Oksana Solovieva
Every musical journey is different
My life in music has moved between traditions, countries, stages and classrooms. Each has taught me to ask a better question: how can a musician find a path that is demanding, fulfilling and truly their own?
A tradition — and the courage to explore
The Soviet violin school gave me a foundation of discipline and musical craft. At eighteen, a full scholarship to study jazz violin at Berklee offered another possible future. I chose the classical path with Zinaida Gilels at Boston Conservatory. Later, Joseph Silverstein at Longy and Nelli Shkolnikova at Indiana University opened new interpretative perspectives. Different schools taught me that there is more than one convincing answer.
The world beyond the practice room
Tanglewood, Schleswig-Holstein, Pacific Music Festival, Verbier and Lucerne; tours from the Amazon region to Japan; solo performances in Africa and Latin America. Large stages and neighbourhood churches have both mattered. The value of music does not depend on the prestige of a hall.
Orchestral life, from the inside
Since 2003, I have been a permanent member of the first violin section of the Gran Teatre del Liceu. My wider experience includes collaborations with the London Philharmonic Orchestra, the Orchestre Philharmonique du Luxembourg, the City of Birmingham Symphony Orchestra and the Mariinsky Theatre. I have known leadership responsibilities, section playing, successful auditions and disappointments — and the daily work that sustains a career.
Curiosity, teaching and research
Chamber music, a professional tango quintet, contemporary works and a rock recording have widened my musical language. Teaching at Liceu, ESMUC and CSMA, leading an orchestral excerpts class of twenty-four students and supervising musical pedagogy work at UNIR have taught me to see the person behind the instrument. My 2017 doctorate at Universitat Rovira i Virgili explores the relationship between singing and advanced violin teaching.
I also know the family’s perspective: I have guided my violinist daughter from her first steps to becoming a competition finalist. Experience and ambition matter; so do motivation, circumstances and the joy of learning.
Turning ideas into opportunities
As president of Artists International Association, artistic director of BIYAC and through Calafat Festival, I bring artists, teachers and institutions together. I founded two nonprofit cultural associations and am a founding member of ESTA España. I coordinated the Spanish edition of Yuri Yankelevich’s pedagogical legacy and wrote its foreword. My four violin and piano arrangements include Granados and Albéniz; composers who have dedicated works to me include Giuliano Belotti and Marc Migó.
Your music. Your path. Your future.
Two migrations taught me what it means to begin again in a new language and musical culture. Selecting fine instruments and lending instruments to students added another practical dimension to my commitment. Today, I bring these experiences together in independent artistic mentoring. I do not choose your future for you. I help you recognise your possibilities and make informed decisions.
Milestones — explore the story
2001 · Longy diploma →
2003 · Indiana Master of Music; permanent first violin position at Liceu →
2017 · Doctorate, Universitat Rovira i Virgili →
2026 · The Watchmaker (El Rellotger), dedicated by Marc Migó →