Svetlana Marenkova was born in the year 2004 in the city of Voronezh. She received her initial musical education at Children’s School of the Arts No. 9, where she studied in the class of instructor Ksenia Kolomytseva. She then continued her studies at the Voronezh Special Music School (College), remaining under the instruction of the same teacher. She graduated from the Central Music School – Academy of Performing Arts, where she studied in the class of Professor Alexander Golyshev, and since 2019, she continued her education under the guidance of instructor Sergey Zhuravel. Since 2023, she has been a student at the Moscow State Tchaikovsky Conservatory, where she studies in the class of Honored Artist of the Russian Federation, Professor Alexander Golyshev. She is the winner of the IV All-Russian Competition for Young Musicians “Constellation” (Sochi, 2022). She is also a First Prize laureate of the VIII International Competition for Young Performers on Wind and Percussion Instruments “Siberian Musical Assemblies” (2023). Additionally, she is a First Prize laureate of the 28th International Competition for Young Instrumentalists “Gran Premio Povoletto” (Povoletto, Italy, 2024). Since the year 2022, she has been a participant in the projects of the Saint Petersburg Music House.
 
Svetlana Marenkova: Before me, no one in my family had ever pursued music as a professional career. My parents enrolled me in a music school primarily as a means to help me cope with bronchial asthma. The flute, in essence, served as a substitute for breathing exercises. I was placed in the class of a young teacher, Ksenia Sergeevna Kolomytseva. Over time, music gradually began to capture my interest—I found great enjoyment both in playing as a solo performer and in participating in ensembles, as well as in performing at concerts. However, at that particular moment in time, no one—myself included—could have possibly anticipated that music would eventually become my chosen profession.
 
Saint Petersburg Music House (SPMH): There are many different perspectives regarding the nature and character of the flute as a musical instrument. Nikolai Rimsky-Korsakov believed that it was best suited for melodies of a lighthearted and playful nature, while Richard Strauss described it as a delicate and somewhat lacking in character. Some hold the view that its primary role is to imitate the voices of nature, but that it is incapable of conveying deep and powerful emotions. How did the flute reveal its character to you personally?
Svetlana Marenkova: Yes, without a doubt, such opinions about the flute exist, and they are quite widespread. Perhaps this perception is rooted in the fact that during the time of the aforementioned composers, the flute had a somewhat different sound. Today, due to significant advancements in the technical design and construction of the instrument, it has gained a much brighter and more expressive tone. The modern flute possesses a far more powerful and resonant sound, allowing us to experiment with a wide range of timbres. For me personally, the flute is capable of producing an astonishingly diverse spectrum of sounds. When I play, the instrument becomes a direct extension of my inner voice, a means through which I can express my thoughts and emotions. And, naturally, in the process of playing, I want to be able to “speak” about a wide variety of subjects. The flute offers an incredible richness of tonal colors—it can produce an airy, soaring sound, but it can also take on a darker, more somber, almost brooding quality. It can be piercingly bright and powerful, or it can be soft, deep, and intimate. The flute is a truly remarkable instrument in every respect, and with it, I feel that I can tell any story I wish.
 
SPMH: What is your attitude toward technical modifications and so-called “enhancements” of the instrument?
Svetlana Marenkova: There are a great many such modifications and technical adaptations available for the flute. I have a neutral and balanced attitude toward them—I do not see anything inherently negative in their use. In my view, the most important thing is that the focus always remains on the music itself rather than on the pursuit of technical perfection as an end in itself, as if it were some kind of athletic competition. It is wonderful to have the opportunity to expand one’s expressive palette, to introduce new colors and nuances into one’s playing, and to enhance the brilliance of a performance. 
 
SPMH: How do you work with sound? Do you experiment with it?
Svetlana Marenkova: For me, the search for the right sound is one of the most fascinating and, at the same time, one of the most complex stages in the process of working on a musical piece. Once I have fully learned the notes and outlined the general structure of the interpretation, I begin to “paint” the music with color. This stage requires an immense amount of energy, patience, and time, and it is impossible to go through it without inspiration. Some of the most intriguing and unexpected ideas often emerge spontaneously, almost by accident. For me, the most essential aspect of this process is imagining what I want to communicate to the audience through a particular musical phrase—what message or emotion I wish to convey. At the same time, I also reflect on what the composer himself may have wanted to express. These considerations guide my choice of tonal colors. From a technical standpoint, I can describe my work on sound as an exploration of timbre. I carefully shape the balance of overtones within the sound, adjusting its texture by either incorporating more air for a breathier quality or making it more focused and concentrated. I modify the speed and amplitude of vibrato, experimenting with different degrees of intensity, and so on. And yet, this process is never static—each day brings new sensations. One day, a particular sound might disappear, only to be replaced by an entirely different one. This journey of discovering and refining sound is, in essence, never-ending. 
 
SPMH: What impressions did your first performance on stage with a symphony orchestra leave on you?
Svetlana Marenkova: The first time I ever performed with an orchestra was when I was just nine years old, at the Voronezh Philharmonic. I played a very simple piece—Rumba for piccolo flute by Petrenko. I vividly remember being absolutely overwhelmed with nervousness, but at the same time, I was indescribably happy. Many years have passed since that first experience, yet even now, every time I step onto the stage with an orchestra, I continue to feel an incredible rush of emotion and pure joy. I am deeply in love with the sound of a symphony orchestra, and the opportunity to engage with it as a soloist is something I consider truly invaluable. 
 
SPMH: Which project of the Saint Petersburg Music House has been your favorite?
Svetlana Marenkova: My favorite project of the Saint Petersburg Music House has undoubtedly been the Summer Academy. I was fortunate enough to participate in this program twice—first in 2023 in Kislovodsk and then again in 2024 in Yalta. On both occasions, I had the privilege of attending masterclasses led by Denis Vyacheslavovich Lupachev, Associate Professor at the Saint Petersburg Conservatory. Each time, I returned home with an enormous wealth of new knowledge, fresh ideas, and a deep sense of inspiration. But Summer Academy is more than just an educational experience—it is also a wonderful opportunity to connect with colleagues and friends, to share experiences with fellow young musicians, and to immerse oneself in an atmosphere of creativity and growth.
In addition, I recently had the incredible opportunity to attend masterclasses with Vincent Lucas, Professor at the Paris Conservatoire and principal flutist of the Orchestre de Paris. His approach to sound was entirely different from anything I had encountered before—unfamiliar yet extraordinarily beautiful. Experiencing his interpretation of the flute’s voice led me to rethink certain aspects of my own playing style. I am profoundly grateful to the Saint Petersburg Music House for providing me with this unique and invaluable opportunity.
 
SPMH: What is your attitude toward competitions? 
Svetlana Marenkova: For me, the most valuable aspect of competitions is the process of preparation, during which a performer undergoes tremendous professional growth. A competition provides us with a clear goal—it gives us a sense of purpose, a reason to work toward something. Of course, achieving a good result is always a pleasant and gratifying experience, but for me, it is by no means the most important part. What matters far more is being honest with myself—knowing that I have done everything in my power, that I have played with sincerity, and that I have put in the necessary effort to refine my performance. I try to eliminate the competitive aspect as much as possible; ideally, I would like to approach a competition performance as if it were a concert, focusing entirely on the music rather than on the contest itself.
 
SPMH: Which composition from your concert and competition repertoire has been the most technically and emotionally challenging for you?
Svetlana Marenkova: The most emotionally challenging piece for me has been Sonata for Flute and Piano by Paul Hindemith, particularly its second movement. For a long time, I struggled to grasp and internalize the right imagery and emotional depth needed to bring the music to life. The breakthrough came when, following the advice of my professor, Alexander Mikhailovich Golyshev, I read Erich Maria Remarque’s novel The Spark of Life. It was through this literary connection that I finally discovered the emotional landscape that allowed the music to truly resonate. From a purely technical standpoint, the most difficult piece I have encountered—one that I believe presents a formidable challenge for many flutists—is Chant de Linos by André Jolivet. Interestingly, it so happened that I performed it in the same program as Hindemith’s Sonata, making that particular recital one of the most demanding I have ever undertaken. 
 
SPMH: Is there a particular musical era or specific compositions that resonate with you the most?
Svetlana Marenkova: It is quite difficult for me to single out one particular era, as I truly enjoy both listening to and performing music from a wide variety of periods and styles. However, at this moment in time, I feel the strongest connection with and the deepest understanding of works from the Classical era. In addition, I have a particular affinity for the music of Franz Schubert, Robert Schumann, Johannes Brahms, and Felix Mendelssohn. 
 
SPMH: Which performers have left the strongest impression on you, and why?
Svetlana Marenkova: I listen to an enormous number of recordings, but I must say that live performances always leave a far more profound impact on me. That is why I would like to mention the musicians whom I have been fortunate enough to hear perform in concert halls. These include Lorna McGhee, Alexander Izrailevich Rudin, Nikolai Lvovich Lugansky, and Sergey Anatolyevich Zhuravel, with whom I had the immense privilege of studying at the Central Music School – Academy of Performing Arts. It is difficult to articulate exactly why these particular performers resonate with me so deeply, as music is always perceived in a highly subjective way. However, there is something in their playing that moves me to my very core, something that speaks to me on the most profound emotional level. 
 
Interview by Tatyana Mikhailova