From Armenia to the World Stage: cellist Narek Hakhnazaryan

Early beginnings

Narek was born in Armenia into a family of musicians–his father is a violinist, and his mother a pianist. He lived in Armenia until the age of 11, where he began studying the cello at a music specialist school. Later, Narek was invited to study at the Moscow Conservatory. His mother, a professor at Yerevan Conservatory, gave up her career to accompany young Narek to Moscow. Music has been part of Narek’s life since before birth; his mother performed concerts while pregnant with him.

Narek has two brothers–a pianist and a conductor. Growing up, the family shared a tiny one-bedroom apartment. Narek’s father practised in the living room, his mother in the bedroom, one brother in the kitchen, and sometimes Narek practised in the bathroom. His parents were strict, as Narek was a stubborn, lazy child who disliked practising. Narek’s parents recognised his potential and found creative ways to motivate him. His father struck a deal: if Narek practised enough, the boy could play football with his friends in the evening.

“My love of football turned me into a musician,” Narek joked.

Narek’s passion for music, especially the cello, eventually became his life’s purpose. Initially, his father wanted him to become a violinist; however, Narek’s mother, guided by maternal instinct, secretly enrolled him in a cello class without Narek’s father’s knowledge.

“At first, my father was surprised and upset, but he soon recognised it was the right choice.”

In the 1990s, the cello was often viewed as a secondary instrument, overshadowed by the piano and violin. At the time, children who didn’t excel at those instruments were often steered towards the cello. So, when Narek’s mother–a highly respected professor–insisted he take up the cello, the school’s head was astonished and questioned her decision. Yet she trusted her instinct.

When Narek plays the cello, it becomes an extension of his very being. There is no conscious effort to translate movement into sound; instead, the instrument serves as his voice, seamlessly conveying his emotions and thoughts. Through the cello, he speaks with a profound connection that transcends technique, allowing pure expression to flow naturally and effortlessly.

Over the years, music became a family affair. Notably, Narek, his father, and his brothers performed Beethoven’s Triple Concerto for Narek’s mother’s 60th and 70th birthdays, with the parents as co-soloists and Narek’s brother conducting.

Training at Moscow Conservatory

Narek realised music was to be his life purpose when he moved to Moscow, witnessing the sacrifices his parents made for him to pursue his dreams. Narek’s first stage performance, back in Armenia, was at the age of seven during a school concert.

“Surprisingly, I wasn’t nervous – just excited to play in front of an audience. I remember loving the experience and the thrill of being on stage. The piece I performed was simple, nothing complicated, but it felt special. My journey as a cellist truly began at six, and from that early age, I embraced the joy of performing.”

Moving to Moscow from sunny Armenia was initially challenging. The cold, cloudy weather and the vastness of the city compared to Yerevan were overwhelming. However, Narek quickly adapted to the pace of life and immersed himself in its rich cultural environment, which became a transformative period in the young cellist’s life.

Narek first encountered his teacher, Alexey Seleznyov, at a summer masterclass in Russia, where the esteemed musician invited the young boy to study with him in Moscow.

In 2000, Narek began his studies at a music college affiliated with the conservatory, and by 2006 he had secured a place at the Moscow Conservatory. Throughout this period, he was privileged to study exclusively under Seleznyov and to receive mentorship from the legendary Mstislav Rostropovich until the latter’s passing three years later.

Reflecting on his musical education, Narek considered himself exceptionally fortunate, particularly with regard to his first cello teacher in Armenia, Zareh Sargsyan. Sargsyan, he recalled, provided a solid and healthy foundation for his development, focusing not only on technical proficiency but also on cultivating a deep love for the cello and music itself. A brilliant psychologist, Sargsyan never suppressed Narek’s individuality but instead encouraged him to flourish as a musician.

Alongside his regular schooling, Narek attended music school, where he studied cello, solfège, and a selection of other subjects two or three times a week. Over the course of five years, Sargsyan meticulously honed his pupil’s technical skills, ensuring that he mastered the fundamentals of cello playing. Although musical interpretation began to take shape during this time, the primary emphasis remained on technique, laying the groundwork for more advanced artistry in the years to come.

Narek’s parents, who had a close connection with Sargsyan, arranged for him to teach at the school specifically to instruct their son. Remarkably, Narek was his only student.

Speaking of his late mentor, Mstislav Rostropovich, Narek described him as an extraordinary figure–one of the most significant personalities in 20th-century classical music. The opportunity to learn from him, he noted, was an invaluable experience. Rostropovich’s lessons extended far beyond technical instruction; through vivid anecdotes about composers such as Shostakovich, Prokofiev and Britten, he offered a unique window into the creative minds behind the music.

Much of the repertoire Rostropovich taught was music he had either closely associated with or personally premiered. His insights were profound, often expressed in strikingly simple terms. On one occasion, when Narek struggled with a particularly challenging bowing or fingering and sought an alternative, Rostropovich simply responded, “Is the music comfortable? No. Then you must suffer so we can hear it in the sound.” This philosophy epitomised his approach – avoiding shortcuts in favour of emotional authenticity.

During his time in Moscow, Narek was fortunate to receive monthly lessons from Rostropovich whenever the maestro was available. Each time, his assistant would notify Narek, who would prepare eagerly for these unforgettable sessions, knowing that every encounter with the legendary cellist was a rare and precious opportunity.

Moving to Boston

In 2009, Narek moved to Boston to study with Lawrence Lesser, whose approach contrasted greatly with his previous teachers, including Rostropovich and Seleznyov. Those two years at the New England Conservatory were pivotal, as the young cellist immersed himself in classical and 20th-century repertoire, including Britten, Lutosławski, Beethoven, Brahms and Schumann.

“In Russia, teachers often dictate what to do, while in the West, they guide and encourage individuality, fostering interpretation and personal growth.”

Before graduating from the Moscow Conservatory, Narek moved to Boston to study at the New England Conservatory, balancing both institutions for two years. 

Competitions

Narek dedicated nine years to pursuing the first prize at the Tchaikovsky Competition, a decision he later viewed with some regret. In 2007, at just 16 or 17 years old, he participated for the first time, securing fifth place. However, this was during a period of decline for the competition, when corruption was widespread and jury members frequently favoured their own students.

By 2011, Narek had begun establishing a career in the United States, performing numerous concerts. Many of his relatives advised against entering the competition again, fearing that another attempt might lead to disappointment. Despite the inherent unpredictability of competitions, he felt reassured when Valery Gergiev restructured the Tchaikovsky Competition, assembling a jury of highly respected musicians such as Lynn Harrell, Ralph Kirshbaum, Mario Brunello and Krzysztof Penderecki. With renewed confidence in the fairness of the process, he decided to compete once more.

His victory proved to be a defining moment in his career, opening doors to management offers, prestigious concert engagements and collaborations with renowned orchestras. This achievement fundamentally shaped his professional trajectory, cementing his place in the classical music world.

Beyond the Tchaikovsky Competition, Narek also triumphed at the Johansson Competition in Washington, DC, which he found rewarding, and later secured prizes in competitions in Armenia and the Isang Yun Competition in Korea, where he earnt second place. While these successes provided some prize money and performance opportunities, they did not significantly advance his career.

The Tchaikovsky Competition, however, was a completely different experience. Its prestige was comparable to winning Wimbledon or becoming an Olympic champion. For cellists, it held the same status as the Van Cliburn or Chopin competitions for pianists, taking place only once every four years. Alongside the recent rise of the Queen Elisabeth Competition, it remains one of the most distinguished and career-defining events in the classical music world.

Performances

Performing renowned masterpieces is a daunting endeavour, and for Narek, no composer poses a greater challenge than Bach. Any musician who approaches Bach’s work with seriousness would likely agree – it is among the most demanding music to play. Performing all six of Bach’s cello suites in one or even two consecutive nights is an immense undertaking, testing the endurance and focus of both the performer and the audience. In January, Narek embraced this challenge in Zhuhai, presenting the complete suites over two nights.

Bach’s music is uniquely elusive, defying any sense of finality or perfection. No matter how much a musician practises, certainty about “correctness” remains unattainable. For Narek, the moment a musician feels they have perfected Bach’s work is a moment to pause and reflect, as the beauty of Bach lies in the impossibility of mastering his compositions entirely. This quality sets him apart even from Mozart, whose genius Narek deeply admires. Yet, for him, Bach exists on an entirely different plane, offering unmatched depth and sophistication.

Narek is often reminded of Pablo Casals, who, even in his 80s, continued to practise these Bach Suites daily. This dedication reflects the relentless pursuit of growth that defines true artistry, no matter how accomplished a musician may become.

Conducting and Zen Trio

From an early age, Narek was captivated by the idea of conducting, driven by his love for orchestral repertoire. His fascination began at the age of six or seven when he first heard Tchaikovsky’s Sixth Symphony. In that moment, he knew it was his dream to one day conduct the symphony. Though the idea remained in the back of his mind, it wasn’t until a few years ago that he decided to pursue it. Narek made his conducting debut in Hamburg, followed by his first opera performance with Gluck’s Orfeo ed Euridice last year.

Conducting the opera was a transformative experience for Narek. The challenge of managing a symphony orchestra, a chorus and solo singers and maintaining musical coherence in Gluck’s complex score proved to be a formative milestone. After successfully navigating such a demanding work, he feels more confident than ever, even when facing large symphony orchestras. Looking ahead, he will conduct The Barber of Seville this year, another opera he eagerly anticipates.

In addition to his conducting endeavours, Narek remains deeply engaged with chamber music. His ensemble has an ambitious schedule, with planned tours in the United States, Canada, France and potentially Asia, including Hong Kong. Recently, the Z.E.N. Trio, which Narek is part of, performed the Babadjanian Piano Trio, a piece they had previously brought to audiences in Hong Kong. Despite limited rehearsal time – just three days for their Wigmore Hall and Denmark performances – their deep familiarity with each other’s musical intuition and phrasing ensures seamless collaboration.

Working with Zee Zee (Zhang Zuo) and Esther Yoo is always a delight, with rehearsals often filled with laughter and camaraderie. Narek divides his time between Armenia and Vienna, while Zee Zee resides in Berlin and China and Esther splits her time between Korea, the UK and the US. Despite their geographical distances, the trio has been performing together for nearly a decade and as the Z.E.N. Trio for over seven years. This longstanding collaboration has created a deep understanding among the musicians, allowing them to rehearse less intensively when preparing new programmes.

Recently, the trio performed three consecutive concerts in Belfast for BBC Radio, each featuring a different programme. The performances were both challenging and immensely rewarding, showcasing a repertoire that included works by Mendelssohn, Brahms, Shostakovich and Rachmaninov. Their shared history and synergy on stage made the demanding schedule an enriching experience, reflecting their mutual passion for chamber music.

Collaborations

Speaking of the conductors he has worked with, Narek feels that every conductor is unique, making each collaboration with a new orchestra and conductor an exciting experience.

“You never quite know how it will unfold or how well the chemistry between the conductor and soloist will align. At times, your musical ideas may differ significantly, requiring both parties to remain professional and compromise to achieve a cohesive and harmonious result. These moments of negotiation, while challenging, are a vital part of creating something greater together.”

However, there are also times when everything falls into place effortlessly. Narek describes an unspoken understanding as if he and the conductor are perfectly in sync. In these magical moments, communication transcends words and the music flows naturally. As a soloist, Narek enjoys the freedom to express himself fully, knowing the orchestra and conductor will intuitively follow. Likewise, when the conductor feels free to lead as he wishes, trusting that the soloist will respond seamlessly, it creates an extraordinary synergy.

“These experiences vary from conductor to conductor and orchestra to orchestra, but when that magical connection happens, it’s a deeply rewarding and unforgettable feeling, a testament to the power of music to unite and inspire.”

There was an occasion that Narek worked with conductor Marin Alsop for a recording with Naxos on works by Henze. It was not initially Narek’s idea but was proposed by the conductor and the REV Radio Orchestra. The project took place during the Covid pandemic under challenging circumstances. The original plan was to rehearse, record in the studio and present a live concert in Vienna. However, the night before the performance, several orchestra members tested positive for Covid, putting the entire event in jeopardy.

Determined not to let the concert be cancelled, Narek suggested proceeding with a reduced orchestra to perform Tchaikovsky’s Rococo Variations instead. The recording has since been released, and Narek is delighted with the outcome. Alsop’s exceptional leadership and artistry were pivotal to the success of the project, making the experience both memorable and inspiring.

Performing with great musicians is always inspiring, but working with legends is truly mesmerising. About five or six years ago, Narek had the honour of playing with Menahem Pressler, the legendary pianist of the Beaux Arts Trio. In his 90s at the time, every rehearsal felt like a masterclass, filled with his wisdom, impeccable timing, and inspiring sound.

“It was a lifetime experience, particularly performing pieces like Schumann’s and Brahms’s piano quartets.”

Narek has also played with Mischa Maisky, whose unique sense of timing is unparalleled. One especially memorable performance was at a cello festival in Dresden, where Narek and Maisky played Villa-Lobos’s Bachianas Brasileiras No. 1. Seven or eight cellists formed a semicircle, with Mischa as the soloist. The synergy and emotion of that performance were simply unforgettable.

“On a few occasions, his playing was so beautiful that I momentarily forgot to start my part! These moments are the joys of a classical musician’s life—sharing the stage with legends and creating music that stays with you forever.”

living Composers

Narek has collaborated with many distinguished living composers, including the Austrian-American classical composer Lera Auerbach. He also had the honour of premiering Sofia Gubaidulina’s Canticle of the Sun for cello, choir, and percussion, performing in its Vienna debut. Additionally, Narek has worked with Australian composer and conductor Paul Stanhope.

He described a spectrum of collaborative experiences – from premiering works written specifically for him to interpreting existing pieces with their creators. “Each composer approaches their music differently,” he observed. Some demand precise adherence to their notation, while others encourage radical reinterpretation: “I could play something completely differently than what’s written, and they’d say, ‘I love it – keep it that way!’” These contrasting creative relationships – whether through commissions or reinterpretations – revealed the fluidity of new music. “It’s fascinating,” he reflected, “to navigate different personalities and philosophies in the process of bringing a score to life.”

Embarrassing moments

Embarrassing moments on stage are surprisingly common and often amusing in hindsight. During a performance of Brahms’s Double Concerto with a friend, a joke shared before the concert left Narek and his collaborator struggling to suppress their laughter. In the pause between movements, Narek caught the violinist’s eye, made a gesture from the joke and succumbed to uncontrollable giggles. Despite their best efforts, they began the second movement barely holding back their laughter, their composure hanging by a thread.

In another instance, during a trio performance, the pianist accidentally struck a fortissimo note in the middle of an otherwise delicate passage. This unexpected mishap prompted an exchange of knowing glances between the cellist and violinist, leaving them both fighting to maintain their professionalism.

While such moments are often imperceptible to the audience, other incidents, such as a broken string, are far more noticeable. Narek encountered this during a concerto performance. He reacted by swiftly swapping instruments with the principal cellist, allowing the performance to continue smoothly.

These unpredictable occurrences, though chaotic in the moment, inject a sense of humanity and spontaneity into live performances, reminding audiences and musicians alike of the joys and imperfections of the art form.

Teaching

Narek admitted that, while he does not enjoy the role of a professor, he loves giving masterclasses, which are often conducted online due to his demanding travel schedule. He finds teaching broader life lessons particularly challenging but strives to emulate his father’s approach: rather than solving problems for his students, he focuses on teaching them how to solve problems independently.

This method, he believes, is far more valuable. Students who rely solely on being told what to do are often unprepared for life beyond their studies. By encouraging them to think critically and analyse situations on their own, he aims to equip them with the tools to face challenges and find solutions throughout their careers. For Narek, the goal is not merely to teach students how to play an instrument or master a piece but to instil in them the ability to learn and grow continuously.

He advises his students to set their goals as high as possible and never be satisfied with their achievements. With this mindset, he emphasises, growth becomes an ongoing, lifelong journey, and the pursuit of perfection in their craft remains a source of inspiration and progress.

Covid

The Covid pandemic was an incredibly stressful time for Narek. It was mentally and financially challenging not being able to play concerts, especially as an Armenian musician without government support or subsidies.

“When the pandemic hit, I had to rely solely on the funds I had at that moment, which was difficult.”

As someone used to performing weekly, sometimes even two or three concerts, the sudden halt was unsettling.

“But one morning, I woke up and realised it was the first time in years that I had no plans. No schedule, no commitments – just the freedom to decide what to do each day. That unexpected sense of comfort and happiness was profound.”

Despite the financial strain, the mental relief of not having to rush anywhere and living spontaneously was a precious experience. It taught Narek the value of balance – between financial stability, an organised life and leaving enough room for freedom and spontaneity. This balance is something the professional cellist aspires to maintain in the future.

Interview written by Puntid Tantivangphaisal.