We publish below the interview to Nicola Bruzzo, Premio Paganini artistic director, that appeared in The Violin Channel on Marh, 28 

Nicola Bruzzo on the Premio Paganini International Violin Competition

This year's edition of the competition will take place in Genoa, Italy, in October, 2025

The 58th “Premio Paganini” International Violin Competition, is open to candidates of any nationality aged between 15 and 30. The competition will see young artists play a challenging list of repertoire that includes chamber music and an emphasis on communication with the audience.

107 violinists were admitted to this year's competition, happening from October 15-16, 2025, in Genoa, Italy

The Violin Channel recently caught up with Nicola Bruzzo, Artistic Director of the Premio Paganini International Violin Competition.

What is the main mission of the Premio Paganini International Violin Competition?

To discover and support talented young violinists as they launch their international careers, promoting the figure of Nicolò Paganini and the city of Genoa. More than a competition, its goal is to celebrate artistry, individuality, and the art of violin playing.

As its new director, what are you hoping to keep from the past?

The unquestionable international prestige of the competition’s "golden era," when Maestro Renato De Barbieri was its pillar alongside artistic director Luigi Cortese. During that time, an era that spanned several decades, Premio Paganini launched young violinists who became legends, including Salvatore Accardo, Miriam Fried, and later Leonidas Kavakos, and Isabelle Faust, to name just a few. Preserving this legacy of excellence and artistic integrity is essential as well as renewing the tools to broaden the same legacy.

What are you bringing to the competition from your past professional experiences?

I grew up in a musical environment where mutual listening and chamber music sensibility were essential, shaping every aspect of performance, from solo playing to orchestral work. This perspective influences my approach to the competition: I aim to modernize its profile while remaining deeply respectful of its traditions. This mindset has guided key decisions, from structuring the competition itself to selecting the jury and curating the repertoire.

Conversely, what are you hoping to evolve in the coming years?

Winning a competition today has a different impact on a young musician’s career than it did a few decades ago. The classical music world is evolving rapidly, often in unpredictable ways - sometimes it feels as if the industry is chasing innovation without a clear direction. Rather than following fleeting trends, I believe in focusing on real artistic values and keeping music at the center of everything, especially among the new generations. I think we are on the right path, and my hope is that Premio Paganini will continue to grow as an essential milestone for young violinists, not just as instrumentalists, but as true musicians and artists.

How much Paganini repertoire does one play in the competition?

A great deal, covering a wide range of his works. Competitors perform the Capricci, accompanied pieces like Le Streghe and Di tanti palpiti, and the extraordinary solo variations Nel cor più non mi sento or God Save the King, which are now compulsory in the Semifinal round for the first time. Of course, one of his violin concertos is also required. The only missing elements are his chamber works, such as the quartets and sonatas for violin and guitar or bassoon - but who knows? Maybe in the future! After all, candidates must also perform many other compulsory works alongside these Paganini masterpieces, including Schubert’s “Grand Duo” Sonata in A Major, Schumann’s Sonata in D minor, and Schumann’s Piano Quintet.

What are you looking for in a potential winner?

With a carefully designed repertoire and a jury of exceptional musicians, the competition is structured to lead to a certain result. While a first prize is never guaranteed, the ideal profile is clear: a violinist of the highest technical caliber, with a deep and sincere love for music in all its forms. Someone versatile enough to shine both as a soloist and in chamber music, capable of shaping a compelling concert program, and confident in their artistic choices, able to communicate them with conviction to the audience. A rare combination, indeed!

What have some of your winners gone on to do in their musical careers?

Many have become leading soloists, but more importantly, outstanding musicians. Some are most renowned quartet players, others have taken on prominent teaching positions. And in some cases, they’ve managed to excel in all three areas!

For you, what is the most important aspect of violin competitions?

The journey itself: the intense preparation, the pressure of performing on stage under high stakes, the invaluable people you meet along the way, the resilience and strength you develop. The list is long, and paradoxically, I believe that winning the competition isn’t even in the top ten most important aspects.

Live preselection auditions are about to begin. What are your expectations?

We anticipate an exceptionally high level, and I truly can’t wait to meet and listen to all the candidates. Starting April 3, the live auditions will begin in Genoa before continuing in Seoul, Guangzhou, New York, and Berlin. Premio Paganini is one of the very few competitions to select competitors through live auditions: a demanding process, but one fully justified by the extraordinary talent of the applicants. Their artistry deserves the full attention of an outstanding jury, and this would not be possible without the support of the City of Genoa, the Italian Ministry of Foreign Affairs and International Cooperation, and the unwavering dedication of our President, Giovanni Panebianco.

Nicola Bruzzo, Artistic Director of Premio Paganini, studied violin with Felice Cusano, Friedemann Eichhorn, and Natalia Prischepenko, drawing inspiration from great masters such as Thomas Brandis and Rainer Kussmaul. Both a chamber musician and orchestra player, Nicola has performed in the world’s most prestigious venues, including Carnegie Hall, Wiener Musikverein, and Berliner Philharmonie, collaborating with leading soloists and conductors on the international scene.At a young age, he joined the Rundfunk-Sinfonieorchester Berlin and now collaborates with top-tier ensembles such as the Mahler Chamber Orchestra and the Chamber Orchestra of Europe. His discography includes recordings for Sony, Decca, Pentatone, Harmonia Mundi, and Alpha Classics. Since 2019, Nicola has been a Board Member at Ferrara Musica, later collaborating with Prof. Enzo Restagno to shape its artistic direction, particularly Ferrara Musica Xtra concert series. In May 2024, he became Artistic Director of Premio Paganini.