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Highlights of Tamara Stefanovich’s 2013/14 season include performances with MDR Sinfonieorchester Leipzig, WDR Sinfonieorchester Köln, Asko|Schönberg, and Symphonieorchester des Bayerischen Rundfunks as part of their “musica viva” series. Recent successes include appearances with the Philharmonia Orchestra with Vladimir Ashkenazy, London Sinfonietta, Die Deutsche Kammerphilharmonie Bremen, and the Swedish Chamber Orchestra.

In recital this season Stefanovich appears in the International Piano Series as part of ‘The Rest is Noise’ at London’s Southbank Centre, at Wigmore Hall with Natalie Clein, and makes a return to Amsterdam’s Muziekgebouw. Elsewhere, she has recently performed at the Salzburg, Aldeburgh, and Lille Piano festivals, Toulouse’s Piano aux Jacobins series, the Concertgebouw in Amsterdam, and at Dartington Summer School.

The short biography displayed on this page is for information only. For concert programmes and promotional materials please use the downloadable versions.


"A programme of music for piano duet started with Debussy’s En blanc et noir, written in 1915, followed by Ravel's La valse, performed with élan by Tamara Stefanovich and Nenad Lečić. Then Stefanovich returned with Aldeburgh’s artistic director, Pierre-Laurent Aimard, to give a truly heaven-storming performance of Messiaen’s Visions de l’Amen, written in the thick of another war in 1943. Dervishes whirling in Turkey could not create a more dizzying vision of religious ecstasy than this. Every Aldeburgh Festival seems to have one stunning performance in the opening weekend. For 2014, this was it." (Richard Fairman, Financial Times, June 2014)

“In Tamara Stefanovich’s concert, ranging from Rameau to Boulez, the former was bristling in articulation yet eloquently phrased, and Bach’s French Suite No.6 showed a similar combination of detached yet pliable playing” (Edward Bhesania, International Piano, September/October 2012)

“The remarkably inspired Tamara Stefanovich tackled her challenging part with incredible vigour.” (Berliner Morgenpost, March 2012)

“Prokofiev’s Piano Concerto No. 5 was so full of ideas that the soloist, Tamara Stefanovich, demonstrated her interpretative as well as her technical genius at every opportunity” (Fränkischer Tag, October 2011)

“Tamara Stefanovich enjoyed endless applause at the end of her performance, having mastered Prokofiev’s highly complex concerto. She played this difficult piece from the piano repertory with exceptional brilliance” (Bavarian Main-Post, October 2011)

“Simply put, I was bowled over. I was struck by her tonal vibrancy, variety of touch, natural rubato and expressive but never exaggerated turns of phrase. Her intriguing interweaving of Ligeti and Rachmaninoff etudes had all the requisite power and dexterity. But it was the two Carter works especially caught my fancy. So often, one hears the complexity of his music but not the puckish wit amid the cascade of notes. Stefanovich captured Carter's twinkle.” (Musical America, February 2010)

“She’s a pianist with bags of technique.” (The Daily Telegraph, June 2009)