Pianist Theodosia Ntokou, one of the most dynamic presences in Greek and international music life, collaborates with the Athens State Orchestra and two of the greatest soloists of our time, violinist Maxim Vengerov and cellist Steven Isserlis, in Ludwig van Beethoven’s Triple Concerto for violin, cello, and piano, a work that balances between chamber music and solo virtuosity. British conductor Finnegan Downie Dear will be on the podium. Shortly before the concert, Theodosia Ntokou spoke about the work and her collaboration with the two soloists, as well as the many additional dimensions that make up her multifaceted and interesting musical personality.
It’s something that will always come up in conversation: that the acclaimed Martha Argerich is your friend and mentor. So allow me to ask what brought you close and what you take with you from her every time you part ways?
After a chance meeting in Lausanne 16 years ago, she invited me to an audition, valued me as a pianist, and I played at her festival. A friendship and trust developed with Martha, and she became my mentor. From all this collaboration and her presence in my life, besides our concerts, we also have the album with Warner Music featuring Beethoven’s works. When I part from Martha, I take with me the most beautiful feeling. It’s not just that a concert happened with her. It’s the fulfillment of playing with the lady of the piano.
It’s something that has obviously influenced your playing.
Yes, it has influenced my playing, in terms of the independence she has as a pianist, with her own character and distinctive style. This has influenced me to have my own playing style and my autonomy as a pianist.
Which other teachers or pianists have influenced your relationship with music?
Aris Garoufalis, who was my professor at the Athens Conservatory, always used to say: “We’ll make the cake here, and the whipped cream and cherry abroad.” Indeed, my years at the Athens Conservatory were very important to me.
What initially drew you to music on your island? Did you ever question your choice?
I never questioned my choice, because I had no other. I am from a small island, I don’t come from a musical family, and I started piano at 12 in a branch of the Hellenic Conservatory. The conditions were difficult, but that didn’t deter me.
Where are you focusing your career most right now?
I want to play as much as I can in all countries. I enjoy concertos, chamber music, recitals, and I like collaborating with various artists.
The experience in chamber music is certainly a prerequisite for Beethoven’s Triple Concerto. The collaboration with the other two musicians is perhaps a greater challenge than the technical difficulty of the part.
Beethoven’s Triple Concerto is a unique work, and one of his most distinctive compositions, as it combines three solo instruments – piano, violin, and cello – in a dialogue with the orchestra. It stands out for its masterful balance between the soloists and the symphonic ensemble, the lyricism of the slow movement, and the lively, dance-like energy of the finale. It is a work where virtuosity meets subtlety, highlighting Beethoven’s creative imagination, and the balance between the instruments is very important. I am very excited about the collaboration with the Athens State Orchestra, Maxim Vengerov, and Steven Isserlis. We have known each other for many years and have collaborated many times, and I believe that with the Beethoven Triple Concerto, we will bring musical intensity and sensitivity.
How did your festival presence in China come about?
After a large number of my concerts in China, I was offered the opportunity to create an international festival. Due to the pandemic, however, there were postponements. The China Music Series is not just a “collection of concerts” — it aims to be a bridge between East and West, bringing leading European and global classical music to China. Established musicians from the international classical scene have participated in the program — including names like Martha Argerich, Gil Shaham, Maxim Vengerov, Steven Isserlis, Daniel Hope, Mischa Maisky, Guy Braunstein, and others. For an artist, I believe, creating a festival is also a personal initiative: beyond being a musician, you enter the role of organizer and artistic director — demonstrating a musician’s trust and commitment to music and the dissemination of the classical repertoire.
Do you believe the future of music will have an even greater connection with Asia than it does now?
There are several reasons to believe that Asia will play an increasingly significant role in the future of classical music, but this does not mean it will “replace” the West, but rather become an equal, if not stronger, pillar. There is enormous investment from families and the state in music education. Conservatories, symphony orchestras, and music competitions are increasing at an exponential rate. A large mass of young talents, who now consistently have an Asian presence among finalists and winners of competitions, are creating a new generation of soloists that elevates the global stage. I believe that the West will never lose its importance, but because Asia is now massively contributing talent, investment, and artistic production, it will strengthen its position.
And the future and present of music in Europe and Greece?
The future of classical music is not static. It is a landscape that continues to evolve, seeking new paths and maintaining its essence through continuous renewal. In Greece, significant steps have been taken in recent years by all orchestras, the Greek National Opera, and all these have given new impetus to the field, while a generation of excellent young musicians and composers is making an international impact. Concerts, small ensembles, contemporary productions, and many educational activities create a rich and vibrant environment. Classical music in Europe and Greece is currently in a phase of renewal. Although great traditions and historical institutions remain strong, the scene is opening up to new forms of expression, contemporary creations, and more direct contact with the public. Orchestras, conservatories, and festivals are evolving, embracing collaborations with other arts and utilizing technology to attract younger audiences.
