The world-renowned violinist Vadim Repin is back in Bucharest and will take the stage as a soloist at the Romanian Athenaeum today and tomorrow, May 22nd and 23rd, 2025. He will perform Dmitri Shostakovich's Violin Concerto No. 1. The evening's program, presented by the George Enescu Philharmonic Orchestra, also includes Richard Strauss's An Alpine Symphony, Op. 64. The concert will be conducted by Jesko Sirvend.Vadim Repin sat down for an interview with our colleague, Ariadna Ene-Iliescu:

You'll be performing Dimitri Shostakovich's Violin Concerto No. 1 here in Bucharest. It took seven years after its completion for the piece to be performed publicly, due to the political turmoil of the time. But when it finally premiered in 1955, it was an enormous success. How do you explain the magic of this work?

It's hard to explain something like that in simple terms. In fact, it might be easier to explain it by playing it. This concerto-one of the masterpieces of the violin repertoire-feels to me like something whispered down from above. It's more than a concerto; it's like a symphony, where the violin gives voice to the full range of human emotion: tragedy, joy, everything. Playing it is not just a joy-it feels like living an entire life story.

When approaching such emotionally intense and dark music, do you aim for a more raw and direct sound, or something more refined and restrained?

I think the sound reflects each performer's personal vision of the piece. Your ear is your judge-it's your tool. It's hard to pin down, because so many factors are involved. But I believe the emotional state and inner preparation before the concert are crucial to finding the right sound.

How would you describe that inner process of preparing to perform the Shostakovich concerto?

That's the essence of what we do, so it's not easy to put into words. The most important thing is to understand the historical moment in which the piece was written-the circumstances, the composer's own life at the time. Once you've studied the score deeply, especially the orchestral writing, you need to connect with that knowledge, use your imagination, and rely on instinct. The first movement is a nocturne-a night song-but you also have to remember the 1940s. Imagine the terror of that time. People listened at night for the sound of footsteps. If they passed your door, you felt relief-joy, even-but that joy was always preceded by paralyzing fear. You couldn't sleep after hearing those heavy steps. That was night, in those days.

You've performed this concerto many times throughout your career-you recorded it in 1995 with the Hallé Orchestra and Kent Nagano, and even played it without a conductor in 2014 with the Novosibirsk Academic Symphony Orchestra. How has your perspective on the work evolved over time?

Like anyone, I've grown with the music over the years. Naturally, my understanding has deepened. A key moment in my musical journey was the chance to work with Maestro Rostropovich and to spend time with him. His vision and knowledge truly changed how I see music-not just this piece, but music in general. I was very young at the time, but I still believe that those moments with Rostropovich were among the most formative of my life. They helped shape the musician I've become today.

You've become a mentor to the next generation. What advice would you give to young performers today?

That there are no shortcuts-whether fortunately or unfortunately. When it comes to practicing, shortcuts simply don't work. You need to give your mind time to process. I think that's one of the most valuable lessons to keep in mind.

You've been a guest at multiple editions of the George Enescu Festival and have performed in Bucharest before. How do you feel about returning to Romania?

The George Enescu Festival is one of the most significant I've ever performed in. I have incredible memories from every edition I've attended. I think the Bucharest audience is very spoiled-in the best way-by the number of great artists performing here. I'm truly looking forward to playing again. For me, it brings both a sense of openness and a special kind of seriousness. All those emotions are already stirring inside me.

You're also a champion of contemporary music and have premiered many new works.

That's exactly the idea behind the festival I founded over twelve years ago in my hometown of Novosibirsk. Our commitment to new music is a core principle. Every year, we aim to make a real contribution to the musical repertoire. So many composers have responded to our call-we've now built a substantial and incredibly beautiful body of new work. I've had the chance to collaborate with many phenomenal composers. Just to name a few: Lera Auerbach, Benjamin Yusupov, Sofia Gubaidulina, Arvo Pärt, and Ilya Demutsky. So yes, many extraordinary contemporary voices, and we've premiered their works at the Trans-Siberian Art Festival. It's one of the festival's greatest achievements-and also something I'm very proud of as a native of Novosibirsk.

What other projects are you currently working on?

First and foremost, the concerts scheduled for this season. Of course, I'm already dreaming up and planning the next edition of the festival. And this summer, I'll be giving a number of masterclasses as well. So yes, it's a very full calendar!

As a world-class violinist, mentor, and festival director, what do you think is the role of music in today's world?

For us musicians, making music isn't just a passion-it's a way of life. We wouldn't be the same people without it. And for many who love music, I believe it offers real solace. Music doesn't speak a particular language or serve a political agenda-it's a direct, heart-to-heart experience. These days, peer-to-peer networks are all the rage-but in music, we've always had soul-to-soul. That's what it's about. For me, life without music wouldn't be the same. It would probably feel far less meaningful.