Tatjana Vorobjova Harpsichordist
Passion, high expressivity and the expansion of the harpsichord's expressive possibilities have drawn the international press's increasing attention to the Latvian-born harpsichordist Tatjana Vorobjova in recent years: “…She is definitely one of the most interesting harpsichordists working today. Of course her playing is incredibly virtuosic and has an incredible lightness - but that's not the main point - it's her beautiful cantable playing on the harpsichord." (WDR 3, live concert recording from April 21, 2024)
Tatjana Vorobjova was born in Riga (Latvia), where she began her musical education by playing the piano. Her passionate interest in early music and harpsichord playing led her to study harpsichord in Oslo and Cologne with Prof. Ketil Haugsand and at the Royal Conservatory in Brussels with Hermann Stinders (Master of Music). She received additional inspiration from master classes with Robert Hill, Bob van Asperen, Frédérick Haas and Jesper Christensen.
Her particular concern, expressed in richness of sound, dynamics and sophisticated nuance, is the search for expanding the expressive possibilities of the instrument in both solo and continuo playing. Expressive cantabile harpsichord playing is at the forefront of her interpretations.
Tatjana Vorobjova lives as a freelance harpsichordist in the Cologne area. Concerts have taken her to the Cologne Philharmonic, the Konzerthaus Berlin, the Konzerthaus Dortmund, the Laeiszhalle Hamburg and to many concert halls in Germany, Belgium, England, France, Italy, Switzerland and Latvia.
She recently presented her latest solo programs at the International Festival for Early Music Cologne and the Festival Shalom-Musik. Köln as well as at the Early Music Festival Utrecht 2023 “Revival”- Solo Debut recital in Lutherse Kerk.
As a sought-after continuo harpsichordist, she regularly plays with the chamber orchestra “Sinfonietta Köln”, the “Neues Rheinisches Kammerorchester” and the baroque orchestra “Consortium Musica Sacra Köln”.
Her first CD with her ensemble “Le Parnasse Musical” with works by Johann Christian Bach and W.A. Mozart was enthusiastically received by the Concerto magazine: “...the exceptional harpsichordist Tatjana Vorobjova, who comes from Riga, must be highlighted...she makes the music shine with as much fire as sensitivity, seemingly effortlessly.”
The next two solo album CDs on MDG (Dabringhaus & Grimm) “Johann Krieger – Six Musicalische Parties” (2021) and “Domenico Scarlatti…ma cantabile” (2022) were received by the international press (Fanfare/USA, Crescendo/Belgium , Classic Today/Germany) and nominated for the “Opus Klassik” award.
“An improvisational firework” is the title of the Kölner Stadtanzeiger about Vorobjova’s recording of the “Six Musical Parts” by Johann Krieger and Klassik.com adds: “a thoroughly inspiring recording in a perfect interpretation”.
About CD “Scarlatti…ma cantabile” in Fanfare (Peter Burwasser)…Vorobjova’s effortless technique and sense of joy make for a captivating hour of listening. She uses a subtle rubato tempo that underlines the lyricism of the music and creates the illusion of dynamic variations. A magnificent new Scarlatti recital that celebrates the poetic nature of the Scarlatti sonatas…”
Aus der Presse
»A highly expressive interpretation...excellent performances are played with flair and imagination...This is cantabile playing of the highest order.«
Johan van Veen (Musica Dei Donum)
Johan van Veen (Musica Dei Donum)
»Vorobjova plays the harpsichors with a singing tone. She is excellent at an expressive touch, with admirable control of the synchronized attacks and releases and the "overholding" technique of building extra resonance...I´d like to hear more of whatever else Vorobjova wants to play.«
American Record Guide (Bradley Lehman)
»Vorobjova’s renditions of Bach have all the technical élan one could wish for. And in the bargain, her interpretations breathe, sing, and dance. These performances are as far from a dry, academic approach as one could hope for. Indeed, the “passion” invoked in the CD’s title is evident from start to finish. The recorded sound is superb. Matthias Schneider is the author of the informative and engaging liner notes. A marvelous recital.«
Ken Meltzer (Fanfare)
American Record Guide (Bradley Lehman)
»Vorobjova’s renditions of Bach have all the technical élan one could wish for. And in the bargain, her interpretations breathe, sing, and dance. These performances are as far from a dry, academic approach as one could hope for. Indeed, the “passion” invoked in the CD’s title is evident from start to finish. The recorded sound is superb. Matthias Schneider is the author of the informative and engaging liner notes. A marvelous recital.«
Ken Meltzer (Fanfare)
»Moving outside of the authentic category to make an emotional equivalence, the only recent performer that achieves anything like Vorobjova’s emotional attunement to Scarlatti’s world and who achieves equivalent levels of poignant expression is Lucas Debargue, one of the most interesting of currently active pianists and whose four-disc set of 52 Sonatas on Sony Classical is so significant; a pianist who, it seems, is making inroad into authentic instrument performance, as at the time of writing he is due to play Beethoven’s Second Piano Concerto with Unsula Orchestra and Laurence Equilbey in Paris in late September using Insula’s wonderful Pleyel piano). Vorobjova’s program shows clearly that one finds infinite variety even when one takes a specific segment of Scarlatti’s output, and for that this release is incredibly valuable on a musical level. It is also enjoyable throughout, a real disc to relish.«
Colin Clarke (Fanfare)
»Faszinierend, wie detailgenau sie Bachs Musik spielt. Trotzdem verliert sie nie den musikalischen Fluss, das wirkt alles andere als akademisch, es kommen vielmehr emotionale Elemente zum Tragen, die man nicht immer in Bachs Musik vermutet. Bach, der Leidenschaftliche - unter diesem Aspekt kann man seine Musik für Tasteninstrumente noch einmal neu erleben.«
SWR Kultur (Bettina Winkler)
Colin Clarke (Fanfare)
»Faszinierend, wie detailgenau sie Bachs Musik spielt. Trotzdem verliert sie nie den musikalischen Fluss, das wirkt alles andere als akademisch, es kommen vielmehr emotionale Elemente zum Tragen, die man nicht immer in Bachs Musik vermutet. Bach, der Leidenschaftliche - unter diesem Aspekt kann man seine Musik für Tasteninstrumente noch einmal neu erleben.«
SWR Kultur (Bettina Winkler)
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