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Ksenija Sidorova is not afraid to wear her imperfections on her sleeve. The Latvian accordionist is renowned for virtuoso performances that helped reposition a frequently-used instrument (unjustly) associated with small town autobiters and oompah bombs as a serious force in classical music. In August, she played as part of the Northern Hemisphere summer concerts with good friends, Serbian violinist Nemanja Radulovic, Austrian clarinetist Andreas Ottensamer and French pianist Laure Favre-Kahn. Halfway through, their fingers slipped. Her first answer? Laugh in laughter.
"It was super-warm and my fingers began to slip and slip," says Sidorova, who is rushed and unbeatable. He speaks with a soft pan-European accent that suits an international musical superstar: vocals that remind his native Riga, a slight inflection in London and suggestions of the adopted house, Madrid. "I posted on Instagram with the title" This is the art of making mistakes. "I read somewhere that you can judge how great a musician is through the way they manage to get out of difficult situations. In our profession, no one dies, it's good to just sit back and have a chicot."
Ksenija Sidorova was presented in accordion when she was six years old.
Vulnerability is not the first quality you associate with the guy who played at the Royal Albert Hall and worked with some of the greatest composers in the world – all before the age of 30. But Sidorova, at least an outsider, is something of an anomaly in the world of classical music. Sure, her trajectory involves art, tenacity, the ability to withstand a morning dawn repeat program. "A Riga teacher once told me that, along with great talent, you need a steel bottom to get classic music," she jokes. Her performances, however, are mastery in emotional expression. These draw thousands of views on YouTube. She conveys the great passion of Argentine composer Astor Piazzolla Romance Del Diablo by rotating the accordion from one side to the other and overturning the eyebrows. Or she embodies Libertango, a famous tango arrangement, which is in turn both pitiful and sensual. She surrounds the scene in her leather pants and looks at the audience. Her movements give her 21 pounds of light on the face of the instrument.
A Review of 2011 in the Guardian he referred to one of his repertoires as "angry". For Sidorova, accordion has always helped human beings find consolation. It can also be a conduit for a sensation universe.
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