Kirill Rogovoy was born in 2007 in Ilovaisk. He began his music studies at the Ilovaisk School of Arts under Angela Lagoda. From 2018 to 2022, he attended the Donetsk Republican Specialized Music School for Gifted Children, where he studied with Professor Natalia Chesnokova. Since May 2022, he has been a student at the Central Music School – Academy of Performing Arts in Moscow, studying under Honored Artist of the Russian Federation, Professor Natalia Trull. At the age of 14, he won the Grand Prix at the XIX International Festival-Competition of Young Performers "Crimean Spring - 2021" in Yalta. In 2022, he became a laureate of the XIII International S.V. Rachmaninoff Competition for Young Pianists in Veliky Novgorod. In 2023, he received the "Achievement" award at the V Moscow International Vladimir Krainev Piano Competition. Most recently, in 2024, he won the Grand Prix at the VI All-Russian Competition of Young Musicians "Constellation" in Sochi. 
 
Kirill Rogovoy: I was born into a non-musical family in a small town. My parents have worked on the railway all their lives, and music was never a part of our home. However, my mother had completed four years of piano classes at a music school during her childhood. The piano she practiced on still stands in the room of her sister, whom we often visited. It was during these visits, seeing the unfamiliar instrument and hearing its intriguing sounds, that my interest in music began to grow. I started my music education as soon as I entered regular school. Initially, I enrolled in flute classes at the music school, and a year later, I switched to piano. This wasn't just a casual interest; it completely captivated my life. At that time, of course, it wasn't something serious or professional. I didn't recognize it as a serious professional pursuit. For me, it was simply very engaging and enjoyable. I remember coming home from school every day and immediately sitting down at the piano. I loved just playing, though I wasn't very fond of structured practice. The serious realization of the importance of my talent and passion for music came much later, after I moved to another city and began to study more seriously.
 
Saint Petersburg Music House (SPMH): Why did you choose piano over flute when selecting your specialty? 
Kirill Rogovoy: I probably chose the piano simply because I was more drawn to its sound and richness. You can play anything on the piano. Although I didn't fully understand it at the time, I was captivated by its comprehensive and encompassing nature. Additionally, during my time at the music school, I had about half a dozen piano teachers, all of whom unanimously advised my parents that I should move to another city to pursue serious studies. This collective recommendation might have also influenced my decision to focus on the piano.
 
SPMH: Did enrolling in the school for gifted children in Donetsk mean that you had already decided to pursue this profession?  
Kirill Rogovoy: Enrolling in the school in Donetsk didn’t necessarily mean that I had firmly chosen this profession, although in a childish way, I had made that choice. My daily routine became more structured and disciplined. The creative atmosphere was very rigorous, both in the general education and musical parts. We had general education classes and specialized music classes in the same building. However, the true realization that this was what I wanted to dedicate my life to, what I wanted to commit myself to entirely, came much later, after I moved to Moscow. 
 
SPMH: Did moving to Moscow and studying at the Academy of Performing Arts significantly change your life? Did you have any doubts when making this decision? 
Kirill Rogovoy: Without a doubt, both moving to Moscow and studying at the Central Music School fundamentally changed my life and my inner perspective. I became much more mature. A significant factor was that I was not living with my parents in a separate apartment, but in a dormitory where many gifted individuals lived together, conversed, and spent their evenings. The constant presence of cello, violin, and piano sounds created an incredible atmosphere of continuous and uninterrupted creativity. This environment was immensely supportive of my studies. There was a certain excitement in it, a drive not to be outdone or outperformed by others. At the same time, it fostered a sense of belonging, knowing that there were many of us with similar thoughts, aspirations, and desires. This shared experience was incredibly motivating.
 
SPMH: What was particularly unusual for you in the early stages of studying at the Academy?
Kirill Rogovoy: When Professor Natalia Vladimirovna Trull invited me to study at the school, it happened entirely by chance and very unexpectedly during a competition in Veliky Novgorod two years ago. Naturally, I had no doubts; I was absolutely thrilled. The Central Music School was not just a dream for me—it was a kind of mecca for youth art and creativity. I had never even dared to dream of attending. But it happened very quickly and unexpectedly, and I immediately became eager to move. I didn’t think about anything else; I just had the desire to rush there, right into the heart of events, to Moscow. My mother had some reservations, but these were more about her fears and concerns for my well-being. However, her doubts quickly dissipated under the influence of my enthusiasm and determination. One of the most unusual aspects for me was adapting to the big city, with its atmosphere of constant movement and flow, even a bit of hustle and bustle in a good sense. Initially, it was very difficult to get used to. What was a revelation for me was realizing that I was not alone in my passion for music. This quickly turned into a very positive and warm sense of camaraderie with my peers. I found many new acquaintances and truly good friends here, who are close to me in spirit, thoughts, and everything else.
 
SPMH: You are one of the youngest participants in the Saint Petersburg Music House projects. What inspires you about this collaboration? What are your expectations?
Kirill Rogovoy: In my collaboration with the Saint Petersburg Music House, what inspires me the most is, first and foremost, the number of great musicians who are soloists of the Music House and perform there regularly, as well as the many outstanding and highly talented young performers who pass through this organization. I am truly impressed by how well everything is organized at the Saint Petersburg Music House and the exceptionally high level at which it operates. This is very important to me. I look forward to a very interesting, long, and fruitful collaboration with the Saint Petersburg Music House. I hope this will help me on my creative journey. I am eager to participate in exciting projects, concerts, and masterclasses. When I first met Sergei Pavlovich Roldugin at the "Constellation" competition, we immediately found common ground. I realized and later confirmed that he is a very profound and interesting musician. His advice, which he gave me after the concert on May 22nd in the English Hall of the Saint Petersburg Music House, I hope will be very helpful to me. His professional opinion is truly very important to me.
 
SPMH: Your competition biography includes several major victories, such as the Grand Prix at the All-Russian Competition of Young Musicians "Constellation" in Sochi this year. Was this a challenging victory? 
Kirill Rogovoy: The "Constellation" competition became a highly significant event for me. It wasn't just because it's a prestigious competition with a high level of organization, participants, and jury members—although that is true. The significance for me lay elsewhere. It marked a profound emotional milestone where I overcame certain fears and laziness, which I admit I had. This was an incredibly important step for me. I must say, this was probably the most supportive competition I have ever participated in. Firstly, participants are not eliminated between rounds. If you make it to the final, you play all the rounds with a sense of inner peace, knowing that if you make a minor mistake or miss a couple of notes, you will still continue to the next round and even play with the orchestra. This is crucial because in many major competitions, minor errors or accidental slip-ups due to nerves or carelessness can prevent you from advancing to the next round. The absence of this pressure allowed for a much more relaxed and fulfilling experience.
 
SPMH: What kind of music moves you the most as a performer? In which musical era do you feel most at home? 
Kirill Rogovoy: I am currently at a stage in my life where I am searching for what resonates with me, what is closest to my heart, and what I truly enjoy playing. Together with my teacher, we carefully select a diverse repertoire, ensuring that I do not limit myself to only romantic music, Liszt, or Chopin. Over the past two years of my studies, I have played an enormous amount of music from various eras, ranging from Bach to Bartók and Prokofiev, whom I also adore. However, when it comes to the music that is closest to my soul, it is romantic music and the early 20th century that speak to me the most. I have a deep love for Prokofiev and Chopin's miniatures, particularly for their national color and paradoxical nature: despite being in a miniature genre, they encapsulate the entirety of human life. It is evident how both the composer and the performer, if the performance is done well, pour their entire life experience and emotions into the music. This is what attracts me to Chopin’s miniatures and larger compositions. Additionally, Liszt's works have captivated me over the past two years. I have played many of his opera paraphrases and reminiscences, including at the "Constellation" competition. This music often faces skepticism because it is perceived as dazzling and virtuosic, primarily for public show. While this is true, all the passages and technical challenges in Liszt's works serve to express profound thoughts that one must strive to reach. Not everyone achieves this as performers or as listeners because the veil of virtuosity and technical passages can be incredibly challenging to penetrate.
 
SPMH: Which pianists' performance styles resonate with you the most? In your opinion, what creates this affinity for another's interpretation of music? And what are your aspirations in this regard?
Kirill Rogovoy: There is a vast list of pianists who inspire me, in whom I sense an overwhelming life energy that I wish to absorb for myself. Among those who truly resonate with me, I would mention Claudio Arrau—a pianist from the past century, an absolutely magnificent artist. Just recently, I listened to one of his recordings and was left speechless for several minutes. His profound sense of music, style, harmony, and phrasing is extraordinary. He encompasses everything, and his artistry feels incredibly close to my heart, epitomizing classical music. I also love listening to Grigory Sokolov—a pianist who primarily performs abroad now. While his performance style is not as close to mine, as it is very eccentric and impetuous, listening to his recordings is a tremendous pleasure. I find immense inspiration in them, drawing from his energy. This source of life energy is essential for any musician, indeed for any person—be it an artist, a writer, or anyone else.
 
SPMH: What kind of career do you dream of? And what are your immediate plans?
Kirill Rogovoy: Naturally, like most young musicians, I dream of an active concert career, where I can perform frequently, attract audiences who appreciate and love the music, and present diverse programs. However, I also do not want this to interfere with the core essence of what I do—creativity, constant development, and the continuous discovery of something new: new composers, new eras, new styles, and new nuances that are suddenly revealed when you delve deeply into a style. It feels as though you are the first to discover these elements that are rarely heard by others. In the near future, I already have several concerts planned. Additionally, I am preparing for the Grand Piano Competition by Denis Matsuev, which will take place in mid-June in Moscow.
 
Interview by Tatiana Mikhaylova