Reviews & Testimonials

KSENIA DUBROVSKAYA

In Conversation with the Violinist – A Very Personal Portrait

A Woman – Not in Anyone’s Shadow

The beautiful, sun-drenched day on the magnificent grounds of the Justus Frantz Finca in the south of Gran Canaria is outshone only by Ksenia Dubrovskaya herself. She welcomes us with radiant eyes and genuine warmth, entirely at ease with the presence of journalists. That she had risen at six o’clock that morning after barely an hour of sleep — the Justus Frantz & Friends Finca Festival was still in full swing — is impossible to tell. Hours of professional makeup for a feature in the renowned magazine Harper’s Bazaar had only enhanced her natural beauty.

Although we are a young magazine based in the Canary Islands, she grants us the same attention and openness, which makes us feel truly honoured. Ever the gracious hostess — a quality she inherited from her mother, as we later learn — Ksenia insists on personally serving us coffee. Asked about her unmistakable glow, she smiles and says:

“I’m simply happy. I have the privilege of being loved and respected as a wife and a mother, and taken seriously in my profession. That is what matters most in life. When you are at peace, it radiates from within — and then it no longer matters how you look.”

How Did She Discover Music?

“The first and most important influence was my mother. My great-grandfather and grandfather were both violinists and longed for my mother to follow in their footsteps. But she was drawn to the piano instead. For years, a violin — originally meant for her — lay unused in a cupboard.

Sadly, my mother passed away fifteen years ago, but I owe everything to her. Through her, I became a musician. She was a highly respected pianist and later taught children using methods that were revolutionary at the time. She believed it was essential for children to face an audience as early as possible and to experience success through music.

That is why she organised concerts every few months, giving young talents the chance to perform. This teaching approach — quite new in Russia back then — was met with great success. Many families hoped their child might be the next prodigy. At the time, it was one of the few ways to travel the world and gain social recognition. After my mother’s death, that musical spirit slowly faded. Sadly, young talents today are no longer supported to the same extent as they once were.”

She continues:

“The second defining influence on my artistic path was the great violinist Nikolai Hit. I began studying with him at the age of six and a half — relatively late by Russian standards. After just a few months, I gave my first concerts, and from then on, everything followed its course.”

Balancing Family and Music

“Now that I am a mother myself, I understand my own mother so much better and feel the deepest respect for everything she did for us. I miss her often and wish I could still seek her advice. Looking back, I honestly don’t know how she managed it all. She taught piano, educated my sister and me, ran a perfect household without any help, and was always a generous hostess — guests were welcome at any time, even unannounced.

Only now do I fully grasp the magnitude of what she achieved every single day — and I still wonder how she even found time to sew.”

A Soul Connection with Justus Frantz

“Many years ago, Justus Frantz attended one of my concerts in Moscow. From the very beginning, we felt a deep soul connection and could spend hours philosophising about the most diverse topics. Through him, I later began performing concerts in Germany and internationally. It was only much later that we fell in love.”

Age Difference Was Never an Issue

“For me, the age difference was never an issue at all — until friends or acquaintances brought it up. I honestly don’t understand why it should matter.

Anyone who knows Justus knows his youthful energy — almost like that of our seven-year-old son. He is curious, open-minded and interested in everything new. In a healthy partnership, love and mutual respect are essential, as are shared values. Over time, the rough edges soften and the relationship becomes ever more harmonious.”

On Female Submissiveness

“I find the submissiveness of some women difficult to understand. Some of my friends even change their tone of voice when their partners call, slipping into a sweet, almost syrupy whisper. That would never be me. I am a passionate woman and remain exactly who I am — with everyone.

Only my son is sometimes an exception, in particularly tender moments — then my voice might soften.”

Two World Musicians: Family and Career

“We used to be very spontaneous and travelled constantly. Since our son was born, that has changed somewhat. Because of school, our main home is now Hamburg. When I travel for concerts, everything is carefully planned well in advance, and I try to keep my absences as short as possible.

All my engagements are coordinated with our nanny — the same person who has been with us since our son was born. I never wanted to hand my child over to a different au pair every few months, as so many do. She is part of our family, not an employee. In a way, she is a substitute grandmother for our son, since neither of us has living parents anymore.

Stability is crucial for him. And on the other hand, I value our family holidays much more now — because they are no longer a given. The anticipation begins weeks in advance, and today I appreciate travelling together as a family more than ever.”

How Much Practice Is Still Involved Today?

“In the beginning, of course, five to six hours of daily practice were not unusual. Today I am at a different level, and learning a new piece takes less time because the fundamental technique is already there. Still, continuous development and improvement are absolutely essential.

At the moment, I am studying with Professor Zakhar Bron in Zurich for a Master of Music in Performance. He is extraordinary, and the programme is incredibly interesting and valuable. At the Moscow Conservatory, for example, teaching follows a different system, focusing primarily on solo instruction. Yet in reality, most musicians do not perform solely as soloists, but collaborate with other artists and ensembles.”

Concerts with the Magdalenen Trio

“The three of us have known each other since childhood. Our ensemble also includes Natalia Lubimova (viola), who won first prize at the International Competition for Young Performers in Togliatti, Russia, and cellist and chamber musician Olga Lubotsky.

When we perform together, it is a double joy — because we are also friends. In my opinion, friendships must be nurtured and cherished, especially among women. We communicate differently than men and exchange experiences in our own way. We need to feel that we can share our experiences with someone who truly understands them from our perspective.

Next, we will be performing together in Lanzarote — and I am already very much looking forward to it.”