affectionately known as the ‘Saw Lady‘, has spent two decades bringing the rare art form of playing music on a carpenter’s saw to audiences around the world.
She performed with the Israel Philharmonic Orchestra conducted by Zubin Mehta, at the Spoleto Festival in the orchestra of ‘Monkey – Journey to the West’, with the Westchester Philharmonic Orchestra, the Royal Air Moroccan Symphony Orchestra, the Manhattan Chamber Orchestra, the Amor Artis orchestra, the Riverside Orchestra, and at Lincoln Center’s Avery Fisher Hall with PDQ Bach composer Peter Schickele and with the Little Orchestra Society. November 2007 marked her Carnegie Hall debut as a musical saw soloist and June 2008 marked her Madison Square Garden debut.
Television appearances include FOX (Good Day New York), ABC (Good Morning America), NBC (New York Live), MTV (Andy Milonakis Show), VH1 (Behind the Music), History Channel (Tool Box), PBS (NY Voices), MSG (NYC Soundtracks)
Film appearances include ‘Dummy‘ with Adrian Brody and The Heart is a Drum Machine. Natalia’s musical saw can be heard on the soundtracks of films such as Time Out of Mind with Richard Gere, Fox Searchlight’s Another Earth, American Carny, I Sell the Dead, Miss Stevens, When Jack Went Glamping with David Arquette, El Carnaval Sodoma/Arthuro Ripstein and the HBO series The Jinx: The Life and Deaths of Robert Durst.
Radio performances include NPR (A Prairie Home Companion), XM Satelite Radio, WBAI & WFMU.
Natalia received citations of honor from the New York City Council, the New York State Senate and a medal of honor from Paris, France.
She was chosen by Time Out New York, the Village Voice, the New York Press and the New York Resident for their Best of New York lists, and was featured in articles by the New York Times, the Boston Globe and Metro New York.
Natalia has recorded on Capitol Records, Universal Records and Atlantic Records with such artists as John Hiat.
Natalia’s goal is not only to preserve the rare art form of playing music on a saw, but to also try and push it forward through the invention of better playing technique, fine-tuning the instrument, educating composers about the possibilities of composing for saw, and bringing the instrument to public awareness. This last part, bringing the instrument into public awareness, she does not only through performances on the legitimate stage/TV/radio but also by bringing the music of the musical saw directly to people where people are – on the street. By performing in the subway she brings the art form to people who might not otherwise be able to encounter it.