The Classic Violin Olympus International Competition, under the guidance of Artistic Director Pavel Vernikov, is poised to redefine the landscape of musical competitions. Departing from traditional norms, the competition has abolished age restrictions and excluded music professors and pedagogues from the jury panel. Instead, it charts a new course, offering a remarkable prize fund of €310,000 and inviting violinists of all ages and nationalities to showcase a groundbreaking six-part program in Dubai in 2025.
In a departure from convention, the competition’s 23-member jury board consists solely of conductors and directors from renowned orchestras, festivals, and concert series. To earn a place on this prestigious stage, participants must first secure a top-two ranking at one of the six global preselection contests. The twelve finalists will then proceed to the grand finale in the United Arab Emirates.
As applications for the preliminary stages open worldwide, The Violin Channel engaged in a conversation with Pavel Vernikov to delve into the motivations driving this innovative project, the intricacies of its organizational process, and the aspirations behind its inception.
Vernikov acknowledges the competition’s novelty, emphasizing the need for a transformative approach in an industry saturated with repetitive programs and jurors. Expressing concern over the decline in the impactful outcomes of contemporary competitions, he advocates for a shift toward supporting young musicians through scholarship initiatives rather than perpetuating the factory-like cycle of routine competitions.
Classic Violin Olympus seeks to break this mold. With an unprecedented program that includes novel elements, such as soloists assuming the role of a concertmaster and the inclusion of Beethoven’s Triple Concerto, the competition aims to showcase musicians’ versatility and challenge the status quo.
Beyond the substantial prize money, Vernikov envisions the competition as a catalyst for career success. Diverging from conventional competitions, the prizes extend beyond monetary rewards. Each of the 23 jury members offers promising participants the opportunity to join them on stage at upcoming concerts, a priceless experience for exposure, networking, and skill development.
The competition itself promises widespread recognition, with major media outlets like Euronews, The Violin Channel, Medici.tv, and Bachtrack covering the event extensively. Live broadcasts, interviews with participants, and global outreach will ensure that the spotlight is firmly on the competing violinists, attracting the attention of conductors and concert organizers.
In contemplating the ultimate outcome, Vernikov remains cautiously optimistic. While financial rewards and concert opportunities are significant, the competition’s true impact may lie in unearthing a new musical luminary. The journey is poised to unfold, offering participants an opportunity for unprecedented exposure and growth, ultimately shaping the future of classical music competitions.
