Join host Stefania Passamonte as she welcomes brilliant violinist Irmina Trynkos to discuss her remarkable journey from studying at the Royal Academy of Music to becoming an internationally celebrated concert artist. With Polish and Greek heritage, Irmina shares what it’s really like to be a London-based musician who’s constantly traveling between cities like Geneva, Budapest, and beyond. She opens up about the unique challenges and rewards of pursuing a career in classical music, revealing how the transition from student to professional happens gradually while you’re still studying, rather than as a single leap.
The episode highlights Irmina’s incredible achievement of recording the Nimrod Bernstein Violin Concerto with legendary pianist Vladimir Ashkenazi conducting the Oxford Philharmonic Orchestra. She candidly discusses the dynamic—and sometimes clashing—creative process of working with a living composer, a world-class conductor, and orchestral musicians all while maintaining her own artistic vision. Irmina shares her passion for Romantic and Post-Romantic composers like Shostakovich, Tchaikovsky, and Prokofiev, while also championing modern and lesser-known works that deserve to be heard. With a BBC five-star review and CD of the month accolade for her recording, Irmina represents the exciting future of classical music.
Main Topics
Irmina Trynkos is a Polish-Greek violinist based in London who studied at the Royal Academy of Music and is known as both a concert soloist and recitalist
She moved away from home at age 12 and studied in multiple countries including Salzburg, London, and Los Angeles, developing a unique path to professional musicianship
Irmina recorded the Nimrod Bernstein Violin Concerto with conductor Vladimir Ashkenazi and the Oxford Philharmonic Orchestra, earning a BBC five-star review and CD of the month
Working with a living composer presents unique creative challenges, as Irmina navigates opinions from the composer, conductor, orchestra, and her own artistic perspective
London is her chosen base due to world-class conservatoires, endless concert opportunities, and its position as a hub for classical musicians globally
She is passionate about Romantic and Post-Romantic composers including Shostakovich, Tchaikovsky, Prokofiev, and Brahms, while also interested in discovering lost or underperformed music
Irmina views her career as a continuous ladder of achievement, seeing each milestone—even recording with Ashkenazi—as the next step toward greater challenges and self-improvement
Full TranscriptHello and welcome to future Classic Women Awards with me, Stefania Passamonte on women's radio station the program where...▼
Hello and welcome to future Classic Women Awards with me, Stefania Passamonte on women's radio station the program where we search for the most amazing new classical artist. Today on future Classic Women Awards we will be talking to Irmina Trincasure, a brilliant violinist from Poland and who's primarily known as a concertist and recitalist. Irmina studied the Royal Academy of Music and that's where we met a few years ago, isn't it? Exactly right. Hello. Hello Irmina. So you're actually not just Polish. Do you want to tell us more about your heritage? Yeah, absolutely. I mean as you said, I came here to study in Royal Academy and I'm originally half Polish, half Greek and well, to be honest, it's hard to say really where I'm from because I. I moved out when I was a very small child and since then I travel and we even discussed that. Basically I'm never in one place so I'm constantly repacking my bags. But yeah, that is amazing. I mean as a concert she just came back from Geneva where she was performing at a concert. And before, where were you before? I was in Budapest as well playing a concert and it just goes on basically city after city. I haven't been in London for many weeks but we might say that you're London based. Yes, absolutely. I'm a Londoner. I'm a true Londoner. She's a Londoner and we never meet up. I think the last time it was few years ago. That's exactly right. That's what it means to be true, a Londoner. Basically you never meet. I think you meet easier abroad. Yes, it is. So why did you choose London? London is absolutely amazing city. I mean we are all in love in it gives so many opportunities. First of all we have world class music, conservatoires and academies and I think everybody thrives because of that and I think you can meet everybody that you need here. Plus there are never ending concert choices. I think it's just a haven for musicians and plus it's a fantastic base for repacking your bags and taking your flights. I agree with that. They used to say every route brings to Rome, but I might say that for music every route brings to London, isn't it? I think so, yes. I think it's London or New York, but I think mostly London really. Yeah. So how was the passage, you know, from being a student and you know from. And then becoming a professional international concert artist, was it smooth, was it straight away or you had to wait? I think it happens while you're still studying. I mean, I had a very weird path because I moved out from home when I was 12 years old old and, and literally lived since then by myself in different countries and, and I studied in Salzburg in Mozartium, I studied in, in London in Academy and in college actually, and, and in Los Angeles. So I was literally there and back all the time. And while you're doing this, you're meeting people, you, you play concert. Obviously we start very early, so the concerts come when you're a teenager and then it, it goes further and further and, and I think the, the transition, I mean it' classical music generally the profession is quite tricky because there's no status quo, how you're supposed to do it and what you're supposed to do. You have to find your own way and just fight for it. And if you believe in yourself, it should work. And you know, I always see it as a kind of, as a ladder. So just every step on the way is the next step and I climb further and further. And even if I do something absolutely amazing like my last recording with Ashkenazi, I still see it as the next step and always try to outdo myself, myself and, and, and make myself better, challenge myself more. So. Well, as a pianist, Ashkenazi is a super me. So how did that happen? Tell us. Yes, Ashkenazi's Vladimir Ashkenazi is absolutely amazing. It's an amazing personality and wonderful person to work with because it's one of the, I would say the, the, the loveliest and easiest people to, to actually record with. He's just in good mood constantly and, and you know, and, and he, we all love him. I mean, I grew up on his recordings the same like probably you and it's just, you know, to record with him is such a huge honor and he just treated us just to explain for the audience as Kenazi. Someone doesn't know. He's a super pianist, one of the best in the world, but he's also a conductor and you just recorded Nimrod Bernstein Violin concerto. So Askinazi, you met him as a conductor? Exactly, yes. Though I must have played the piano maybe sometimes during the part of the orchestra, he. No, but he, during the rehearsals he would try to come and play a few notes and then obviously, you know, show up. But I can't blame him. He's basically, he's the Ashkenazi. I mean, that's how it works. But, but he's a fantastic conductor and, and as I'm saying, a lovely person to work with and very, very supportive In a way as well as in pushing you for the better because we, we didn't have really much time to rehearse. You know how it is during recordings. I mean, you have very limited time to. With the orchestra and I mean Oxford Philharmonic orchestra, which we recorded with was, was really great because they, they catch on very quickly with all the changes. But Ashkenazi was pushing for, for faster tempo and more and everything. Yes. And it was like, just, just play. I'm like, I'm. I'm literally like, like far above. And he's like, no, no, it sounds great. It's just so. Plus the composer, Nimrod, which, well, he's right now, he's my friend by now because we work very long together. But he was there so. So he's as well, you know, obviously having an opinion. Everybody's having an opinion. I'm having an opinion. And it's a. It's a quick clash of opinions. But it turned out very well. I mean we were CD of the month and we got BBC five star review and we were the concerto choice. So. So it's pretty amazing because, you know, it's modern music. It's difficult sometimes to place yourself with modern music. And this music is very tonal, which is very beautiful. So it's, it's fantastic that it went so well. I want to listen to it. Shall we listen to the first movement? Yes, please. Okay, so first movement allegro from Nimrod Borenstein concerto. Sam. Sa. It. And this was the first movement allegro from Nimrod Bernstein violin concerto played by eminating with the Oxford Philharmonic Orchestra. See you after the break. WRS women's radio station Voice of women worldwide Sarah's universal soul show. What does your soul or spirituality mean to you? Welcome to future creation classical woman awards with me, Stefania Passamonte on women's radio station. Welcome back. I'm Russ Cain. You're listening to in conversation with on women's radio station. I'm Angie. And I'm Patsy. And we're open to see what other programs we have on women's radio station head to our website womensradiostation.com I'm Isabelle Manevy, an executive coach. Do you want to change a negative into a positive? We can do this by coaching you to rewire your brain using simple visualization techniques. In 20 years of practice, I seen this transform lives. For more information look on women's radio website. Call me on 07-984-422171. I'm listening Mirae B Limited. We are a virtual PA consultancy. We provide remote administrative services. Our offering. We manage your calendar, we update your client database. We take care of your property in France and in London. We also offer bookkeeping and translation services. Would you like to know more? Please call 077-8684-8998 for further information. Mirae B Limited making the life of the business owner successful. Let Women's radio advertise your brand or business. It's so affordable and effective. Reaching out to all women. Call us on 020-743-7706 now. Are you struggling with money? Turn to us as a national charity helping people struggling to make ends meet. Job loss, illness or bereavement can cause a real financial crisis. We give practical help to get people back on track. Whether you're thinking of having a baby, trying to get out of an unhappy relationship, or just unsure what benefits you may be entitled to, we can help. Visit turntous.org.uk I'm Angie. And I'm Patsy and we're open to share our own personal stories dealing with life events. Staying positive through the tough times. Share your stories too. What worked, what didn't? Join us each week for Open. We know you're gonna love it. Women's Radio station is a not for profit, community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artist on the classical panorama. Today we are talking to Ermina Trinkos, an exceptional young violinist. So Ermina, we just heard this amazing concerto, really impressive with Nimrod from Nim Bernstein. So how is it to play a concerto of a live composer? You know, having the composer next to you? Yes, it's definitely a different experience. You have a composer during the recording and you don't only have the opinion of, let's say the producer and the conductor, but you have a composer who has a very strong view how it's supposed to be and you as a soloist have probably even stronger views. So it's a little bit of a clash but we know each other with numeral for quite a while and actually we met because of my first debut CD album. He just heard trailer and basically we met and we got on almost straight away and started working together and he wrote for me a sonata concertante for violin and piano and basically from then on we started Talking about doing something orchestral, and then came up the Concerto recording project. And separately, Vladimir Ashkenazi actually heard my CD as well, the same CD that Nimrod previously heard and wanted to work with me. So basically it kind of all came together and it was a very lucky, very lucky thing because, you know, it's not that easy to, let's say, record with Vladimir Ashkenazi. Are you joking? I'm sure Bayalinis were fighting with sword together. Exactly. There were a lot of people on the line, including Sarah Chang and other people and wonderful violinists, and I'm really blessed that they actually chose me. I mean, and it's a huge honor record something like this and especially work with Nimrod, because I love his music. I think it's fantastic. As I said before, it's in a way tonal. Not really. He has his own language, but it has beautiful melodies which hunt you basically for the whole day afterwards. And it makes me very happy to see that people actually are reacting very warmly to it. Amazing. So if you had to choose any other composer that you would like to play that is nearer to your feelings, your character. Hard, you know, it's very hard for a musician to choose one composer. I think we base ourselves a lot on the actual piece rather than the full composer, you know, because you have obviously your liking, especially towards concertos. But I'm definitely into romantic and post romantic music, so. So for me, for example, Shostakovich or Tchaikovsky or Prokofiev, all those are probably my. My huge favorites. But then on the other hand, I obviously, I love Brahms and, and I, as much as I can, I play it and on recitals and on concerto and so. So it's really hard. I think it's very, very hard to choose right now. I'm going through a phase that I'm absolutely in love with Shostakovich concerto and well, Tchaikovsky is always there for me. It's my little jewel. But Shostakovich is on my mind and. Yes, we'll see what will happen. That might be. All right. That might be. She's in the pipe. Exactly. We're discussing now different projects and it probably won't be Shostakovich, because I have a bit of love for discovering either unknown music because it got lost or. And it hasn't been played much, or modern music, which is still to be, let's say, put on the. On the panorama for everybody. So that's what I do. Yeah. So that brings me to a very big question. You know, what do you think is the role of classical Musicians today, then I think it's very important to try to include everybody and not in a way to change classical music because you often hear about it that, you know, we have to adapt, we have to this, we have to that. I think there's nothing wrong with the music per se. It's extremely exciting and whoever gives it a chance, actually, it, it usually works. I even gave a TEDx talk two months ago and, and we had a whole discussion with, with lots of people that obviously don't listen to classical music. And, and they really loads of people came to me afterwards privately, and they said, you know what? You really challenged me. I'm actually gonna give it a go. And not one concert, as you said, because you're not guaranteed that you're gonna find what you really love. So I think our role right now is to, you know, to make people not be, not be, be afraid to, to give it a go because it's not guaranteed that you will love all the composers. Even I don't love all the composers. It's not, it's not real. You know, we cannot pretend that all classical music is for everybody. But what's the most. Classical music is beautiful for you, you know, Exactly. That you hate and other. That you love. Exactly. I mean, and, and plus you change. Have you noticed? Like, like I know few years ago I didn't like one composer and now I'm in love with it. Like I had this, this, this situation with Elgar. I absolutely used to hate his violin concerto. Can't believe I'm saying this, but now I'm in love. And whenever I can, I actually try to program it. It's hard to program because it's 50 minutes concerto. Nobody wants it, but I'm trying and I love it. So you see, we change and everybody should give the same, you know. Okay, so shall we listen to the fourth movement of the speec? It. WRS women's radio station. Voice of women worldwide. This is Amy Liu, Voice of China women's radio station. Welcome to future classical woman awards with me, Stefania Passamonte on women's radio station. After a long day, I like to sit in my bath with a glass of wine and listen to women's radio cameras. Kate, that you're listening to in conversation with on women's radio station. 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We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to future Classic Women Award on Women's Radio Station. Our guest today is Irmina Trinkus, a violinist with an impressive concert career. Irmina, we were talking about, you know, concertos, performing on the recordings. Do you find the difference between recording for the radio, I mean for a new CD or recording television program or performing live in a concert, for example. Example? Yeah, it's. It's a very different approach. Sorry for asking, but you know, I'm talking about audience. They are not professional musicians. I don't think people even realize how, you know, how. How different all those experiences are. I mean when you're coming into a studio to record a concerto, first of all, you're very time limited. You have time to repeat stuff and everything and you. You think that it's like, oh my God, we have few hours. You know, it's, it's gonna be fine. But actually the time goes very fast. Oh yeah. And there's a whole orchestra which just comes. And literally with my experience, the first American, my first cd, we had even no, no rehearsal. We literally went on recording straight away the moment we met. And it's not a concerto that anybody knows because it's. And you know, it's a forgotten composer. So everybody's learning how to do that with, with this, with this. You're talking about, you're talking about concerto, which I recorded with rail Philharmonic Orchestra. And they did a fabulous job because it's just. They are am in, in. In putting everything together basically on the go. I don't know how they do this. It's amazing. And now we have. They're legendary. I heard about that. They are, they are. And they're lovely people. And it's a really, really fantastic, fantastic group of people. With the other orchestra, we had one rehearsal, but again, you know, those rehearsals are short one hour rehearsal or two hour rehearsal. It's a very little for a modern piece that again, nobody knows. And it's a very new writing language. But again, they did amazing job. And Maestro Ashkenazi was absolutely fabulous. Plus Nimrod was all the time there basically shouting all his opinions or basically just sitting behind us. But it's very different. So you literally have to go on and go on, go on. And with my experience with the producers, I never had the chance to do short repeats. It's usually very big chunks of repeats, which is exhausting. You can imagine you record six hours, hours in one go and basically it's exhausting. And you have to all the time pretend that there's audience because, you know, because you're a pianist, that it's very different when you're playing for the audience. And when you're playing for a mic. Absolutely. You don't have the, the adrenaline is very different. So the emotion. Exactly. The way of giving out. Yeah, yeah. And it's, it's, it's, it's the same like you're going, you know, on TV and you're playing you as well, you're playing to a camera and, and it's a basically black box that looks at you and it doesn't give you any adrenaline in a way. Yeah. Because when you come, come on stage to me, like, for example, I love stage. I. The one place that I've never been nervous in my life is on stage. And I was always a very shy Child. And literally I was hiding behind my mom and behind everything and it was pointless to even try to talk to me. Oh, wow. Now it all changed. Obviously I can't shut up now. If you're shy, I would recommend to start to learn an instrument. Yes, it definitely opens you up. You have to open up because you're on stage. But that was one place that I always could speak and, and that's, you know, speak through the violin. And that's amazing. And to me, to watch the audience while I'm playing, because I always do that, it's very freaky. I literally just search through people and I want to see what they're. What they are, you know, feeling, thinking, and if. How they are involved. So I can as well work out, like, okay, they need something more because obviously they're not getting it or, you know, so it's. So it's work and as well. On, on. On the concert, you actually have the. Because of the adrenaline, you can get goosebumps because of the music. You know, like, it gives you the adrenaline, gives you the. You're. You're literally high on music and it's. And it's fantastic. And I think it's very hard to. To get that when, when you're recording or when you're on tv, even if it's live, it's just. It's not the same. And of course we try to do our best with, with, you know, bringing the adrenaline. But it's work. It's work. You told me a crazy story about recording television very early in the morning. Yes. I recently had a. I was actually playing numerous. Another piece, Quasi Una Cadenza, on television, actually morning news, which starts at 6am and I had to be prepped for, you know, for makeup and for everything. I think at 5, I don't know, 5:30. And I started playing at. Well, I talked and then I played at 6:10 or 6:15am I mean, again, to a normal person who never plays instrument. People don't understand that you do not have the adrenaline. 6:15, it's. You're a dead fish. And it's very hard to pretend that, you know, that you're like really into it and you have to make yourself being into it. You said even like we travel and there's a lot of jet lag moments and we have to do the same. We have to basically bring ourselves somehow. We have to explain our brain. This is evening concert. So you have to pretend. Well, not pretend. You have to be on an evening concert at 6:15am and that's it. And then you can go to sleep or whatever and. But, but meanwhile you. You have to give everything from yourself. So that is amazing. Shall we listen to the second movement? Anandez Ostenuto from your first debit album? It was the Faculty Violin Concerto with Rhyme Orchestra. Ram. Sa. And this was Wackhardt Violin Concerto with Irmina Trinkus and the Royal Philharmonic Orchestra. We will be back after a short break. WRS Women's Radio Station Voice of Women Worldwide. Sarah's Universal Soul. What does your soul or spirituality mean to you? Welcome to future Classical Woman Awards with me, Stefania Passamonte on Women's Radio Station. Welcome back. I'm Russ Cain. You're listening to in conversation with on Women's Radio Station. I'm Angie. And I'm Patsy. And we're open. To see what other programs we have on Women's Radio station, head to our website, womensradiostation.com I'm Isabelle Manavie, an executive coach. Do you want to change a negative into a positive? We can do this by coaching you to rewire your brain using simple visualization techniques. In 20 years of practice, I seen this transform lives. For more information, look on Women's Radio website. Call me on 079-8442. I'm listening. Mirae B Ltd. We are a virtual PA consultancy. We provide remote administrative services. Our offering is diverse. We manage your calendar, we update your client database. We take care of your property in France and in London. We also offer bookkeeping and translation services. Would you like to know more? Please call 077-8684-8998 for further information. Mirabe Limited making the life of the business owner successful. Let women's radio advertise your brand or business. It's so affordable and effective. Reaching out to all women. Call us on 020-743-7706 66 now. Are you struggling with money? Turn to us as a national charity. Helping people struggling to make ends meet. Job loss, illness or bereavement can cause a real financial crisis. We give practical help to get people back on track. Whether you're thinking of having a baby, trying to get out of an unhappy relationship or just unsure what benefits you may be entitled to, we can help. Visit turntous.org.uk I'm Angie. And I'm. Hi, I'm Patsy and we're open to share our own personal stories dealing with life events. Staying positive through the tough times. Share your stories too. What worked, what didn't. Join us each week for open. We know you're gonna love it. Women's radio station is a not for profit, community interest company. So supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to future classic women awards on women's radio station. Our guest today is in Mina Trinkus. We heard are playing amazing concertos. So Irmina, now it's time for the odd questions. So what's your strangest hobby? To free your mind or to relax? I'm not sure if it's strangest, but what I love to do is dance. I dance a lot of Latin music. So. Yeah. Yeah. I'm an absolute. Yeah. Absolute sucker for bachata and for salsa bachata. And that's. That's what I do whenever I can. I used to do it more. Now I travel too much, so everybody's shouting at me that I never come or go anywhere. But I even show up and at festivals and you just. Yeah, nobody knows who I am because I never actually said I play violin. So I'm in completely different crowd, which is very funny. And they're like, oh, but you feel music so. Well, I'm like, that's my busy too, you know. X amount of. Of years with the metronome and few other things. Yeah. But that's. That's probably. That's probably it. That's what I do to relax. Wonderful. Do you listen any other style of music apart from. Yeah, yeah, absolutely. I'm. I listen to. As I always say, I listen to everything which is good. So it can be pop, it can be rock, it can be hip hop. I mean I used to be a huge hip hop fan. Oh, I'm a super hip hop fan. Yeah. I used to know. I love the rhythm, you know, it's just contagious. Absolutely. And I used to know every lyric of Eminem and. And everybody. So. Yes. So not the typical. Let's say what people think about classical music. Know that we only listen to. To classical music. I love classical music. This is my way of. Of living, basically. But I listen to. To everything which is good. I love Beyonce. I love. I love everything which is, you know, which is good. So which is good music. I mean music is music. Music is music. The only thing is I don't think. Think I can see yourself or myself, you know, performing a rap or something like that. Have you ever tried? No, I don't think. I don't think. Or dancing with Beyonce. I don't think Yeah, I don't think so. Although I. I did a lot of practice for that. So I never know. You might. You never know. You know, maybe they will need some crossover. No, no, no. It will be just a second, you know, personalities like a bit of schizophrenia on. On the top form. Yes. All right, so what was your funniest or most embarrassing moment? If you have any. Yeah, do we have any? Yeah, of course we have. We have all. Loads of them. I mean, I think the funniest one that I always think about, I mean, it was scary at the moment. It's funny now to think about it. It was when I was doing my debut at Queen Elizabeth hall in South Bank Center. Yeah. And it was sold out. Concert with an orchestra. And. And basically I had a very. You know, I love pretty dresses and everything. Like, we all do. That's partly why we probably do the same job, because of the dresses. Anyway. But basically what happened is I was waiting just, you know, go on stage and the moment, basically, they are about to clap to basically welcome me. And I feel that my dress broke at the back on the actual holding of the dress. What so. And I, you know, there's not much under dress. You know how the dresses are. So basically, literally, the. The. The top, there's nothing there. And I'm like, okay, well, this is just fantastic. And the person, the steward is like, like, okay, you go on. I'm like, oh, my God, I go on. And I went on, because what can you do? I mean. And I was thinking, like, okay, I can't catch it. I can't change the dress. They already clapped. They can't do anything. So I went and literally, I haven't. Basically, I didn't breathe, I think, for. For. For the whole time on stage praying that it's not gonna fall, or thinking to myself, like, worst case, if it falls, I'm gonna literally end up on every newspaper, which is a press. So I guess it's a good thing. They always say that there's no bad press. So here we go. The dress didn't fall, but everybody. Actually, some people from the orchestra seen it because it was untying while I was playing. And I managed just to bow and went off. And literally my dress just slipped down. So real story. And I had to go and bow back. And I was just, literally just holding it with my arms back like this. So I was like, it's a harder talk. How do you play the viol? You know, I have no idea because literally. And I have a video of this concert and you cannot see. You cannot see anything on my face. But I remember the feelings like, oh, my God, it's getting less and less tight. It's like, that's it. This is the end of orchestra. Violin concerto with scriptees. Absolutely. I mean, you know, whatever. To please the audience, we say. It happened to me. They pushed me on stage. I was changing dress, and I could. The tip got stuck. And the zip normally is on the left side. Yeah. But it was on the right side. And, you know, as a pianist, that's where the people, they see my right side. Yeah. And I just couldn't make it. I thought, I can try. And then I thought, now forget it. So I just went back out. Yeah. And people were like, what's happening? Like, I don't care. Like, yeah, go with an open dress, because you could really see everything. Yeah, well, that's. No, no, no, no. You don't want. All right. Okay. So what would you like to listen then? You know, in this good spirit? Yeah. Well, I think we're gonna listen to Vak Halter last movement of the violin concerto. It's. It's a. It's a very beautiful music. I mean, it's a lost composer, which I recorded for my debut album, ends with the wonderful Raf Lermandix. So it's fantastic to end the end. And it's called Allegro conspirito. That means with fun. You know, happy with fun. Exactly. We all had fun together with the. With the conductor Alexander. So let's listen to it. Wonderful. And this was Irmina Trinkles with the Royal Philharmonic Orchestra and Valhall del Vallo Concerto. Well, Irmina, thank you so much for being our guest today. Thank you for having me. It was a big fun. 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