On May 25th, you will be giving a chamber music recital at the Grand Hall of the Romanian Athenaeum, together with pianist Adela Liculescu and cellist Ștefan Cazacu. How did you put together the recital program, and what distinguishes the selected works?

It is always a great pleasure to return to the stage of the Athenaeum, and especially to do so in such wonderful musical company - alongside my friends and colleagues Adela and Ștefan Cazacu. The program we've prepared is particularly refined - it blends elegance and virtuosity, and is deeply emotional as well. We will begin with an absolutely exceptional piece in every respect: Schubert's Fantasy in C major for violin and piano, which is of incredible technical difficulty. Then we'll perform Rachmaninoff's Trio élégiaque No. 1, and after the intermission, we'll conclude with the brilliant Trio No. 1 by Mendelssohn-Bartholdy.

On May 22nd, you performed at the Bösendorfer Salon in Vienna alongside pianist Adela Liculescu. What draws you together in this duo formation - Ioana Cristina Goicea and Adela Liculescu?

I have had the great pleasure of collaborating with Adela since I moved to Vienna, where I took up a university teaching position in 2020. Since then, we've had numerous opportunities to work together and perform challenging and creative repertoire. Every time we play together, it is a great joy to discover something new. She is an exceptional musician!

I believe we inspire one another in our collaborations, and I'm very glad that we'll have the chance to perform together at the Grand Hall of the Romanian Athenaeum.

In April, you gave a series of chamber recitals at the Wakatipu Music Festival in New Zealand. How would you describe that artistic experience?

It is a great joy for me to return to New Zealand. I've had a long-standing collaboration with the country, particularly with the Michael Hill International Violin Competition and the Hill Foundation. I was the winner of this competition in 2017, and I've had the pleasure of returning to New Zealand on several occasions since then, including on a concert tour. This year, following the COVID hiatus, I was invited again, and it was incredibly moving to return and reconnect with people who have helped me so much throughout my career.

I gave recitals and chamber concerts in various ensembles with international artists from New Zealand and Australia. I also led masterclasses and coaching sessions for the young musicians invited to the festival. It was two fantastic weeks.

You are currently artist-in-residence with the "George Enescu" Philharmonic. How has this experience been so far, and what lies ahead?

It's been absolutely wonderful - truly exceptional. I've already performed two concerts this season with the George Enescu Philharmonic Orchestra, under the baton of two extraordinary conductors. I actually opened the season in October with Mikhail Pletnev, performing the Sibelius Concerto, and in February I returned for my second concert as artist-in-residence, this time with Maestro Charles Dutoit, performing Prokofiev's Violin Concerto No. 2.

It was an incredible experience to work once again with the Philharmonic. I know the orchestra very well, and I believe they know me just as well - we've known each other for many years. Performing at home is always the most beautiful experience.

Sunday's recital at the Athenaeum, on May 25, is also part of this residency, and I'm delighted to collaborate with my dear colleagues and friends. Ștefan Cazacu and I have been playing together since we were children, so it's a special opportunity to reunite on stage with both Adela and Ștefan.

Since 2020, you've held a professorship in violin at the prestigious University of Music and Performing Arts in Vienna. What new perspectives has this experience brought you as a musician?

I believe that teaching has helped me enormously, musically speaking. It's a completely different experience - to know that you have the ability to pass on your knowledge and experience to young musicians at the start of their journey. At the same time, teaching has made me a better musician. At least, that's how I feel - I've grown immensely, both musically and artistically. It brings me tremendous fulfillment.

You have an extensive performing career and a track record of international awards, combining performance with teaching. In your opinion, what defines a complete artist?

From my perspective, a complete artist must be capable of teaching - of passing something new on to the next generation - while also performing as a soloist and being a well-rounded chamber musician.

Chamber music is extremely important to me, and I would never want to choose between that and performing as a soloist with orchestra. I love both equally, and even when I'm playing as a soloist, for me, it's still chamber music. It's about collaboration - with the conductor and with the orchestra.

These elements, I believe, are essential and bring great depth and richness to an artist's life. And I'm grateful to be able to do them all at the same time.