Home > Artists > Yulianna Avdeeva


Winner of First Prize at the 16th International Fryderyk Chopin Competition 2010, the 2013/14 season sees Yulianna Avdeeva return to the Finnish Radio Symphony and Czech Philharmonic orchestras, following highly successful debuts with these orchestras in the 2011/12 season. She also makes her debuts with the London Philharmonic Orchestra (Vladimir Jurowski) and Pittsburgh Symphony Orchestra (Manfred Honeck), and tours to Spain with the Tchaikovsky Symphony Orchestra of Moscow Radio and Vladimir Fedoseyev. In recital, Avdeeva appears in Munich, Mainz, Trieste, Milan, Seoul and at the Hong Kong Arts Festival.

Highlights from last season included acclaimed debuts with the Orchestra dell'Accademia Nazionale di Santa Cecilia and Rundfunk-Sinfonieorchester Berlin (Marek Janowski), as well as a tour of the USA with the Warsaw Philharmonic Orchestra under Antoni Wit. In recital, she returned to London’s International Piano Series and the Rheingau Musik Festival, and gave performances at Barcelona’s Palau de la Música Catalana, Liederhalle in Stuttgart, Essen’s Philharmonie, Salle Molière in Lyon and Schwetzinger Festspiele. 

Following their tour together to Japan in spring 2013, Avdeeva has recently released a recording on a period piano of both Chopin concertos with Frans Brüggen and the Orchestra of the Eighteenth Century, to great critical acclaim.


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"Avdeeva was musicality personified. Clearly happy in dialogue with her orchestral colleagues, she seemed like a pianistic chameleon, one moment the clear, heroic soloist, the next she was the chamber musician." (Colin Clarke, Seen and Heard International, January 2014)

"From the very first entry Avdeeva showed a musical and intellectual sophistication that is several cuts above the average. She has an astonishing sense of the ineffable in sound: she can conjure a mezza voce that is both translucent and mysterious, filled with Brahmsian innigkeit [intimacy]... She may be slender, but her power, when fully unleashed, is thunderous; and that unleashing only happens when the music calls for it." (Jessica Duchen Blog, January 2014)

“The first half concluded with the triumphant debut of Russian pianist Yulianna Avdeeva playing Mozart's Piano Concerto No. 21. The pianist showed fine Mozart style. Avdeeva offered a welcome forthrightness in her interpretation. No mincing Mozart for her, yet no want of sensitivity either.” (Mark Kanny, Pittsburgh Tribune, October 2013)

“Yulianna Avdeeva draws from the instrument a rich palette of gentle and intimate colours, especially in the lyrical themes and the slow movements, and performs the virtuosic passages with superior mastery. The recording is crowned by the enchantingly beautiful interaction between soloist and orchestra. The way that the subtle tone of the gut-strings, the immaculate wind soli and the gripping outbursts of the Orchestra of the 18th Century mix with the sound of Avdeeva’s Erard instrument is an extraordinary delight.” (Bernhard Schrammek, kulturradio RBB, May 2013)

“Whether it's in the bold, dramatic shapes that she creates in the first movements of both works, the energy with which she propels the two finales, or the spellbinding beauty of her playing in the central Larghettos, their tracery delicately crystalline and their lyricism airy and unfettered, there seems to be a real spontaneity about Avdeeva's approach. It's as if by performing these works [Chopin's Piano Concertos] on a very different instrument from the usual modern concert grand she's discovering a new range of possibilities, a new palette of keyboard colours.” (Andrew Clements, The Guardian, May 2013)

“She played Haydn with a tender but orchestrally differentiated tone, which articulates itself in great freedom whilst retaining an always perceptible pulse. In Franck’s [Symphonic Variations] this sound blends harmonically with the orchestra, and the ‘virtuosic flowers’ towards the end show Avdeeva as the virtuoso soloist that she is.” (Peter Uehling, Berliner Zeitung, April 2013)

“Avdeeva approached the work [Bach’s Overture in the French style], with considerable intellectual rigour but at the same time conveyed the rich emotional resonance which seems to emerge so organically from this music…. I was struck once again by the clarity of Avdeeva’s playing and by the extraordinary control in this most technically demanding of scores…. Ms Avdeeva is clearly a pianist to be reckoned with and I hope she will play in London again soon.” (Seen and Heard International, February 2013) 

“An astonishing performance, and throughout the evening Avdeeva conjured a beautiful sound from the piano” (Classical Source, February 2013)

“Yulianna Avdeeva not only has impeccable technique, she “knows” her Chopin, and conveys his music with all intensity and tenderness. She loves the furore, the melancholy and the fragility of his music.” (Der Westen, January 2013)

“The Russian pianist delivered a brilliant performance with an incredibly sensitive touch. The power with which she played the technically demanding passages in an effortless forte seemed astonishing for such a petite artist.” (Westdeutsche Zeitung, January 2013)

“She doesn’t just play the piano, she conquers emotional oceans. But within all the ambiguity of emotion, she remains stylistically assured and is able to penetrate deeper structures in detail. …. Yulianna Avdeeva’s sense of touch and beauty of sound captivated immediately.” (Solinger Morgenpost, January 2013)

“The audience didn’t know what to admire more: the wide ranging colour spectrum of her well-rounded piano sound, the virtuosity and exceptional dynamism of her playing or the poise and expression of her interpretations.” (Solinger Tageblatt, January 2013)

“Wow, she seems to have it all. This was a commanding reading, gloriously rich in tone, voluptuous of phrase, and argued seamlessly. There was plenty of fantasy in it, but it was never self-indulgent. Instead, every element, every half-tint, every ornament and grand oration fit into a well-integrated mosaic.” (Timothy Mangan, The Orange County Register, November 2012)

“There's often a ripe, insinuating air of mystery about Avdeeva's playing, a sense that particular phrases or harmonies imply much more than they're actually saying… Avdeeva brought tender sensuality to the concerto's slow movement, as well as a nimble, light-footed virtuosity to the finale.” (Joshua Kosman, San Francisco Chronicle, November 2012)

"Prokofiev's 2nd Sonata gave this expressive pianist the opportunity to showcase her virtuoso skills but also offer a very personal presentation of this work...Avdeeva emphasised crystal-clear glass phrases but never over-exaggerated...the audience rose to their feet and applauded enthusiastically." (Zürcher Oberländer, June 2012)

"She let the music breathe, balancing the contradictory forces of flexibility and restraint. She made the florid flights seem organic, expressive devices rather than mere decorations, and in the moonstruck reverie of the Larghetto, shaded the line exquisitely, enriching the sighs and whispers with subtle dynamic contrasts and gentle rubato." (Financial Times, January 2011)