Anna Bondareva & Piano Revenge Festival’s 1st edition.
Breaking all boundaries and borders. On the way to new heights and new music
We interviewed the festival’s artistic director and founder, composer and pianist Anna Bondareva, to find out all the most interesting things about the first edition of the festival, which took place in Paris in June.
1.It’s been ten days since the final day of the festival, and it was the Day of Music, in France. It must have been a special event during the festival, and what moments would you like to highlight?
Indeed, the Music Day, The Fête de la Musique, was the longest day of our festival, as in addition to the two evening concerts, we had a daytime master class. All our pianists had to adapt to the weather conditions, because it was very hot! But there is something unusual about this day, and that is its incredible power! June 21st is also the summer solstice; it’s just pure magic!! Summer Solstice reminds us to turn inward and find the nourishment and inspiration needed to grow and evolve. Our theatre is located in the courtyard, so we could hide from the extraneous music that filled the streets of Paris that evening. It was like a dream and it was so intense. Incredible energy was flowing and the cozy theater on the Île Saint-Louis, which is on the banks of the Seine River, was filled with the sunny fluids coming from the hearts of the musicians playing piano music for the sophisticated Parisian public.
2.What goals did you set for yourself when you decided to organize your festival? And how do you evaluate the results; did you manage to achieve them?
Of course, it was not an easy decision to embark on this adventure and start creating an independent festival from scratch. But I already had such an experience, because twenty years ago, I had already created and founded a music festival in the theater in Montmartre. Then my life changed, and I went to live in London. Now I live in France again, and having given solo piano concerts at Le Théâtre de l’ Île Saint-Louis Paul Rey last year, I realized that it is possible. As a composer and musician, I understand how difficult it is to convey new music to the listener. Paris is a wonderful place to test yourself. And our international musicians have accepted this challenge. So, from an artistic point of view, it is a success, without a doubt, for all of us, for everyone who was involved in the first edition of the Piano Revenge Festival.
We took many risks, and all of them were justified, from a cosmic and evolutionary point of view, we are working for the future, and not everything is measured by material goods. By creating beauty, giving space for new music and piano art to unfold in the vastness of Paris, we change the aura of the city and earn ourselves cosmic currency and good karma, which is much stronger than any bitcoin.
3.What was the criterion for choosing the artists, what is the main thing for you as a creative person and the artistic director of the festival?
Igor Stravinsky once said, “I haven’t understood a bar of music in my life, but I have felt it”. The same thing happened to me, I just tried to catch the essence of the artist, to feel his inner world. And of course, the desire to take part in our festival must be undeniable. This is the starting point. We were lucky, all our artists fit harmoniously into our festival program.
4.If anyone has read the biographies of the festival participants, one never ceases to be amazed at how different their musical preferences are, as well as their careers. Did you try to create variety on purpose?
Yes and no. In one respect, one of the concepts of the festival was to combine the classical piano tradition with the minimalist piano music that is now gaining popularity. For me, neoclassical music has its roots in the early twentieth century. The main innovators of piano music of that period are Alexander Scriabin, and also Erik Satie, whose centenary of death is widely celebrated this year.
5.Anna, please tell us a little about the history of this theater, why did you choose this place to hold the first edition of the festival?
Many years ago, I myself came to this theater as a spectator to hear the pianist and composer Alain Kremski, who often gave recitals there, since he lived on the island. His piano works demonstrate a highly original imagination, revealing a real metaphysical preoccupation. We met after the concert and remained friends. There is a grand piano in the theater that belonged to Alan. And it was important to me that all the participants did not forget about the origin of this musical instrument and its owner. Because this is what helped us hold the festival. I would say, that in a sense, Alain Kremski accompanied us on the subtle plane.
6.After the first festival, are you going to continue, are you already planning the next edition, and if so, what will it be like?
During my performance at the closing concert, between the pieces of music I played, I expressed a thought that had been coming to me since the beginning, since the very first day of the festival. Our festival has no borders. Today it is in Paris, tomorrow we can go to Venice, Vienna, Shanghai, Athens or Chicago… Everything is possible if you believe in yourself. When you do a good deed, the reward comes at the most unexpected moment. And we are open to surprises and gifts of fate. Since we have nothing to lose, we have music and the boundless love of our artists.
7.Your very unusual approach to the project cannot but inspire. Probably, you already have many fans and people who want to become part of this new community of pianists. How do you plan to combine work on the festival and your musical creativity?
“Choose a job you love, and you will never have to work a day in your life.” This quote by Confucius, helped me determine my major benefits when founding the Piano Revenge Festival. I am doing what I love. A true composer is always in the creative process, even when it seems to everyone that he has fallen asleep, he is simply preparing the ground for new music, and when that very moment comes, he will definitely release this sublimated music into the world.
An interview article by Catherine Melody