Young Artist of the Week: Lara Melda, pianist

Lara, how did you first become interested in music? How old were you when you started performing?

My love for the piano was born when I went to my first ballet lesson at the age of six. I was so absorbed by the pianist’s music that I completely forgot to participate in the ballet! Therefore I swiftly began piano lessons and from that point I was already sure that I wanted to pursue music for life. My first performance was one year later at the Ealing music festival, where I won a prize and was invited to perform at the Winners’ Concert. I still remember the thrill of going on stage for the first time; that thrill has never faded.

Which teachers, musicians and/or role models have been most important to you, and in what ways? What are your plans now for further study?

Unlike some other pianists I have only had two teachers and they have both unbelievable guides in my musical growth. Emily Jeffrey, my first teacher, was wonderful in helping me to develop, not only in terms of evolving my theory and technique, but she also nurtured my musicality and helped me ripen my own personality as a pianist. Now I am studying with Ian Jones at the Royal College of Music, who is also a brilliant teacher – a performer himself, he inspires me so much with his ideas, incredible attention to detail and vast knowledge. Aside from teachers, I like to take inspiration from everyone, because as pianists we all have different ways of expressing the same music, which I think is incredible. Having said this, my favourite pianists include Sergei Rachmaninov, Martha Argerich, Imogen Cooper, Mitsuko Uchida, Arcadi Volodos, to name a few.

I have always thought of Martha Argerich as my role model. She is such a powerful woman and her playing is just admirable. Each time I listen to her perform I am inspired by her in every way – and hope that I can achieve her level of musicianship and prowess one day! I am currently in my final year at the Royal College of Music studying for my undergraduate degree, and am applying to do a Masters afterwards.

What was it like to take part in – and to win – the BBC Young Musician of the Year? Has it made a big difference to your progress so far?

The BBC was a life changing experience for me. I had taken part in many competitions before, however nothing so huge in terms of length and media attention. The competition took place over the course of a year and was like a marathon – there were so many rounds with a lot of different repertoire to prepare. It was all so exciting and really wonderful to take part – and of course, winning was a dream come true. It has really launched my career. Shortly after the competition I was approached by Askonas Holt who are my managers now and have taken such wonderful care of me – helping me (as well as Ian) to divide my schedule between college commitments and concerts. It is busy and demanding; however, I am so lucky to be able to perform recitals and concertos with extraordinary musicians regularly in remarkable venues to lovely audiences, all brought together to share their love of music.

You’ve changed your surname since then. Why?

I changed my surname purely because Ömeroğlu seemed to be a little tricky to pronounce and remember for some. Melda is my middle name originally, but I think it works nicely as a stage name and everyone seems to agree.

Apart from the BBC competition, what have been your most exciting musical moments so far? What are the highlights of your 2015-16 season?

I have had some incredibly exciting musical moments; performing with the BBC National Orchestra of Wales several times (all broadcast live on BBC Radio 3), touring New Zealand with the NZSO Youth Orchestra (broadcast on Radio New Zealand), making my debut at the Barbican with Paul Daniel and the Britten Sinfonia, to name a few. Some highlights of this past year include making my BICS recital debut at the Birmingham Town Hall, a wonderful venue with a lovely acoustic, and giving masterclasses to students at Saffron Hall.

This September, I was one of the inaugural recipients of the Imogen Cooper Music Trust scholarship, which was a truly wonderful and enriching experience. I felt incredibly privileged to have had the opportunity to learn from the phenomenal Imogen Cooper, whose lessons, ideas and advice were incredibly inspiring and really encouraged my growth as a musician. I am excited to be returning to the Chopin Society for another recital in the summer and also very much looking forward to be working with Nicholas Collon the Aurora Orchestra again next December for our chamber music concert with Martin James-Bartlett at King’s Place. I am also delighted to announce that I have two Wigmore Hall recital dates in the diary.

Do you enjoy playing chamber music? Are there string players with whom you collaborate regularly?

I thoroughly enjoy playing chamber music. I feel that being able to share thoughts and musical ideas while performing with another musician can be wonderfully thrilling and inspiring. I have worked with violinist Anny Chen on several occasions, I perform duets with my sister as often as possible and when I used to play the viola I was involved in many different string ensembles and orchestras. I also love playing with orchestras and working with conductors, which I feel to be chamber music in a way; nothing can describe the feeling one gets when performing a concerto and all the musicians on stage are breathing, feeling and sharing the same emotions with you, it really is an extraordinary atmosphere.

Do you think classical music needs to be ‘saved’? If so, what would you do to save it?

I think we are fighting a losing battle when we try to ‘sell’ music. It should not have to be sold, but should be shared, and the internet has provided just this; from the millions of wonderful videos on YouTube, to musicians engaging, inspiring and encouraging people and fans via social media. I mean, for the first time in history there is at least one symphony orchestra in every region on Earth! Having said this, I believe more can be done to change people’s (especially the government’s) perspective on the arts. With more funding we could further the growth of classical music, giving every child in the country the enriching experience of learning about the arts, providing opportunities to support the raw talent, allowing people to reach their creative potential without being inhibited by funding cuts. Free expression is our human right and everyone must realise that the arts are as essential as our freedom.

First published in the Amati Magazine, 22 October 2015. Interview by Jessica Duchen.