Tanya Gabrielian shot to fame at twenty with back-to-back victories in the Scottish International Piano Competition and Aram Khachaturyan International Piano Competition. Tanya talks with us about her musical journey, her California Symphony connections, and why it’s so meaninful for her to play Manuel de Falla’s Nights in the Gardens of Spain on our 2026/27 season finale concert, PINES OF ROME.
Tell us a little about yourself.
Well, I’m a Gemini, and I love long walks on the beach…
I grew up in the Bay Area, so it’s always a special kind of homecoming to return and perform here. I’m currently based in New York City—partly for the energy, and partly, perhaps, to keep me safely off the roads and away from driving.
I began playing the piano at three, violin at four, and even spent a little time with the flute along the way. I wasn’t one of those musicians who experienced an early, defining moment of certainty about a life in music. For me, it’s been more of a gradual realization—an ongoing acceptance of what my life has become. In some ways, I’m grateful for that path, as it keeps me searching for meaning and intention in everything I do.
As a result of such a focused childhood, I never quite got around to learning how to ride a bike—so if anyone happens to know of adult training wheels, I’d be delighted to hear about it.
What excites you most about this program or piece?
I’ve only performed this piece once before, during an especially difficult period in my life. I am a cancer survivor, and this was the final performance I gave before undergoing surgery.
The work itself is atmospheric and impressionistic—quite different from the more intense repertoire I’m naturally drawn to. Engaging with this kind of music requires a shift in perspective: instead of striving toward constant momentum or shaping every phrase into a dramatic peak, it asks you to step back and inhabit each moment as it unfolds. For someone who tends to focus on direction, architecture, and structure—both musically and in life—that experience feels almost transcendent.
To me, this piece represents the person I am still learning to become: someone grounded in the present, open to wonder, and capable of simply being.
What should audiences listen for in your performance?
Despite its expansive orchestration, the nature of this piece often makes it feel closer to chamber music—arguably one of the most democratic forms of classical performance.
The orchestral setting, by contrast, can feel almost antithetical to how I personally relate to music: arriving as a guest for a short period of time, often not knowing anyone, sitting at the front under a spotlight on a literal raised platform, with the audience in darkness below. There is something inherently hierarchical about that setup, which can feel at odds with the collaborative spirit I associate with music-making.
Because of that, I’m especially drawn to works that allow for a more integrated, chamber-like role within the larger ensemble—where one feels less like a solitary focal point and more like part of a collective voice.
For listeners, I would suggest settling in comfortably and allowing the sound to unfold around you. Stay active in the moment—notice where your attention drifts and how it shifts over time. To me, an audience is never passive; it is an essential, living part of any performance. And, of course, it is also meant to be enjoyed. So I hope you’ll let yourself simply experience the ride!
What makes this performance unique for you?
I’ve known Donato for years, and I’m absolutely delighted that we’re finally getting the chance to work together. I’m also good friends with the concertmaster, Jennifer Cho, so this really feels like a collaboration surrounded by people I care about. It makes the whole experience especially meaningful, and one I’m looking forward to immensely!
Any message you’d like to share with our audience?
I can’t wait to meet all of you. And please do make sure you’ve had something delicious to eat beforehand so you’re not sitting through the performance hungry!
What’s something audiences might not know about this piece?
Falla was famously small in stature, so I’ll be wearing my highest heels for symbolic balance.
Do you have any pre-concert rituals or habits?
Food is my meaning of life, so a proper meal before a concert is non-negotiable.
Tanya Gabrielian performs Manuel de Falla’s Nights in the Gardens of Spain at PINES OF ROME, Saturday, May 1 at 7:30 PM and Sunday, May 2 at 4 PM at the Lesher Center for the Arts in Walnut Creek. Tickets are $50 to $110 and $25 for students 25 and under, and include a free 30-minute pre-concert talk starting one hour before the performance. Buy tickets online or call or visit the Lesher Center Ticket Office at (925)943-7469, Wednesdays through Sundays, 12:00PM to 6:00PM.
