Intact sincerity, skin-deep sensitivity and an inner power that makes the keyboard sing

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Plamena Mangova , a pianist of Bulgarian origin, was a pupil of the famous Dmitri Bashkirov at the Queen Sofia School of Music in Madrid and worked with Abdel-Rahman El Bacha at the Queen Elisabeth Music Chapel in Belgium. She took masterclasses from Leon Fleisher, Krystian Zimerman, Rosalyn Tureck and Alicia de Larrocha. Winner of the Paloma O'Shea International Piano Competitions in Santander and Vittorio Gui in Florence, she won second prize at the Queen Elisabeth Competition in Brussels in 2007, which propelled her onto the international scene.

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An accomplished concert performer, Plamena Mangova has performed with the Staatskapelle Berlin, the Leipzig Radio Orchestra, the Turin RAI Orchestra, the English Chamber Orchestra, the Sinfonia Varsovia, the Opera Orchestra from Warsaw, the philharmonic orchestras of Radio France, BBC Manchester, Rotterdam, Tokyo, Georges Enescu from Bucharest, Marseille, Sofia, Luxembourg and the Netherlands; the symphony orchestras of Trondheim, Saint-Petersburg, Tchaikovsky of Moscow, Tatarstan and New Zealand, but also the National Orchestra of Belgium and the National Symphony Orchestra of Latvia; edited by Sir Colin Davis, Myung-Whun Chung, Andrew Davis, Emmanuel Krivine, Yuri Bashmet, Walter Weller, Maxim Vengerov, Emil Tabakov, Tadaaki Otaka, Jaap van Zweden, Dmitri Jurowski, Lawrence Foster, Jean-Jacques Kantorow, Karl Heinz Steffens, Gilbert Varga, Jean-Claude Casadesus, Alexander Sladkovsky, Cristian Mandeal, Andris Poga, Jean-Bernard Pommier, Howard Griffiths, Pinchas Steinberg, François-Xavier Roth and Pablo Heras-Casado.

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Pianist highly appreciated internationally, she performs on the most prestigious stages: Philharmonie in Berlin, BOZAR in Brussels, Suntory Hall in Tokyo, Kennedy Center in Washington, Concertgebouw in Amsterdam, Herkulesaal in Munich, Beethovenhaus in Bonn, Salle Pierre Boulez in Berlin, Royal Conservatory in Brussels, the Philharmonic halls in Vilnius and Riga, South Bank Center in London, Gewandhaus in Leipzig, Tchaikovsky Conservatory in Moscow, Philharmonie in Saint-Petersburg, Philharmonie in Luxembourg, Arsenal in Metz, Pushkin Museum in Moscow, Théâtre du Châtelet, Auditorium du Louvre and Théâtre des Champs Elysées.

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She is also invited by the Enescu festivals in Bucharest, Klavierfestival Ruhr, Folle Journée de Nantes and Tokyo, La Roque d'Anthéron, Menton, Bratislava, Jerusalem, Santander, Mecklenburg-Vorpommern, the Sommets Musicaux de Gstaad, the Radio Festival France Montpellier Occitanie, La Grange de Meslay, the Rostropovich Festival in Moscow and Baku, the December Nights in Moscow, as well as the Bachakademie in Stuttgart, Pietrasanta in concerto” in Italy and the Progetto Martha Argerich in Lugano.

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In chamber music, she shared the stage with Renaud Capuçon, Augustin Dumay, Mihaela Martin, Jian Wang, Pascal Moragues, Alexei Ogrintchouk, Dmitri Makhtin, Alexandre Kniazev, Frans Helmerson, Miguel Da Silva and Kolja Blacher. She has also played with pianists Maria Joao Pires and Boris Berezovsky and performed in quintets with the Ysaye, Michelangelo, Vogler, Danel and Orion quartets.

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Plamena Mangova recorded with Fuga Libera works by Beethoven and Shostakovich in solo (Diapason d'or of the year 2007) and in chamber music with Natalia Prischepenko, Sebastian Klinger or the soprano Tatiana Melnychenko (Superfonic Price); the concerto n°1 of Brahms and Burlesque of Strauss with the National Orchestra of Belgium under the direction of Walter Weller; as well as works by Franck and Ysaÿe with Alexandre Kniazev. For the Cypres label, she recorded the complete works for violin and piano by Prokofiev with Tatiana Samouil. His latest album Bridges of Love, dedicated to the works of Albena Petrovic, was notably nominated in 2020 in the category “Best instrumental recording” by Opus Klassik. His entire discography has been acclaimed by the press and has received numerous awards.

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THE PRESS TALK 

"A phenomenon, it's true: she has the power, the color, the depth and the freedom that characterize the best – a lioness side à la Argerich – backfires or sparkles, eyes Bach's counterpoint or slums." ConcertoNet.com