Project Description

Konstantin Soukhovetski

Konstantin Soukhovetski is rapidly earning a reputation as a “young pianist who captivates” with his

“distinctive lyricism”, “immaculate technique” and “vigor…refinement… and drama”

The New York Times


Following the premiere of his transcription of R. Strauss’ Four Last Songs  at L’Esprit du Piano Festival in Bordeaux, France  Konstantin has taken it around the world on his South African Tour as well as many US venues including NYC’s Lyric Chamber Music Society, Nevada City’s Music In The Mountains, New Orlean’s MASNO, Sacramento’s Crocker Museum and Pianofest in The Hamptons where Konstantin is Artist In Residence since 2011. Konstantin has won 2019 Innovation Award from Music Academy Of The West for the IZ YD SHUT multimedia performance project to be produced in 2022- 2023 season.

In 2022 Konstantin returns to Lincoln Center’s Alice Tully Hall with Rachmaninoff Concerto #4 with Pegasus Orchestra, and UC Davis’s Mondavi Arts Center with Brahms Concerto #2 with Auburn Symphony. Konstantin will premiere a new ballet by Russian-American award-winning composer Polina Nazaykinskaya commissioned by MorDance in November of 2021.

In upcoming seasons Konstantin will return to Musimelange, Miami, FL and  Naples, FL with chamber music, recitals and educational outreach. In 2022 he will appear in Los Angeles, San Diego and Santa Barbara, CA.  Konstantin will bring his critically acclaimed Vegas-style piano cabaret show at the Auburn State Theater, CA.

Konstantin is currently working on his first opera libretto for “Tear Down This Wall” in collaboration with Polina Nazaykinskaya commissioned for the 75th Anniversary Season of Mississippi Opera.

In 2018 Konstantin gave world premiere of Polina’s new ballet “Nostalgia” commissioned and  choreographed by Pascal Rioult of Rioult Dance at the Joyce Theater in New York City. He is currently premiering a piano work “Sparks” composed for him by Ms. Nazaykinskaya that will also be a at the center of a short film they are currently producing.

Highlights of Konstantin’s career include appearances with Johannesburg Philharmonic and Eastern Cape Philharmonic Orchestra as part of his multiple South African tours as well as Miami Symphony Orchestra, Richmond, Austin,  Auburn, Westmoreland, Virginia and Asheville Symphony Orchestras.

His solo performances took him to London’s Wigmore Hall, New York’s Weill Recital and Zankel Halls at Carnegie Hall, Phillips Collection in Washington, DC, Auditorium Du Louvre in Paris, France and Zentrum Paul Klee in Bern, Switzerland to name a few.

Following his 2006 William Petschek Debut Recital Award performance at Alice Tully Hall, in New York’s Lincoln Center, The New York Times headlined its review: “Romanticism so intense it warms up Philip Glass.”

Konstantin has worked with an array of distinguished conductors, among them: Daniel Meyer, Gérard Korsten, Eduardo Marturet, Rebecca Miller, James DePreist, Emmanuel Siffert, Jahja Ling, François-Xavier Roth, Doron Salomon, Timothy Muffitt, Conrad von Alphen, Michael Goodwin, Stephen Ramsey, Omri Hadari, Andrew Grams, and Emil Tabakov.

Konstantin is a board member of Southampton Cultural Center, NY where is an Managing Director of The Rising Stars Piano Series and Pegasus Orchestra, NJ and has served on the juries of numerous competitions including Hong Kong Music Schools Festival.

Konstantin’s work as and actor includes both theater and film: narrator with Miami Symphony’s Musimelange performance  Stravinsky’s Soldier’s Tale, Forbidden Juilliard as multiple characters at The Juilliard School and Club Makkor in NYC and Victor or Children in Power as Young Victor at  Moscow State Satire Theatre, Moscow, Russia.

Konstantin stars as Pavel Sidorov in 2014 feature film Dishonorable Vendetta directed by Andre Josef. His other film credits are short features Decent Men, Ossetia and Hansel and Gretel, Carbon Based  and  Pictures.

Konstantin is a producer and host of The Real Pianists of The Hamptons –  classical music webisodes made at Pianofest in The Hamptons.

Konstantin’s solo violin composition “Postcard From The Edge” is featured on a CD of acclaim violinist Elmira Darvarova.

Konstantin is an Adjunct Faculty and an alumnus of The Juilliard School where he has earned his BM, MM, and AD degrees under the tutelage of Jerome Lowenthal. Born in Moscow to a family of artists he studied at the Moscow Central Special Music School, under the auspices of the Moscow State Conservatory, with Anatoly Ryabov.

Konstantin is a recipient of over 15 awards, including:

Second Prize, 2011 Iowa International Piano Competition                                                                                                                                                                                                                                                                                                                                       ~ Third Prize, 2011 Bosendorfer International Piano Competition ~ Second Prize and Audience Prize, 2010 Ima Hogg International Competition ~ First Prize and Audience Prize, 2007 New Orleans International Piano Competition ~ William Petschek Debut Recital Award ~ Paul & Daisy Soros Fellowship for New Americans ~ Second Prize, 2004 UNISA International Piano Competition in Pretoria, South Africa ~ Third Prize, 2003 Cleveland International Piano Competition ~ The Juilliard School’s Arthur Rubinstein Award ~  The Juilliard School’s 2003 Gina Bachauer Competition ~ First Prize, 2002 Hilton Head International Piano Competition ~ Second Prize, 2002 Walter W. Naumburg International Piano Competition ~ Grand Prize and First Prize at 1997 World Piano Competition.

Konstantin is a published author. His essay “Thoroughly Modern Wagner” was published in Southampton Review and he was a frequent contributor to The Juilliard Journal while at The Juilliard School.

FB:  IG: @konstantinstar @kreativepodcast


“Soukhovetski’s coup de grace was a performance of Schubert’s Sonata in B flat D 960 which made this much-played valedictory work sound thrillingly new-minted. Giving the opening movement a slow, strong pulse and a big, warm sound, he let his vision take him where it would, and the result was revelatory, as was his handling of the sonata’s ambiguous close”

The Independent