With her consistently striking and dynamic performances, 24-year-old pianist Natasha Paremski reveals astounding virtuosity and voracious interpretive abilities. She continues to generate excitement from all corners as she wins over audiences with her musical sensibility and flawless technique. In September 2010, Natasha was awarded the Classical Recording Foundation’s Young Artist of the Year. Her first recital album was released in 2011 and it debuted at No. 9 on the Billboard Traditional Classical chart. In the 2011-12 season, she will perform with major orchestras in the United States including the Alabama Symphony, Colorado Symphony, Nashville Symphony, and Virginia Symphony. In the 2010-11 season Natasha toured extensively in the United Kingdom, appearing with the Bournemouth Symphony, Tonkünstler Orchestra, and Royal Philharmonic Orchestra. In North America, she appeared with orchestras including the Toronto Symphony, Oregon Symphony, Charlotte Symphony, and Berkeley Symphony, as well as making her debut on the Harriman Jewell recital series in Kansas City. In summer 2011 Natasha toured in Latvia and Austria with Gidon Kremer and Kremerata Baltica, performing Chopin Piano Concerto Nos. 1 and 2. They performed at 30th Anniversary and final Kammermusikfest Lockenhaus, of which Gidon Kremer served as Artistic Director. Her past appearances include performances with the with the

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"On her debut recital recording, 24-year-old pianist Natasha Paremski, the 2010 Classical Recording Foundation’s Young Artist of the Year, proves she is an artist to watch — and one who knows her strengths. In Prokofiev’s Sonata No. 7, she brings muscularity, rhythmic sharpness and a clear passion to the angular, acidic music. She charges ruthlessly ahead with ample force and speed when the music demands it and brings a brutal tone to its heavy march. The delicacy she imparts to the fleeting moments of sweetness and the way she emphasizes crucial notes in the middle movement’s lyrical phrases — like a tightening embrace — makes these elements especially poignant."

Ronni Reich, New Jersey On-Line Jan 6th 2012

"Paremski forcefully played the tragic tension of conflict with an almost dangerous exuberance, finishing with a blistering artillery barrage of keyboard artistry."

R.G Small, Mlive.com May 8th 2012

"This is a thrilling collection. She begins with the Brahms. […] I find Paremski’s rendition the most convincing I’ve heard. She’s dramatic, but makes the drama not out of the fortissimo chords but out of the conversation between the aggressive sections and the mellow, even delicate passages. The heart of the piece seems to have shifted from its virtuosity to its occasional fragile pages. […] [In] the Prokofiev her sense of the whole brings out the piece’s coherence, its occasional eerie tenderness, as well as it virtuosity. Finally, the sometimes folksy sonata by Gabriel Kahane is dedicated to Paremski. Kahane… seems to have captured her pleasing mixture of turbulence and lovely serenity. "

Michael Ullman, Classical reviews – Fanfare magazine Mar 8th 2012

"[Natasha Paremski] proceeded to breeze through one of the most challenging piano concertos of the 20th century. Like a true pro, she made it look easy […]The first movement's whirling-dervish scales and arpeggios were all perfectly phrased and shaped by Paremski. But even more impressive was the spell she cast during the variations of the second movement, when Paremski would leave rapid-fire rhythms behind to spin out a delicate web of music-box tinkling, lulling listeners nearly to sleep."

Diane Peterson, The Press Democrat Oct 16th 2011

"…In a technically dazzling and richly expressive performance, she later unleashed considerable power in crashing chords, and her reading of the Adagio ranged from swelling and rhapsodic to delicate and dreamlike; the close of that movement, against warm, murmuring low strings, was a bit of beautifully calibrated magic. Her playing was clear and clean throughout, and she changed tone and dynamics as if with a flip of a switch, particularly through the many transitions of the concluding Rondo… her performance radiated youthful brightness and energy."

James McQuillen, Oregonlive.com Oct 10th 2011

"Paremski was perfectly in sync with guest conductor Rossen Milanov and the orchestra and made the concerto a work of art. It all began to click right after the long orchestral introduction, when Paremski began to play with an incredible sensitivity, balancing carefully and quietly – sort of hand in hand with the orchestra – until the point when she just pounced on the keyboard like a tigress. It was stunning, and it did not stop. It was as if she had channeled the cigar-smoking Brahms. The leaps across the keyboard, the lighting fast arpeggios, the dynamic virtuosity – it was all of a piece – and that was just in the first movement. In the slow portion of the second movement, Paremski created a sense of noble loss and then made the mood grow out of that in a strong and robust way that became refreshing and life enhancing. Her playing in the third movement was glorious. The audience went nuts afterwards and showered her with applause, and the excitement of the response in the hall was also extended to the orchestra, which played superbly. "

James Bash, Oregon Music News Oct 10th 2011

"Natasha Paremski, a 24-year-old Russian-American pianist with colossal technique, was the soloist in Liszt's Piano Concerto No. 1. Though flamboyant at times, she always maintained control. Combining tender lyricism with sweeping phrases and a large palette of pianistic color, she also possesses a delicate touch that ranges from massive power to nearly inaudible pianissimos."

Michael Heubner, The Birmingham News Sep 16th 2011

"[Paremski] animated [Prokofiev's 1st piano Concerto] with youthful power and incisiveness while at the same time sharing some of Francis' genial approach – even in blizzards of notes amid electric rhythms, her legato highlighted cantabile lines and classical clarity."

James McQuillen, Oregon Live Apr 11th 2011