MAXIM LANDO:
VIRTUOSO PIANIST AND RISING STAR

EK: You’ve engaged the young pianist Maxim Lando for this performance. What can you tell us about him?

DB: Maxim Lando is an extraordinarily talented, musical, and accomplished artist—one of the most exciting pianists on the scene today. He’s already built an impressive career performing with major orchestras and at prestigious venues worldwide. What I love about Maxim is that he not only combines dazzling technical facility with genuine musical insight, but he always seems to have fun bringing this music to audiences. And this happens to be one of his favorite concertos, which is always important to me when I select soloists.

Maxim represents the best of the new generation of pianists—artists who have prodigious technique but never let virtuosity overshadow musicality. He studied at some of the world’s most prestigious conservatories and has won numerous competitions, but what sets him apart is his maturity as an interpreter. When you hear Maxim play, you’re not just witnessing finger gymnastics; you’re experiencing a deeply thoughtful musical mind at work. He understands the architecture of a piece, the harmonic language, the rhetorical gestures—all the elements that transform notes on a page into compelling storytelling.

For the Saint-Saëns Second Concerto, you need a pianist who can do it all. The opening cadenza requires not just technical command but also a sense of dramatic timing and improvisatory freedom—it must sound spontaneous, almost as if Maxim were composing it on the spot. The scherzo movement demands crystalline clarity and lightning-fast finger work, with delicate passage work that can easily sound mechanical in lesser hands. And the tarantella finale needs both rhythmic drive and infectious energy. Maxim brings all of these qualities to his playing. He has the technical prowess to toss off the most difficult passages with apparent ease. Still, he also has the sensitivity to shape a phrase beautifully, to find the singing line within the virtuosic display.

What’s particularly exciting is Maxim’s affinity for French repertoire. He has an innate understanding of that French aesthetic—the elegance, the clarity, the subtle shadings of color that distinguish French Romantic music from its German counterpart. Saint-Saëns was himself one of the greatest pianists of his era, and he wrote this concerto knowing precisely what the instrument could do. Maxim plays with that same kind of natural pianism, where everything sounds effortless even when it’s fiendishly difficult.

Beyond his artistry, Maxim is an excellent collaborator. In a concerto, the relationship between soloist and orchestra is crucial—it’s a conversation, not a competition. Maxim listens, he responds, he shapes his playing to blend with and complement the orchestral texture. That collaborative spirit will be especially evident in our immersive format, where the audience will see and hear that musical dialogue happening in real time.

I also appreciate that Maxim is genuinely passionate about sharing classical music with diverse audiences. He understands that our mission with the InsideOut concerts is to make classical music more accessible and engaging, and he embraces that philosophy wholeheartedly. His joy in performing is palpable, and that enthusiasm is contagious—it draws audiences in and helps them connect with the music on a deeper level.

The fact that this concerto is one of his favorites means he’s lived with this music, studied it deeply, and developed a personal relationship with it. That kind of commitment shows in every performance. When an artist loves the music they’re playing, it transforms the experience for everyone in the hall. I do not doubt that Maxim’s performance will be one of the highlights of our entire season.

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