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Interview by Matej Jovanovic | MusicWorldWideMagazine | September 2025
Jasmina Kulaglich has earned a distinguished place among today’s European pianists, known for her refined touch, architectural sense of phrasing, and a repertoire that bridges classical tradition with contemporary curiosity.
Educated in Serbia and later in France, she developed her artistic identity under the influence of both schools: the depth and intensity of the Eastern European piano heritage, the clarity and elegance characteristic of the French tradition and the structure of the legacy of the disciples of Claudio Arrau.
Over the years, Kulaglich has appeared at notable venues across Europe and collaborated with ensembles and artists who share her interest in thoughtful, repertoire-driven storytelling, he is also an artist of Indesens Records.
For MusicWorldWideMagazine, Jasmina speaks about her artistic process, the discipline behind maintaining a long-term international career, and the responsibilities modern musicians face in an era where classical music constantly seeks new audiences. She reflects on interpretation, repertoire choices, and the challenges and freedoms that come with shaping a personal musical voice.
You come from Serbia, yet you left at a very young age to study across Europe. What ultimately influenced your decision to settle in Paris?
In Belgrade, I attended a bilingual French-Serbian school throughout my education, up to the end of high school. Franco-Serbian friendship has a long tradition in my family: my great-grandfather was a student at the École Saint-Cyr, near Paris. Finally, after completing my studies at the Conservatoire National Supérieur de Musique, I received a scholarship from the French government to pursue advanced studies in Paris.
Could you share some of the most important lessons or pieces of advice you received from your teachers during your studies?
In Belgrade, my piano training was influenced by the Czech and Russian schools: listening skills, tonal textures, and a "living" touch on the keyboard, from which expression naturally flows. I then worked with masters such as Aquiles Delle Vigne, a student of György Cziffra and Claudio Arrau, who instilled in me the importance of structure in a piece combined with virtuosity. From the Chilean pianist Edith Fischer, also a disciple of Arrau, I received the notion of great freedom of interpretation.
Maintaining a healthy and clear state of mind is essential for young musicians. Do you have any advice on how to preserve mental balance while pursuing a demanding artistic career?
Mental balance is one of the most important dimensions in managing a career: it is essential for longevity. One can have immense talent and yet disappear after a few years. For me, this inner work has always been at the heart of my journey. Long before it became commonplace, I practiced arts of physical, mental, and emotional balance, from both East and West: various forms of yoga, Zen, Taoism, sophrology, analysis, and even transurfing, a quantum model of individual realization.
Even today, my days begin with a connection between body, mind, and heart.
© Gilles Larvor
You recorded the world premiere of Svetislav Božić’s work Byzantine Mosaic. Could you tell us more about this project and its artistic significance for you?
I met Svetislav Božic, the composer of Byzantine Mosaic, in Belgrade, where I had access to his early scores. Deciphering this work was a true revelation, both musically and spiritually. This music elevates us to very subtle horizons. I deeply believe it awakens a sacred dimension in everyone – at least, that's what many audience members told me after listening.
A friend said to me, "It's strange, my children calm down when they listen to your recording."
Composed in 2001, this piece is written in a post-Impressionist style, enriched by improvisations from the Middle East.
You have performed all over the world. Is there a concert hall that holds a special place in your heart?
I have given concerts in Europe and a few in the United States. Finally, the venue whose acoustics I appreciated most was in Paris: the Salle Gaveau.
Your latest album, Dumka, features Tchaikovsky’s Dumka as well as world-premiere recordings of works by Tatiana Nikolayeva. How did this album project come to life, and what drew you to this repertoire?
These are simply pieces that connect to my Slavic roots, and that I take great pleasure in playing. Alongside the famous Dumka, I wanted to present some works by lesser-known and rarely performed female composers, such as Adayevskaya, Kashperova, and the magnificent pianist Tatiana Nikolayeva, who is little known as a composer.
© Julien Hanck
You recently gave a concert in Amsterdam and experienced a rather unusual anecdote. Could you share it with our readers?
Such are the vagaries of life, and especially of artistic life: « the show must go on ». Two weeks before three scheduled concerts in the Netherlands, I had a health problem, not serious but very painful, which temporarily immobilized me.
However, there was no question of canceling the Amsterdam recital: at the piano, everything was going very well! I was confident about my concert; I just had to make it happen. In the end, everything went smoothly, with a wonderful welcome from the organizers.
How do you prepare for a concert – both physically and mentally?
As I mentioned, my preparation takes place every day, whether I have concerts or not. I start with physical activity – which can vary – followed by a few yoga and balance poses, before a moment of inner reflection. It's in these moments that one truly becomes present, like at the piano: calm and serene.
This gives me great inner peace.
© May Wong
Your favorite city outside Paris?
Nice in the South of France – or any city near the sea!
Solo music or chamber music?
Both, of course. Chamber music is essential: you learn constantly and share deeply. But being a soloist offers incomparable freedom, the freedom to fully express what you feel, simply by listening to your heart.
If you were not a musician, what other career might you have considered?
I can't imagine any other career. I only know that I love helping others – I believe it's the only way to advance humanity. It's not a "career," but supporting those who suffer could be a life's purpose. For now, I hope that my music is already contributing to doing good.
What is your view on the rise of social media and its influence on the classical music world?
We must move with the times. Today, it seems important to create virtual connections as well. Not necessarily "for career advancement," but for the human aspect. Thanks to social media, I now have "virtual friends" whom I haven't yet met, but with whom the connection is obvious. Just as music can move us without visuals, I believe we can feel a human being without seeing them – or while waiting to meet them.
Human beings are made of vibrations; without this, they wouldn't be sensitive to musical waves.
What projects are you currently working on, and what can the public expect from you in the near future?
Just recently, a new project was born: Sacred Resonances. It reflects my vision of the world. I am currently working on enriching it and expanding its presentation format, while simultaneously preparing a new chamber music program. Both projects deeply nourish me.
Is there anything you would like to add for our readers around the world?
Passing on knowledge is essential to me. It's a way to help young people on their journey, both artistic and personal, as these two dimensions are inseparable. In the program I am currently developing – "Artist Mentoring" – musical work coexists with mental preparation and reflection on career development. Everything is based on absolute respect for each musician, in order to guide them toward the most authentic and complete expression of their artistic being.
For this work, which is done individually, you can always contact me through my website or via social media.
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