work. I have always had very high expectations of myself, and sometimes it can be difficult to recognise and appreciate the positive aspects as well. Whenever I prepare a recital programme or concerto, I therefore try to remind myself to find a balance between the critical and positive sides of my work.

Which performances/recordings are you most proud of?

I usually try not to single out a particular performance or recording. Every one is special in its own way, and when looking back, it is always possible to find things that went well, as well as things that I might have approached or played differently now.

But today, I would choose my debut album, which was released a few weeks ago on Prospero Classical, featuring Sergei Prokofiev’s Sonatas Nos. 6, 7 and 8. I am very excited about the upcoming UK release of the album in November and a launch concert on the 12th of November at the Razumovsky Academy in London to which everyone is very welcome. (Find out more here)

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

This changes often from one concert season to another, but the composers I feel particularly close to would be Mozart, Prokofiev, Rachmaninov and, more recently, Brahms. As for specific works, I would rather leave that judgement to my listeners. Personally, however, Prokofiev’s Sonata No.8, Schubert’s Impromptu Op.142 No.3 and Rachmaninov’s Sonata No.1 have a particularly deep significance for me, both musically and personally.

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

It usually depends on several factors – my own choices and ideas as an artist, as well as the wishes and programmes of concert organisers and orchestras. With concertos, it is often the orchestra’s choice, unless I have a particular idea together with the conductor about which concerto we would like to explore. For example, last June I had a wonderful collaboration with Philip Ellis on Brahms’ Piano Concerto No. 2.

With solo repertoire, I usually try to find a balance between works and composers that are fresh or new to me and those with which I already feel very comfortable on stage. I find that this combination allows me both to keep discovering new musical territory and to return to repertoire that feels particularly natural to me.

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

I hope my concert path will take me to many more wonderful venues to perform at, but so far, one of my favourites would be the Wigmore Hall. Everything about it – from the entrance and cosy foyer to the wonderful backstage, with so many great musicians looking at you from the photo frames – gives you a real boost of inspiration before going on stage and playing your best.

Sometimes I imagine that the walls of Wigmore Hall were built around a string quartet playing, because the acoustics are simply so wonderful. Milton Court Concert Hall also has a special place in my heart, after so many hours spent on that stage, both in live performances and recordings.

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

In my spare time, I love visiting and revisiting art galleries, going to the theatre, or seeing performances at the Royal Opera House. Any form of art beyond piano music can provide a great boost of ideas, colour and imagination, which I then bring back into my daily practice.

I am also a huge supporter of tennis – although only as a spectator! I see great parallels between a tennis player and a pianist. Both are individual performers who have to cope with pressure, remain focused in the moment, and aim to give their best performance in front of an audience. And after watching a great tennis match, I often come away feeling inspired and motivated to return to my own work with renewed energy.

What is your most memorable concert experience?

I am lucky to say that I have had a few, but if I had to pick one, I think, from recent times, it would be Rachmaninov’s Piano Concerto No. 3 at St John’s Smith Square. It is always a special feeling to perform in the heart of London, and performing such a masterpiece as this is a great responsibility for a pianist, bringing another level of excitement at the same time. The support of the audience still lives with me from that night.

As a musician, what is your definition of success?

I think success has a very individual meaning for every artist, and for me it is about finding a balance between my performing career, pedagogy, and family life, while continuing to grow as a musician and as a person. Most importantly, I would like to stay true to my musical values and beliefs, and to feel that the choices I make are genuinely my own. If I can do that and continue to find meaning and joy in what I do, I would consider that a success.

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

It is a tricky question, and I think the answer often depends on the location and the audience. Recently, I have been attending more events in London, and it has been wonderful to see more younger faces in the audiences at concert halls and the opera house.

I think venues such as the Royal Opera House, Wigmore Hall and the Metropolitan Opera are doing a great job of bringing classical music to younger audiences, including through accessible ticket offers. At the same time, I wonder whether the traditional solo recital format needs to adapt to the rhythm of the 21st century.

Sir Stephen Hough discusses this particular topic in his book Rough Ideas, and I very much agree with some of his thoughts on the subject. Perhaps the traditional two-hour solo recital could sometimes give way to a shorter format or a more concentrated programme. The recital format has evolved many times since Liszt established the concept, and I sometimes feel that we have become a little stuck with the format we have today, which does not always feel entirely natural or engaging within the pace of modern life.

In the end, if the audience is attracted by a wonderful musician, a quartet or an orchestra, I don’t think the greatness of the experience depends on how many minutes of repertoire are being played, but rather on the quality of the performance and the story that the music has to tell through the interpretation.

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

I think in recent years the impact of social media on classical music has been enormous. It feels that we are experiencing an almost endless overflow of information and content, where quantity is increasingly taking precedence over quality. Everything is competing for attention, but not everything deserves the same attention, and the algorithms do not necessarily distinguish between genuine musical substance and content created simply to attract views. I think this is something we should be talking about more also in the music conservatoires.

What advice would you give to young or aspiring musicians?

Hard work, patience and an open heart. I believe that no matter how talented you are, you still have to be honest with yourself and dedicated to your work. Sometimes the results may come more slowly than you wish, but that does not mean they are not coming. The journey will be long, and ultimately, what matters most is to keep loving what you do. Without that, everything else becomes much harder to sustain.

What is your idea of perfect happiness?

I am not sure that happiness, as such, exists at all, let alone perfect happiness. Asking ourselves whether we are happy, whether we will be happy, or whether we were happier in the past can sometimes bring more unrest than anything positive.

I would rather hope to find a sense of harmony within myself, between my work and my life, and to find my place within the constantly changing times we live in. For me, perhaps that would be the closest thing to perfect happiness: inner peace, the piano, and my family.

antoninasuhanova.com