Olga Pashchenko
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The insight and dedication of Pashchenko's accounts transcend conventional expectations, and her partnership with the musicians of Il Gardellino discloses a synergy rarely encountered in comparable... —
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The voice – a distinctive instrument offering a hint of Christian Gerhaher’s refined artlessness and some of the pleasingly acidic tang of Wolfgang Holzmair – changes according to the accompaniment:... —
Awards:
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Presto Editor's Choice, November 2020
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Gramophone Magazine, February 2021, Editor's Choice
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International Classical Music Awards, 2022, Nominated - Vocal
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Pashchenko gives us eloquence and emotion, passion and poetry. The title might hook you in, but it’s the sheer life force of her playing that will make you stay. —
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This is genuinely revelatory stuff. Nigl is passionate about bucking the trend for performing Lieder in large venues, with modern concert-grands and quasi-operatic delivery, and for long stretches... —
Awards:
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Presto Editor's Choice, May 2023
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Alexei Lubimov and Olga Pashchenko make as good a case for [the Concerto for Two Pianos] as possible. It is undeniably effective and stirring, but the lack of depth compared to Mozart’s two-piano... —
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Edition Klavier-Festival Ruhr Vol. 39: 250 Years Ludwig van Beethoven
Olga Pashchenko (piano), Lika Bibileishvili (piano), Anna Zassimowa (piano), Anika Vavic (piano)
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Pashchenko’s playing in the Dussek is imaginative and haunting, Mendelssohn’s variations offer the chance to show her playing at its most accomplished and she has the measure of the Beethoven... —
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Pashchenko has an exceptional way with Beethoven. She imbues both little Op. 49 sonatas with a disarming simplicity that can only be borne out of sophistication…[and] her outstanding rendition... —
