"Arghamanyan's playing is compulsive, emotional yet remarkably 'complete' for such a young musician."The Independent
Highly acclaimed for her unique style, colourful tone and dazzling virtuosity, Nareh Arghamanyan is one of the promising talents of her generation. Having given debuts with orchestras such as Vienna Symphony, City of Birmingham Symphony Orchestra, Tonhalleorchester Zurich, hr-Sinfonieorchester Frankfurt, NDR Sinfonieorchester Hamburg, Rundfunk-Sinfonieorchester Berlin, Orchestre Philharmonique de Strasbourg and Orchestre Philharmonique de Monte-Carlo, RTÉ Dublin, Hong Kong Sinfonietta, Vancouver and Utah Symphonies, she also regularly performs at prestigious venues such as the Wigmore Hall, Philharmonie Berlin, Laieszhalle Hamburg, Herkulessaal Munich, Konzerthaus Vienna, Musikverein Vienna, Piano Festival Lucerne, Lincoln Centre New York, Kimmel Centre Philadelphia and Gardner Museum Boston.
Following a highly successful debut at the Goldener Saal of Vienna’s prestigious Musikverein with the Radio-Symphonieorchester Vienna Nareh Arghamanyan gave her Swedish debut playing Prokofiev’s popular third piano concerto with the Royal Stockholm Philharmonic Orchestra last season. In the 2016/17 season she performs with both the Trondheim Symphony and Krzysztof Urbanski as well as Helsingborg Symphony Orchestras under the baton of Stefan Solyom for their season opening concerts. In recital she appears in Lucerne, Sacile, Friedrichshafen, Nottingham, Corvallis and Montreal. Since September 2016, Nareh holds the title of artist in residence at the Queen Elisabeth Music Chapel, under the direction of Louis Lortie who she appears with at a number of public performances and festivals throughout the season.
Nareh Arghamanyan is a regular guest at international festivals such as the Schleswig-Holstein Musik Festival, Festival de Lanaudière, Marlboro Festival and Singapore Piano Festival. Conductors she works with include Alain Altinoglu, John Axelrod, Stefan Blunier, Kevin John Edusei, Howard Griffiths, Carl St Clair, Sir Neville Marriner, Michael Sanderling, Kazuki Yamada, Xian Zhang, Jean-Marie Zeitouni and Christoph Poppen.
In 2011 she signed an exclusive recording contract with Pentatone releasing a CD of solo works by Rachmaninov and a disc featuring the Liszt concertos, recorded with the Rundfunk-Sinfonieorchester Berlin and Alain Altinoglu (2012). Her latest recording includes the piano concerto by Khachaturian as well as Prokofiev’s third piano concerto.
Born in Armenia in 1989, she studied with Alexander Gurgenov at the Tchaikovsky Music School for Talented Children in Yerevan and became the youngest student to be admitted to the University for Music and Performing Arts Vienna, where she studied with Heinz Medjimorec and chamber music with Avedis Kouyoumdjan. She studied with Arie Vardi in Hannover and is a laureate of many international piano competitions including first prize winner at the 2008 Montréal International Music Competition, 2007 Piano Campus International Competition in Pontoise as well as the 2005 Josef Dichler Piano Competition Vienna. Since the 2015/16 season Nareh is a Bösendorfer Artist.
“During Tchaikovsky’s Dumka and two movements from Rachmaninov’s Fantasy Pieces […] Arghamanyan’s power of interpretation prevailed over her uncanny technique. Balakirev’s Islamey was played with spectacular speed.”Rheinische Post, Norbert Laufer, 11.05.15
“Whether self-consciously bubbly or dreamily withdrawn, Arghamanyan’s pointing of line is intensely individual, always super-articulate and without percussiveness”Gramophone Magazine, David Gutman 02.2015
“The Variations on a Theme of Corelli, Opus 42, told us more about Arghamanyan than any other piece on the program (which also included a wonderfully detailed account of Bach's Partita in C Minor, BWV 826). You could almost hear a cimbalom in the handling of a variation with Hungarian harmonies. Her extreme sensitivity to subtle voicings came through in Rachmaninoff's Elégie.”Philadelphia Inquirer, Peter Dobrin, 26.10.12
“It’s encouraging to hear a young pianist who plays with a distinctive personality and technique to burn, handles soft lyrical passages, and has an intuitive feel for flexibility and rubato playing that suggest that Romantic piano playing may not yet be dead.”Boston Musical Intelligencer, James C.S. Liu, 22.10.12
“… her stylistic approach in Mozart valued clarity of articulation, a firm tone and emotional restraint. As a result, her reading gathered cumulative power and an even deeper emotional resonance. She was especially moving in the pensive second movement Romance.”Los Angeles Times, Rick Schultz, 1.04.12
“Arghamanyan’s utter confidence in her technique allowed the work to bloom fully, and it was unquestionably the most thrilling and fluid Islamey I’ve ever heard played live.”San Francisco Classical Voice, Ken Iisaka, 28.03.12
“’Her technique was exhilarating. But it wasn’t only the virtuosity that elated the audience. Her shaping of spherical and oriental passages was full of charm. She seemed entirely interwoven with this magnificent work.”Baden Online, Gunter Thiel, 8.11.11
“Nareh Arghamanyan impressed with wonderfully sparkling articulation, imaginative dynamic shaping and a convincing dialogue between bass and melody. Her talent to shape different characters became obvious in Schumann’s “Carneval”. [...] Arghamanyan played all the characters with utmost refinement against each other and ended the cycle in a sparkling firework.”Neue Zürcher Zeitung, Thomas Schacher, 27.10.11
“At the beginning, Bach’s A minor partita impressed with subtle phrasing, perfectly adapted to the modern piano. The opening Fantasia was full of dance with vividly phrased voicing and without any prudery. Singing in the melody was Nareh Arghamanyan’s most important principle.”Hannoversche Allgemeine, Ludolf Baucke, 13.10.11
“Arghamanyan's playing is compulsive, emotional yet remarkably "complete" for such a young musician – sensitive, unaffected, genuine.”The Independent, Jessica Duchen, 14.01.11
For once, at this special concert, it is not predominantly about music. Instead, the musicians would... read more