The XVII International Tchaikovsky Competition, held in June, will undoubtedly remain a central topic in the realm of classical music for an extended period. This competition saw the participation of 236 young musicians from 23 countries worldwide, including Russia, Italy, the USA, Serbia, Kazakhstan, South Korea, Japan, China, France, the UK, Germany, Belarus, Venezuela, Australia, and other nations. Throughout its illustrious history, the competition has introduced the world to numerous exceptional performers. Among this year's exceptional talents are the soloists from the St. Petersburg Music House, who have truly conquered this "musical Olympus."
  
Ravil Islamov (violin), the recipient of the II prize at the XVII International Tchaikovsky Competition, shared his thoughts: Certainly, I held modest hopes of clinching the Grand Prix in this competition. To paraphrase a well-known sentiment, it could be said that a contestant who doesn't aspire to win is missing the mark, especially given the substantial prize fund. But on a serious note, securing victory in the competition was far from being the ultimate aim of my participation. For me, what mattered far more was presenting myself as an artist. It's no secret that a multitude of people across the globe closely follow the Tchaikovsky Competition – at the moment of the award ceremony, it had garnered over 50 million views. This aspect plays an immense role for the contestants themselves: it's not just about delivering a technically impeccable performance, but also about winning the audience's hearts with the uniqueness of one's interpretive style. Taking into account that the Russian audience is both exacting and sophisticated, one must harness their full potential to captivate them and ignite a desire to attend subsequent performances, both during and after the competition. This serves as a test of a musician's mettle as an artist, and whether I've passed it or not will become evident during the concerts of this season, to which I extend a warm invitation to all.
  
The final was the most significant challenge for me during the entire competition. Of course, the first two rounds weren't a "walk in the park" either, and with each subsequent time stepping onto the stage, the responsibility and tension only grew. This time, I was set to perform in front of the audience at the Tchaikovsky Concert Hall, and the number of empty seats was meant to indicate how much I managed to engage the audience with my performance during the first two rounds. I didn't have to count for long – it was a full house. Judging by the enthusiastic reaction of the audience after my performance, the primary aim of my participation in the competition was accomplished. And my mentor, People's Artist of Russia Alexander Vinnitsky, mentioned that he hadn't heard such an artistic and captivating performance in a long time. So, to be specific about my performance and the execution of my intentions, I am satisfied.
 It's worth noting that I am a participant in the programs at the St. Petersburg Music House, which, led by Artistic Director and People's Artist of Russia Sergei Roldugin, supports young musicians by offering them opportunities to perform on prestigious concert stages alongside top orchestras and enhance their skills through masterclasses with renowned instructors. All of this support proved invaluable to me in preparing for the competition. The 1735 Guarneri del Gesù violin, provided to me by the St. Petersburg Music House, also played a significant role in assisting me directly on stage. By the way, it's worth mentioning that the audience's reviews highly praised the sound of this instrument. Undoubtedly, preparation for the Tchaikovsky Competition spans several years. During this time, as a soloist of the House of Music, I have presented my competition program in cities like Minsk, Baku, Tokyo, Voronezh, Kislovodsk, Arkhangelsk, and others, including the prestigious halls of our capitals – Moscow and St. Petersburg. I would like to take this moment to express my heartfelt gratitude to the House of Music. Without their robust support, I doubt I could have delivered a worthy performance and achieved laureate status in the Tchaikovsky Competition.
  
Ilia Papoian (piano), the third prize laureate at the XVII International Tchaikovsky Competition, shared his thoughts: "First and foremost, I had the desire to perform on the legendary stage of the Grand Hall at the Moscow Conservatory. It was like a concert tour with the opportunity to make myself known to a larger audience and, as a result, to receive invitations from venues that are new to me. For me, that's what truly matters, rather than aiming to prove that I am better than others. My primary goal is to play as much as I can. At this point, I can confidently say that I've received hundreds of messages from appreciative spectators, along with several intriguing offers. So, one could say that my expectations have been fulfilled and will continue to be fulfilled.
  
It's doubtful that anyone can be completely content with their performance to the fullest extent. Nonetheless, I view my final performance as a success. And, of course, I was delighted to have played Rachmaninoff's Third Concerto and the seldom-performed original version of Tchaikovsky's Second Concerto on the stage of the Grand Hall at the Moscow Conservatory, accompanied by the outstanding Svetlanov Symphony Orchestra led by Alexey Rubin.
  
I had the opportunity to rehearse my competition program several times before the actual competition, and I am profoundly thankful to the institutions that provided me with this chance. Foremost among them is the St. Petersburg Music House, which extended an invitation to me. Through their invitation, I performed a segment of my solo competition program at the English Hall and also at the Beloselsky-Belozersky Palace, where I tackled the orchestral portion – Tchaikovsky's Second Concerto – accompanied by the State Academic Symphony Orchestra under the guidance of Maestro Alexander Titov. Furthermore, upon the invitation of the St. Petersburg Philharmonia, I delivered a significant concert at two separate venues, showcasing my entire solo competition program. Additionally, the Mariinsky Theatre offered me the opportunity to perform Rachmaninoff's Second Sonata, a piece I played during the competition's second round. This experience is particularly crucial as the program matures and evolves with each rendition, making these rehearsals exceptionally beneficial for my competition preparations. I wish to extend a special note of gratitude to the St. Petersburg House of Music – a one-of-a-kind project that aids young performers in honing their competition readiness and acquiring invaluable stage experience.
  
Fedor Osver (oboe), the second prize laureate at the XVII International Tchaikovsky Competition, shared his thoughts: To be honest, when I advanced past the preliminary round, I was confronted with a myriad of musical, textual, and technical challenges that made it overwhelming to formulate plans or make predictions. I had to tackle many compositions in an incredibly short timeframe. It was a serious and demanding marathon, where only music, my instrument, and dedicated practice could offer any assistance. Of course, I felt an immense sense of joy after the results were announced. For me, it's a significant honor and a remarkable reward. I hadn't anticipated anything of this magnitude; I simply aimed to perform to the best of my ability.
The most demanding part was progressing to the second round, as the first round serves as a self-introduction. It's after the first round that the largest number of participants is eliminated, leaving only a third. When the names of the finalists were announced, I experienced a mix of euphoria and deep emotion. On one hand, I became a finalist in the Tchaikovsky Competition; on the other, I needed to live up to the expectations, as reaching the finals isn't an easy feat. This carried a significant weight of responsibility. Certainly, the freedom on the concert stage was limited; we had only a brief rehearsal and the constant thought that errors weren't acceptable. Some parts went well, while others were more challenging, but overall, I'm content with my performance.
  
I'm profoundly grateful to the St. Petersburg Music House for affording me the opportunity to rehearse my program. This is incredibly crucial, especially before such a serious and demanding competition with an extensive program. In April, in St. Petersburg, I performed two pieces from my competition repertoire. Subsequently, there was a concert at Moscow's "Zaryadye" Hall, where I collaborated with pianist Andrei Telkov (a soloist from the St. Petersburg Music House) who also participated in the Tchaikovsky Competition. We played two more pieces from the program. In June, in Tula, I performed Strauss' Concerto for the first time, a mandatory piece. The Tula Symphony Orchestra was well-prepared, and it was a pleasure and comfort to perform under the direction of conductor Maxim Alexeyev. These rehearsals greatly aided me in the Tula concert and the competition's finals. The St. Petersburg Music House demonstrated a significant level of attention and care toward us. When we encountered difficulties with practice rooms in St. Petersburg before the finals, the St. Petersburg Music House reached out and provided us with rooms. It was heartening to practice within those familiar walls. 
  
 Interview by Tatiana Mikhailova.