Classical musicians compete in Dubai for inaugural violinist title

The artists each earned their place at the international competition by triumphing in preliminary rounds across Rome, London, New York, Tokyo and Dubai.

Now, the final round is underway, running from April 22 to 28, with €310,000 total prize money up for grabs and the chance to catapult their careers onto the global stage.

Overseeing the contest at Zabeel Theatre is Classic Violin Olympus president Konstantin Ishkhanov, who is part of a prestigious 23-member jury of renowned conductors, composers and musicians.

“Winning this competition is a major milestone,” says Ishkhanov. “It opens doors, brings in concert engagements, media exposure, professional contacts, and of course, awards significant prize money.

“Perhaps more importantly, it builds confidence. The winner will know that they have something truly special to offer. It also brings the responsibility to continue growing, to remain humble and to always serve the music with integrity.”

What are the judges looking for?

Each violinist will perform alongside the Madrid Philharmonic Orchestra and the Armenian State Symphony Orchestra, interpret a piece by a contemporary composer and participate in an interview with the jury, among other tasks.

For Ishkhanov, an Azerbaijan-born businessman and cultural philanthropist, talent is just the beginning.

“Naturally, technique is essential, but without artistry, it is not enough,” he says. “The most important elements are sound, musicality, individuality, and of course, technical control.

“A violinist must have a beautiful, personal sound and a deep understanding of the music they are performing. I also value creativity and risk-taking, musicians who aren’t afraid to say something with their playing.”

Each finalist will receive €10,000, with the overall winner scooping €200,000.

So far, the contestants have impressed, though Ishkhanov insists everything is still to play for.

“I want to hear a personality behind the sound,” he says. “It could be a subtle detail in phrasing, an unexpected tempo choice or a moment of silence that makes you hold your breath. These are the things that stay with me long after the performance ends.”

Fellow jury member, Cypriot-born British pianist and conductor Marios Papadopoulos, shares this view, emphasising that originality is key.

“I suspect that most of the pieces we shall hear have been performed at the highest level by hundreds of violinists through the ages,” he says.

“The question is whether someone can bring a freshness of approach and interpretation to the score without resorting to gimmicks in order to stand out. I am looking for someone to captivate and move me.”

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The human touch: artists vs AI

At a time when artificial intelligence can replicate notes with flawless precision, the competition is a timely reminder that true musical magic still lies in the human touch.

“AI is exactly that: artificial, created by a machine or a computer,” says Irish juror Eleanor Hope who is the director of Interclassica Music Management agency.

“Many years ago, I was involved in music therapy trials, and we discovered that playing analogue recordings had a beneficial effect on patients, whereas digitally recorded music did not. The human element cannot be replaced by a machine.” 

In Ishkhanov’s opinion, AI can be helpful for analysis and education, but can never replace the emotion that live concerts evoke for both musicians and audiences. 

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“A computer can play every note perfectly, but it cannot make you cry or feel joy,” he says. “Competitions like Classic Violin Olympus remind us of the human element in music, of the vulnerability, the passion and the connection between performer and audience. These things are ineffable; they can never be replicated by any algorithm.”

Uniting people and cultures

Just as AI falls short in conveying true human emotion, it also lacks the power to foster cross-cultural connection in the way that only human artistry can.

“Competitions like this bring people together,” says Ishkhanov. “Musicians from different countries and traditions come to one stage and communicate through music.

“This is very powerful in itself, but it also promotes cultural exchange and shows that music is a universal language.”

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The competition also provides a platform for young talent from across the globe to gain exposure, as well as bolstering Dubai’s burgeoning arts scene.

“If a high-level music competition can generate interest, attention and excitement then that is surely of benefit to the cultural landscape,” says Hope.

“New careers are generated, young musicians are stimulated, audiences are fascinated, concert opportunities are created for the artists and audiences have new attractions to explore.”

As the curtain prepares to fall on this inaugural edition, Ishkhanov warns that although competitions can open doors, it is what follows that truly defines an artist’s path.

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“Remember that competitions are just one part of a musician’s journey,” he says. “The real goal is to become a complete artist, which is a never-ending journey, but a very satisfying one.”