Rina Kharrasova is a pianist and music producer known for her poetic interpretations and refined musical storytelling. She received her classical training at the Moscow Conservatory and continued her education in the U.S. as a doctoral student in music. A versatile artist, Rina Kharrasova performs internationally—both as a soloist and chamber musician—and also collaborates behind the scenes on recordings with other artists. Her recent release of Tchaikovsky’s “Dumka, Op. 59” exemplifies her ability to blend emotional depth with technical clarity. She continues to explore innovative ways to present classical music to new audiences, both on stage and in the studio.

With “Dumka, Op. 59” out now, we took some time to hear from Rina Kharrasova. Read below to learn more about Rina Kharrasova, the story behind “Dumka, Op. 59,” and what’s to come.

What city are you from, and where are you based now?

I’m originally from Ufa, Russia — a city with a rich and diverse musical culture, both classical and contemporary, including a strong rock and alternative scene. It’s where I first started playing the piano and where many of my earliest musical memories were formed. Now I’m based in Miami, where I divide my time between performing, recording, and collaborating with other artists on a range of musical projects.

At what point in your life did you decide to pursue a career in music? How did you get started?

I was put into music school when I was four, so I can’t say it was entirely my decision at first — I was too young to know what I wanted. But over time, music became such a natural part of my life that I couldn’t imagine myself without it. When the time came to choose a career path after school, I didn’t have any doubts — I knew it would be music.

Has your upbringing played a role in shaping who you are and defining your sound today? If so, how?

Definitely. Growing up in Russia, I was surrounded by a very intense and disciplined musical environment. The classical tradition there is taken seriously — it’s rigorous, emotional, and very focused on depth and detail. At the same time, I was also exposed to all kinds of music outside the conservatory system, from Soviet-era ballads to underground rock. I think that mix helped shape my sensitivity as a musician — I care a lot about structure and precision, but I’m also drawn to color, contrast, and emotion. It’s probably why I gravitate toward repertoire that tells a story.

How would you describe your sound to readers who may not be familiar with you?

That’s always a hard question for a classical pianist — it’s not about presenting your own original music, but rather how you interpret someone else’s. Still, I try to bring a very personal voice to the pieces that I play. I’d say my sound is introspective and expressive, often leaning into the emotional layers of the music. Even in the most virtuosic works, I’m always looking for the inner narrative.

Do you have any hobbies outside of music? What do you do to stay creative?

Honestly, not many — music takes up most of my time and focus. I do enjoy drawing, but it’s more of a meditative activity than a full hobby. These days, I rarely find time for it, but when I do, it helps me disconnect and slow down. I think any quiet, visual activity like that can be a way of resetting the mind and reconnecting with creativity on a different level.

Who are some of your main musical influences?

From classical music, I’d say Brahms — especially his symphonic works. There’s something about the way he builds tension and emotion that I really connect with. Sometimes I go through phases when I’m drawn to minimalism, and sometimes, after hours of rehearsals or preparing for a concert or opera production, I need the opposite — something loud and heavy, like rock music, just to clear my head. That kind of contrast helps me reset. I also get inspiration from film scores and folk music now and then — I think anything atmospheric or sincere can leave a mark.

What’s one of the proudest moments of your music career so far?

Well, I guess the proudest moment right now is releasing ‘Dumka.’ It might sound simple, but sharing your interpretation of a well-known and often-performed piece isn’t easy. You always know someone out there will prefer a different version — and that’s okay. At some point, you just have to let go of trying to please everyone and focus on what feels right to you. I took time with it and made sure that I liked it myself first. That alone feels like a small victory.

What would you say are the greatest lessons that you’ve learned so far?

One of the biggest lessons that I’ve learned is that chasing perfection can sometimes kill the magic. Especially in classical music, where everything is so detail-focused, it’s easy to forget that we’re not machines. Some of the most interesting moments happen when things don’t go as planned.

When I was recording ‘Dumka,’ we had a few takes to choose from. In one of them, right before the return of the main theme on the second page, my finger slipped and one note suddenly jumped out much louder than intended. I didn’t stop the take — I just leaned into it and shaped the rest of the phrase so it felt like it belonged. Later, when I listened back, that moment actually stood out to me in a good way. A few days later I wrote to the producer and said, ‘You know what? Let’s use that one.’

So, I’d say the lesson is: if something feels alive and honest, even if it’s not technically perfect, it’s probably worth keeping.

What drew you to ‘Dumka,’ and what was your experience preparing and recording it? Was there something personal that you wanted to express through this piece?

To be honest, I didn’t expect to play ‘Dumka’ at all. It’s a beautiful piece, of course, but for some reason, I’ve always associated it with student repertoire — not because it’s easy (it’s definitely not), but because it’s something you often encounter in school years. But once I moved to the U.S., I realized how much this piece is actually appreciated here. It kept coming up in programs, concerts, and festivals — maybe even more often than I ever heard it in Russia, which is kind of ironic.

That unexpected popularity made me look at it with fresh eyes. And the more I played it, the more I felt how much emotion is packed into it. It’s like this quiet monologue that suddenly spirals into intensity, then pulls back again.

What’s on the horizon for you? Are there any upcoming projects, performances, or ideas that you’re excited about exploring next?

I’m working on a few things — more French repertoire in the studio, some live performances, and new collaborations with other musicians. I’m also sketching ideas for my next full-length release. It’s still early, but I’m interested in presenting classical music in a more personal, maybe even unconventional way. Something that feels both familiar and a little unexpected.

Where can people hear more of your work and follow what you’re doing?

You can follow me on Facebook at facebook.com/rinakharrasova, where I share updates about new recordings and upcoming performances. You can also listen to my music on Spotify and Apple Music.

Thank you for the great interview; wish you much continued success!