Oxana Yablonskaya is one of the most sought after Musicians and Pedagogues of our time. She became the youngest ever to start teaching at the age of 17 at the famed Central Music School for Gifted Children in Moscow, continuing her career at the legendary Moscow Conservatory as Assistant Professor and from 1983 to 2008 teaching at the Juilliard School of Music. Finally, she founded "Oxana Yablonskaya Piano Institute" in Italy, where she trained many top prize winners of International Piano Competitions.
Throughout her nearly 60 years performing career Oxana Yablonskaya performed in more than 40 countries as soloist with a great number of prestigious symphony orchestras and prominent conductors such as Rozhdestvensky, Rostropovich, Svetlanov, Piero Gamba, Blomstedt, Kersies, Zhordania, Uri Maier, just to name a few.
Summarizing her lifelong experiences as Teacher and Performer she wrote autobiographical book "Small Hands. Theme and Variations". The book is already very popular.
In 2014 Oxana Yablonskaya and her husband made alia to Israel and from 2016 she is teaching at the Jerusalem Academy of Music and Dance. She continues active concert touring performing in Israel, United States, Europe and East Asia.
"...Yablonskaya's musicality never gives way to merely exploiting the music for its own glory. If tastefulness and stylistic insight mean anything to you, you will thoroughly enjoy listening to Oxana Yablonskaya"
"An orchestra is superfluous for 'Pictures at an Exhibition' when there is a pianist of Yablonskaya's powers to paint them in such indelible colors. A thoroughly excited audience lingered for four encores."
Los Angeles Times
"...Yablonskaya is a mixture of passion, power and poetry, and in the course of one concert, put herself, her piano and the audience through everything that could be expected of a piano recital."
"...A large audience welcomed her back to Chicago, and her program revealed a technique as impressive as ever, as well as a temperament equally at home in the simple elegance of a Mozart rondo and the thundering chords of a Scriabin etude. Being perfectly able to manipulate the keyboard however she wants, Yablonskaya knows when to take risks and when to pull back and let the music speak for itself.
In the two major pieces, the Beethoven Sonata in D Minor, Op.31, both dramatic, emotional works – Yablonskaya's bold originality surfaced. She took full liberty with the experiments in contrasting rhythm and dynamics in the first movement of the Beethoven. She lingered over the slow introductory bars whenever they returned, letting each rising tone build and echo before plunging into the short, answering flurry of notes.
In the famous Marche Funebre of the Chopin sonata, she emphasized the bass melody's relentless nature rather than its overpowering volume. In the Sonata's opening movement, she gave this almost chaotic music coherence by highlighting the return of early motifs. She made sure we heard a rumble of octaves under a singing melody and the harmonic twists that helped reinforce the shape of this hectic, headlong movement.
Yablonskaya's sheer technical prowess was on the most vivid display in six Scriabin etudes from Op. 8, exercisers composed in imitation of Chopin's etudes. But as the Mozart Rondo K.511 and the Chopin Noturne Op. 9, No. 1 and Scherzo Op. 31, No. 2 revealed, she also can weave a lyrically meditative melody."