Biography

“She’s a rev­o­lu­tion­ary: tech­ni­cal­ly bril­liant, brushed against the grain; not a punk of clas­si­cal music, but not quite the classy lady either. An artist who tells his­to­ry with her hands…”
(MDR)
“…with ivory pow­er she shows con­toured bit­ing­ness instead of sim­ply shin­ing in a salon-like man­ner…”
Kro­nen Zeitung

“…Tito­va plays with verve and cir­cum­spec­tion, with cantabile rhetor­i­cal ele­gance…”
Peter Cossé, Klas­sik Heute

Ukrain­ian-born pianist Katery­na Tito­va, now based in Berlin, has won awards at over twen­ty inter­na­tion­al piano com­pe­ti­tions. She began her musi­cal edu­ca­tion at the age of five in music schools in Kharkiv and Moscow. In 2001, she con­tin­ued her stud­ies in Ger­many, first in Mün­ster with Michael Keller and lat­er in Dres­den with Arka­di Zen­zipér. Fur­ther sig­nif­i­cant steps in her train­ing includ­ed the Roy­al North­ern Col­lege of Music in Man­ches­ter (UK) with Nor­ma Fish­er and the Accad­e­mia Pianis­ti­ca Inter­nazionale “Incon­tri col Mae­stro” in Imo­la (Italy) with Boris Petrushan­sky. A major influ­ence on her artis­tic devel­op­ment has been, and con­tin­ues to be, Igor Blagoda­tov, a stu­dent of Jacob Milstein.

As a soloist and cham­ber musi­cian, Tito­va has per­formed across Europe, Rus­sia, Ukraine, Chi­na, and the Unit­ed States. She has appeared with orches­tras such as the Nether­lands Sym­pho­ny Orches­tra, Moscow Sym­pho­ny Orches­tra, Vien­na Cham­ber Orches­tra, Graz Phil­har­mon­ic, Prague Phil­har­mon­ic, the Cham­ber Orches­tra of the Nation­al The­atre in Prague, the Kyiv Sym­pho­ny Orches­tra, and the Lviv Phil­har­mon­ic. Her con­cert tours have tak­en her to pres­ti­gious fes­ti­vals, includ­ing the Meck­len­burg-Vor­pom­mern Fes­ti­val, Kissinger Som­mer, the Inter­na­tion­al Music Fes­ti­val in Viana do Caste­lo (Por­tu­gal), the Lviv Vir­tu­osi Fes­ti­val, the “Lviv­MozArt” Fes­ti­val, the Paler­mo Piano Fes­ti­val, and the Liszt Fes­ti­val Raid­ing (Aus­tria).

Katery­na Tito­va is a guest in renowned con­cert halls such as the Berlin Phil­har­monie, the Elbphil­har­monie and Laeiszhalle Ham­burg, the Sem­per­op­er Dres­den, the Musikvere­in and Konz­erthaus Vien­na, the Ste­fanien­saal Graz, Lisin­s­ki Hall Zagreb, and the Bridge­wa­ter Hall in Man­ches­ter. Her solo and cham­ber music record­ings (includ­ing col­lab­o­ra­tions with oboist Ramon Orte­ga) fea­ture works by Rach­mani­noff, Beethoven, Mendelssohn, and Scri­abin, and have been released by labels such as Sony Clas­si­cal and Gen­uin. In recent years, “live record­ings” have become increas­ing­ly impor­tant to Tito­va, as they cap­ture her vision of live­ly, authen­tic musi­cian­ship com­bined with high pianis­tic stan­dards. Recent­ly, her record­ing of Edvard Grieg’s Piano Con­cer­to in A minor, Op. 16, with the “Lviv Phil­har­mon­ic Orches­tra,” was released, along with the album Bridges, which fea­tures works by Ukrain­ian com­posers and the “Inter­na­tion­al Sym­pho­ny Orches­tra Lviv,” con­duct­ed by Jaroslav Shemet.

Titova’s artis­tic cre­do is, “One does not need to aban­don or vio­late the frame­work of clas­si­cal inter­pre­ta­tion in order to express one­self,” adding, “With­in this frame­work, I find enough artis­tic free­dom to express myself indi­vid­u­al­ly and with deep emo­tion, yet always authen­ti­cal­ly and musi­cal­ly comprehensible.”

Katery­na Tito­va has had close artis­tic ties with the Liszt Fes­ti­val Raid­ing for sev­er­al years and will pro­vide sig­nif­i­cant pianis­tic impuls­es as “Artist in Res­i­dence” from the 2024 season.