Russian guest's winning ways

Marina Kolomiitseva says Rachmaninov's music epitomises her Russian homeland.

Two months ago, Auckland audiences experienced the style and musicianship that secured John Chen first prize at the 2004 Sydney International Piano Competition.

Tomorrow night, when Marina Kolomiitseva joins the Auckland Philharmonia Orchestra, we will have a taste of the excitement Sydney concertgoers felt when the Russian pianist took the same award in 2000.

"It was unexpected," says Kolomiitseva. "I was 21, and almost the youngest competitor. I wasn't even thinking about winning. I had come to Australia for the first time, wanted to have a good time and play the best I could. But I was definitely very happy with how it turned out."

In Sydney, it was Tchaikovsky's First Concerto that secured her the judges' vote. In Auckland she will take on Rachmaninov's Second.

"There is something so very Russian in his music," she asserts. "We all start missing our homeland when it is played and when other people listen to Rachmaninov, they want to go to Russia and see all the sights."

On the podium tomorrow night is Edvard Tchivzhel, who can always be relied on for high-octane interpretations.

The two met at the Sydney competition, where he conducted her in Tchaikovsky. "Tchivzhel respects the soloist and he always listens," Kolomiitseva stresses. "After all, the most important thing in a concerto is that the soloist and conductor should work together."

Tchivzhel has opened doors for Kolomiitseva in America, where he holds posts with South Carolina's Greenville Symphony and other orchestras.

Although Russia is becoming more open, the pianist has been impressed by the way American audiences go to concerts to have fun. "They discuss everything from the body movements of the pianist to the way he or she walks on stage. In Russia, audiences sometimes go to concerts like it was a duty; as if the music itself was the only important thing."

But there is still nothing that replaces one of her favourite pastimes back home, "meeting up with friends, sitting around a table, telling stories and singing songs".

"Most people think we are drinking vodka," Kolomiitseva laughs, "but it's not always necessary; sometimes the atmosphere just carries you along."

When we talk most admired pianists, two Russians head the list - Horovitz and Pletnev - but she seems less inclined to be drawn into defining Russian pianism.

"Every school has different styles. German pianists are very precise, specialising in the music of Bach, Beethoven and Mozart.

"The Russian piano style is very dramatic and technique is always very important, because we are made to practise so intensely from our earliest childhood. But just because we play dramatically with good technique isn't the whole picture of the Russian pianist."

Kolomiitseva is fascinated by Rachmaninov as a pianist.

"When he plays, he always sounds like he's composing the piece.

"It's not that he changes what the composer has written, but he makes it seem as if it is his music."

* Marina Kolomiitseva, with the Auckland Philharmonia Orchestra at the Aotea Centre, tomorrow, 8pm