TPP S1 E4: Chantal Balestri--Pianist, "Global Leader," and Festival Organizer

Welcome back to another episode of The Piano Pod with Eric Hunter, Yukimi Song, and Clara Zhao.

The Piano Pod is a monthly podcast where we interview some of the brightest talent in the industry. Each episode features a guest speaker who is making bold new innovations that may change the way we play or teach piano.

Our guest of last episode was Mike Grande, who is a creator of the pioneering video conferencing platform called Rock Out Loud Live, which could reshape the way virtual music lessons are taught. If you're teaching or taking music lessons online right now, you should definitely check it out and let us know what you think.

If you want to find out more about us and why we started this podcast. We have an introductory video on our YouTube channel and SoundCloud channel where you can also catch up on the previous episodes. The links are in the description below.

Today our guest is Chantal Balestri, performer, teacher, and organizer extraordinaire. Chantal, how are you doing today?

Hello, Eric. Hello, everyone. Thank you.

Hi.

Thank you so much.

For joining.

Thank you.

So Chantal is Zooming in today all the way from Italy, where she has been living since the beginning of the pandemic. Well, beginning for Americans, basically since March, right? Prior to that, she was in New York City here with the rest of us, and we will get to the story of how she ended up back in Italy a little bit later. But first, Chantal, can you tell us a little bit about yourself and what you do?

Yes. So, hello everyone again. So, I'm a pianist. So, I have a career as a performer. I am a teacher. I teach in different institutions, even now in New York, but also in Italy right now. And I am also an organizer, promoter, manager of musical events. In fact, I have my own festival.

Wonderful. Wonderful. Thanks. So, um, now that you're back in Italy, what's life like there? I'm sure it's a big change, right?

That's a very good question. I mean, things are changing all the time, and I'm not just saying that because of the situation, but because it's really like that. Actually, a few days ago, uh, we were having again a normal life— kind of normal life, of course— with masks, paying attention to all the measures. We need to do now, right now. But the thing that changed a lot is they closed the theaters. So again, we are in the situation like in the United States in which we cannot have concerts anymore. And we were like, you know, people were already going back to have concert or going to concerts like before, and now no anymore. So we are not in a lockdown, But still, for artists, it's a very difficult time, and because things are changing all the time and it's so unpredictable and it's hard to plan and to do things.

Yeah, I think all of us are feeling the pinch of it right now. I don't know if it's true or not, but I saw a statistic the other day that I think 62% of performers may be leaving the industry because there's just no performances, live performances right now. But we'll get to that a little bit more later. Let's— maybe we'll focus on happier times a little bit. Can you tell us a little bit about how you got started as a pianist and what it was like growing up?

Yeah, I want just to say one thing about what you just said. We need to be positive. Let's not look at statistics, please.

That's right.

Yeah.

So we will see. We will see. And we can find a way. And as we said, later on, I'm going to speak about that. So briefly about my life. Well, I mean, like many other musicians, I start when I was a kid. I started in Italy. I mean, I'm half Italian and Swiss, but I grew up in Italy. I start like many private lessons. I start the conservatory very early. I was 10 years old. And I started like— I was practicing a lot solo repertoire. I was focusing a lot like in Italy, but it's a lot of pressure like when you go to conservatory, you need to be a big soloist. But then, of course, I always continue to think like it's important to practice and to work on my solo repertoire, but I start opening a little bit, broadening a little bit my mind and trying different things. So I started doing music when I was 18, which is kind of late actually, but I didn't get an opportunity before because of this mentality. And because of a festival. And then I graduated. I started doing other experiences and with other musicians. And then I also moved to— later on to another country. I moved to Germany. And this actually really helped me to realize that there was so many opportunities to start working. So with singers, for example, other instrumentalists. There was the Department of Contemporary Music. So I discovered a new world there. And after all, I came back here and finished my second degree when I was pretty young, let's say, because in Italy it was allowed to take a degree very early, like when you were still in high school. So I could take my master's degree when I was already 21, I mean, or just 21. And then I was like, well, what do I do? I like being in Italy, but I want to go and explore more. And so I decided to go to New York. And this was 5 years ago now, it was 2015. So I did, of course, like many, the applications and I got in school there. I was in New York University. And New York, I got to have a lot of experiences, which led me also later on to have more experience in the organizational side. So to work as a promoter first, and then later on, like, myself creating something new.

Can I ask you, how did you choose New York, and were there any other cities or countries that you considered at the time when you were looking to make a change?

Well, I, um, actually was considered first to go back to Germany because I really love the experience and being with myself. I felt my culture was close to the German one, and so this was my first thing. But then something happened in my life which made me realize that maybe another way would have been better for me. So basically, a long story, I tried to make it a little bit short, is like I had some friends who moved there, and they start asking me, why you don't want to go to New York as well? And I was like, no, I, I don't think this is something I want to do. But then a lot of coincidence happened in my personal life, and knowing people also that we were moving to New York. Also on a sentimental life, I met a person who was moving to New York, and then I met also in Italy a professor from the New York University who became later on my own professor. So there was a lot of things which made me feel, well, maybe I should really go to New York.

So it sounds like things were converging on New York as the most logical destination for you.

Yes. I mean, it's just, I, I saw that life was giving me signals and I was like just listening to them and say, well, maybe I should go overseas and not just stay here in Europe. So I did that.

You know what, all the, you know, coincidences happened and then that led you to New York. It's not necessarily you were looking into, I am in the future, I'm going to go to New York. You know, some people have that desire, but not for your case. I didn't have that strong desire to live in New York either, but things happened and New York was the place for me. Now But as a European, what do you think about doing music in New York and Europe? You know, obviously classical music started in Europe, and then Europe is the place to study. That's what I was taught when I was a kid. But now a lot of people come to the West, as in, you know, this continent. Not just in the United States, but some people go to Canada to study classical music. So what do you think of that?

Well, this is a really good question. And actually, to reply well to this, I would need probably the entire hour to speak about the differences between Europe and the United States. And there are many. Surely I can say that you can tell that Europe is where classical music come from. And there is a deep attention to traditions, maybe too much. This is probably the limit sometimes in the sense that, as I said, I grew up in an environment in which I was a pianist, I was a soloist, and this was the only way. And this is unrealistic because most of the pianists, they cannot reach the big career as Martha Argerich, Kristen Zimmermann. Of course, they are— you can do concerts like I'm doing, solo concerts, but thinking to just play in the most beautiful theaters, it's not realistic because this is the way it is. So it can be like— it can be good because they prepare you really strongly, and actually the requirements when I did the conservatory were really high. Like when I graduated when I was 18, I had to prepare 2 hours and a half of repertoire divided in 2 days, 24 hours, and I had to do 2 piano concertos. And so of course when I ended this, I felt like already, you know, that I studied a lot, that I had already a lot of repertoire. So this was good, but on the other side, they they don't really look at the practical life, what to do later on in your life. Things are changing, I'm not saying, but still I can say that this is kind of a limit in which they are trying to work on. And the United States, what I felt, I mean, in New York, because I need to speak about New York, of course I had concerts all around the United States, but I live just in New York. So this is my experience, is I had the feeling that I could experiment, that I could meet people with great idea and trying to do to do so many interdisciplinary— can I say that?

Interdisciplinary. Yeah.

Yeah. Sorry. Sometimes I'm losing my English a little bit, but—

Oh, it's okay.

It's okay. Yeah. And, um, and so, um, it's a good place to think bigger, to do some very beautiful projects. And so I felt really inspired and actually it's also easier then also to find some jobs. It's true. It's something to say, to acknowledge, especially for us pianists, in which it's very hard also to find job like pianist in orchestra. So, for example, if you're a string player, probably it's easier for you in Europe to find a job in orchestra. But if you're a pianist, it's not as easy.

Yeah.

Yeah. I mean, certainly there's only room for so many. Solo piano careers, right? And the rest of us have to be a little bit more inventive and sometimes dabble in different things and have multiple different jobs to make it work. Speaking of which, I know you're a very dedicated teacher. Can you talk a little bit about your experiences with teaching?

Yes. So I really love teaching, as you say. And I started not right away. I didn't— think when I was a little bit younger to do that. And it happened naturally, casually, to start to do that when I got to teach in a public school in Italy first. And I was very inexperienced back then, like everyone when they start. But immediately I felt like it was such a privilege to be able to help the new generation to love music and to appreciate and to not just appreciate but be able to play well and master the piano. So when I got to New York, I got offered, along with the scholarship, the opportunity to be a adjunct faculty at NYU. I was very happy about that, and I really enjoyed the experience. Of course, I was working with college-level students, so it was different, but I really do enjoy working with college students and also younger students as well. And right now I have students are area— NEH, any level, and I'm still maintaining teaching online from Italy at different times because of the time zone. And I'm also teaching right now in Italy, so because I had to, to adapt to the situation, so I'm maintaining that, and most, mostly privately. And yeah, so this is basically what I'm doing. And during this time, so, so I work with my students in not just in piano, but I started— I try to take the experience I took from New York, from what I learned in New York to put in my teaching. So I really pay attention not just technical repertoire side, but also try to combine also compositional side. And so I work a lot about composition with my students as well. So I did a little project recently in which all my students for the lockdown, had to prepare their own piece, even the ones who started like 5, 6 months.

That's amazing.

That's great. Yeah. Wow.

So, Shantel, I have a question for you. You know, I know you a little bit on a personal level, and I think in certain way, I mean, I have such respect for you, and you came here very young, you know, and I can relate. I came here when I was 17. And I think one time you mentioned that you also didn't come from a musical family. How did you, you know, come up to be so driven, right? What drives you to keep on doing all these things at such a young age?

Well, this is a very good question as well. I mean, no one in my family is a musician, but anyways, I can tell from my— especially my mother's side, but also some people on my father's side have a love for music. And I anyways come from Italy in which Luckily, still our grandfathers, not all of them, but some love opera. So I grew up with opera like being a big thing. And so, and actually loved to sing. I wanted actually to be a singer, but I realized very soon I was a better pianist than a singer. So I continued with piano. And so what drives me, it's, I mean, I started playing piano in a particular moment in my life. Even though I was very young, it was a hard moment because of a familiar situation. And for me, music was my moment in which I could really enjoy my time with myself. And I was simply loving what I was doing. And so for my whole life, music has been always something for me like this is saving me in any situation. It's good in any case, even the worst situation, music is there for me. So I have this relationship with music. It's really part of me because of my previous experiences. So I just love music because of that. And then I saw later on how music can influence other people, how it can be useful for other people. How it can really change life in a— not just for our spirit, not just how I was when I was a child. I was thinking music was very good for feeling better, but it can actually really help you in a practical way. So, yeah, so I'm really grateful for the music, and this is what motivates me to go always on and to continue to be a musician and to be, let's say, not just a performer, but also a teacher and then also organizer.

Yeah, I can see you're very passionate about that, so that's amazing. When the hard time comes, you know, we always need this passion to drive us forward, right? Thank you.

So besides teaching in New York, um, and performing, you said you were organizing, um, events. Can you tell us a little bit more about that? Well, actually, my first, uh, big experience in organizing— I mean, I always had an attitude in in a sense, like I liked organizing things, even non-musical things. And it's something like I always enjoyed since I was younger. So, so in school, when there was some project at school, I loved doing that. But let's say the most official thing I did was actually when I was moving to New York, because as you know, the fees are a lot higher than in European ones. And we don't need to worry too much about paying university fees, but it was a different story when I had to move to New York. So I was very lucky because I found the right people and I was able to organize the first concert series with some of my friends and amazing organizers in Milan, which is one of the main city, cultural city in Italy. And so I organized concerts with my friends, and I really loved my experience. First, of course, because it showed how much friendship can be amazing when it's connected to music. And my friends, of course, helped me to raise money to go to the United States. So this was amazing. But then I also enjoyed also the process of organizing everything. And I say that this is an experience I want to do it again and continue to do that. So when I was then in New York, I actually didn't search for particular things to do, but I was contacted by a professor of mine from Italy who founded an international festival in Italy, and he asked me if I wanted to be the promoter in the United States. And I took this challenge, and it actually was very good, very successful, because we got many applications from the United States. For the first edition of this festival. So I continue another year, and then came very natural to me when I decide to— not me, just me, because there is another person— we decided to create the first international festival ourselves.

Which brings me to something else I wanted to talk about, which is the Global Leaders Program that you're involved with. Could you talk about that a little bit?

Yes, actually this is— okay, I tell you a little bit about the program. So the Global Leaders Program is a program which exists since around 10 years in United States, even if it was funded by the Youth Orchestra of Americas, and the main organizers are from Chile. And it's very unique because it's for performers, so for musicians who have a career as performing artists but also are really into the social impact in the sense that they are looking to organize or they organize events which impact the society. So, and they have every year around 40 court members, and there is a selection process which is not easy to do. And if you are selected, basically you take lessons, actually classes weekly, with renowned universities around the world. Of course, everything is online, even before the pandemic, so it was already online and they help you, I mean, to work for your projects and give you the skills that you need to make these projects happen. And it's amazing, not just because you have opportunity to have these classes, but also because they gave you the opportunity to meet, and actually they have a base in Chile. And in fact, I met all of the cohort members this January, right before the pandemic. And I was there 20 days and we meet and we share all our ideas. And it was really an amazing moment because you really have a chance to be surrounded by people who really have your same goals and really think in your same way. So, which is not always the case. And then also they give you a lot of contacts. So in general, or around the world, of associations, like one very famous, El Sistema, in the different states. And they are able to, I mean, help you to reach your goals also throughout the help of these associations. So I was very lucky to be part of this last year, so the 2020. Unfortunately, I had to leave because— it's not that I had to leave, I took the decision to leave because of the pandemic. I had a project, a big project I wanted for my festival to happen, but it was meant to be in person. So I felt like I could not comply what I really wanted to do. So I decided to put this on hold and I'm actually back right now on it. And so I'm going to continue with my project for Vis 2021, hoping that this year we can do in person. If not, anyways, I will do it. Right. Not even this year, I'm just waiting to continue to work on the festival and yeah. So, and I'm very happy to be part of this program.

Let's get to the elephant in the room, which is the pandemic, because I know it's been very— it's been difficult for all of us, but you have a really interesting story. So you were here living in New York, family was in Italy, and tell us about it. What happened?

Well, what happened? It happened like Yeah, I had to make a big, big choice on what to do. So in order to understand better why I decided to go back to Italy, I need to explain a little bit about the situation. So as you probably, many of you know, Italy was the country most affected by, by the COVID after China and the first one after China. So I was in New York, it was the end of February basically. And I was looking at the news and I started, of course, to freak out because I saw that this was happening and nobody knew really what was really going on. And I remember thinking that this was happening in a very, very small town in Italy, and I was so surprised. I was like, how is it possible that this is happening in such a small place in Italy and it's not happening in a big city like New York, in which everyone comes from everywhere in the world? So I was just surprised and I was feeling very stressed. And I remember I was speaking with my roommate and with some friends in New York saying, this is very wrong. I don't know if I can say very wrong, but there is absolutely something that I don't understand because probably this virus is already here. I'm pretty sure the situation is like that. So I started feeling very uncomfortable going around, taking the subway and see so everything like nothing was happening. And I started feeling scared. And so I didn't enjoy anymore going to work. I didn't, I didn't, yeah, I didn't feel like it was, was right what was happening. So anyways, I didn't think back then to leave until I saw a discussion by the president. It was in the middle of March, saying that in 2 days he would have closed the borders with Europe and people could not come to Europe anymore. And from Europe, sorry, could not come from Europe anymore. And so I was like, in the beginning I didn't really react, but then the day after I woke up feeling, okay, I think things are getting bad, even because of course New York University closed. So I had to do lessons online. I had to have a concert and they didn't want to cancel it. And I was the one pushing to cancel it. And I was sure things were going to close very soon. They had no other possibility. And I was like, well, the president is going to close the borders. I will be blocked here. Do I want to stay here and not be able to see my students in person and being alone here in New York, or it's better to stay in Italy with my family? So in less than 24 hours, I bought a ticket and I was on a plane and leaving. And I honestly didn't expect to be so long. I thought like I will be back in one month, one month and a half, but actually now it's 7 months. I cannot I cannot even believe 7 months have passed. And the fact is that I'm not back in New York simply because I'm not allowed, because all the visa for worker right now from Europe are not allowed in the United States. So even if I would like to go back now, I cannot.

And that's our loss, isn't it? Yeah. So it just, it makes me think that, um, you know, during that time it was a very scary time because nobody knew what was going on and we were missing pieces of the story that we have now. Um, maybe you were lucky to get out when you did. What has it been like living in Italy since you got home?

Well, um, first, like, I think for many people was like What's that? I was in New York in the middle of so many things. As I said, I was organizing— I mean, not organizing, I was going to perform in a concert. I was doing so many things in New York and then the day after I'm in lockdown in Italy in the middle of nowhere because really my house, it's in the nature. There is nothing around. And so I was like, no, this is It was a very strange situation. And so the first 2 weeks were very hard, but then I started doing the activities I told before and I started finding energy. And then I was very, very stressed about my own festival because the festival would have been in summer. And I was like, "Should we do that? Should we not do that?" And so then we decided to cancel it. As first reaction because it sounded like there were no other ways. And this was like in April. But at the end of April, I decided that no, I need to find a way. I cannot let that all the work I did because you work the whole year to make it up in a festival of 10 days, really. So I didn't want this to be thrown away and I said I need to do something. And so I took a took the advantage of the lockdown because the fact I was blocked home, I could not do anything else. And I worked really so many hours all day on making it happen. And in 2 weeks, a new version of the festival was already online. This happened so in the middle of May.

Yeah, I think that's really incredible. I mean, now many months later, we've kind of gotten used to the idea of doing everything musical online. But in the beginning, when, you know, Zoom wasn't even an established platform and everybody was kind of transitioning and musicians were just standing around with their hands in the air being like, what do we do? Basically, most of the summer festivals were canceled, you know. So I feel like you were really a pioneer in figuring out how to move things online and keep going.

I want to know what, what good— like, what's the positive of this whole experience, you know? I mean, I, I feel like that's going to be so inspiring for the young Younger artists, right? Like, we are always trying to drive, drive ourselves and work so hard. And it is hard. It is so hard, you know? And for you, you're still, yeah, so working so much and motivated. So what is the positive of all this experience?

Positive, you mean?

Yeah, the positive experiences.

I mean, of this pandemic, the positive was the festival. Because honestly, I think that we didn't realize back then, but because Because of this online edition, I think we upgraded, if I can say that. We reached a next level. And how? Because this was the challenge, to move a festival online. I had to change things, okay? They could not happen like normal life. But instead of doing the same thing, we tried to find the opportunities which normally we don't have. For example, one thing I was really happy about the festival was that we could include guest artists that usually are so busy with their solo career that they cannot even accept to participate in a festival as guest artists. So I reached these people really carefully and I asked them if they want to join. I was so happy to hear that all of them say yes. So we had really big names since this is For pianists, I can say that we had Beatrice Rana as one of our guest artists. We had other two Italian pianists that are really well known, especially in Europe. One is Filippo Gorini and Federico Colli. It's casual that they are Italian. The other ones, they are very European and from other countries around the world, but the pianists were Italians. And they usually are really busy with— they're, as I said, with their solo careers. So it was great to have them to inspire the students. And also, you know, I included them also, a series of people speaking about how to be a musician and entrepreneur, how to be a musician and be organizer in general, and how to manage the time and doing everything, how to include social impact in music. So I took all the knowledge I acquired in this last year and I tried to put in the festival and I could do this just because it was online, because it was impossible to invite all these people to Civizzano. Civizzano is the main town where we do the festival and so we decided to do online. So why I'm saying all of this, that there is always a way and we are extremely lucky to live in this era in which we have internet right now like you do. Like you're doing this amazing podcast. We could not do that. We just need to find the best way to, to do this. And also, you can always find a different opportunity on a personal side. I'm here, I'm in Italy, and it's hard because, uh, in Italy in general, it's very hard finding jobs. And if you find jobs, uh, It's also, it's not really rewarded. Let's, let's say that. So it's, it's, it's, it's hard, but anyways, what you can do, I'm, I'm applying to as many jobs as possible. And right now I applied to conservatory, for example, in Italy, there are many openings. Luckily there are many openings. So I'm seeing, I'm also in Europe. So I'm trying to readapt because I, I, I will like to go back to New York, but I'm not sure everything is so unsure right now. So You just need always to search for some plan B, but doesn't mean that is something that you don't want to do. It's just, uh, it's something different, right? You're expecting. And this is, so never, never think, oh, there is no way. There is always a way.

You're such a fighter. That's very inspiring for so many people, I'm sure. Yeah.

That's great.

So I hope you will come back soon, right? Is that the plan still?

Yeah, I mean, as I said, I would love to, but it all depends on how this travel ban is going on. I mean, if it's changing, it's staying the same. I have no idea about this. So this is why I don't want to just wait, because I did actually did this mistake. Taking actions is great. Many did this mistake, not just me, about people from other countries who doesn't live anymore in United States and to just, okay, let's wait when, but makes no sense. So this is applying to many jobs and then I will take a choice whenever I get the chance to go back, I will decide then.

Amazing. Just keep on taking actions. If there's a dream, there is a way, right?

So perfect.

Do you have any advice for young artists? Coming up?

Oh, wow. Yes, I actually have many, and many I think they are from just what I just said to Clara right now. I mean, my advice is, of course, to be dedicated musician if this is, of course, your goal. If you want to be a musician, of course, you need to focus on practicing and practicing. It's the first thing. But to be open to try new experience and not be afraid If you don't feel comfortable, it's fine. It's fine. Every time we try something new, it's— you are never ready, for real. So just go with it and try also to— I know that it's hard if you're shy, but if you see something interesting, don't be afraid to go to the person who thinks it's organizing this event or to speak with someone you think might be interesting for you to know. The worst thing might happen is someone saying no or not really replying to you, but it's almost never the case. I learned a lot from my experience that every time you ask something and that you think it's important and it's meaningful, most of the time people reply positively to that. And so just present yourself for who you are and really try to see what to explore and see what you like the most. And yeah, trying something new. And both on the performing side, which means with repertoire, explore with repertoire, explore with playing with other people, explore with playing different ensemble, and also with I don't know, with dancers, with artists in general, and also explore outside of just the performing. And then of course, everyone is different and will find what's the best. And you will also recognize your limits and what are your qualities, which is very important because knowing your limits is important. As I mentioned before, I love doing composition with my students, but But if I will see that they reach the level in which they need to continue and to go on, I will not fit for that. I will find someone else. So you need to be humble also to know everything. And how you know these things? By doing these things. And you will see then later what suits best for you. It's amazing.

So maybe to sum it up. You might say, experiment freely and try a lot of things, but then focus on your strengths for your career.

Exactly, exactly. And yeah, don't be afraid and meet people and speak with them, even if I know that for not for everyone is easy, but you with practice, it gets easier.

I'm just curious, sorry. What are you working on? I see the score on the piano. So what are you working on?

Well, that actually, it's a Chopin waltz because the last student I had was playing a Chopin waltz. It's not my repertoire right now.

Oh, okay, okay.

Yeah, right now, actually, right now, this is a good question because I was planning to have some concert which just got canceled. It's like a little bit changing of the plan. So sometimes it's hard for me to find, like for everyone I think, motivation. So I'm actually in a moment in which I have some repertoire I want to work more, like Schubert. I did a concert this summer on the Wanderer Fantasy. I have some Schubert to lead. I'm working some Liszt etudes, Chopin etudes. And I wanted to decide right now what to do next about some contemporary new pieces, and I was watching out some more about it. And but right now, yes, I'm practicing, for example, sorry, interrupting sometimes and just saying that for fun, just for fun, but I don't think this is fun. It's Prokofiev, the Third Concerto. I'm just practicing. So fun.

It's my favorite. Yeah. Yeah, it's fun.

Yeah, just do. But I don't have any performance actually. The first performance that should happen and it will be in February, March, we still are looking for the date, should be with orchestra. And so, and they gave me freedom for the concerto. So I need to decide what to play. Let's see now, but it's a working process. I don't have a clear idea because of the situation. So sometimes I practice something, uh, like just because I want to, and then I go next without focusing too much into it. I, I tend to, um, when I don't have a fixed goal, to not be, um, completely dedicated to practice a piece until it's completely ready. I prefer having a goal. I know, okay, I have a concert, and so I need to be prepared for the concert.

Sure.

Yeah, yeah, yeah.

Which orchestra are you playing with?

Actually, this—

Or is that a secret?

No, no, no, no, it's not. Actually, I think the person will be very happy to hear. The organizer is Daniel Montes. He's a conductor. Conductor, Bolivian conductor, and is managing a school in Honduras, Victoriano López. It's very nice and they have an orchestra there. So it's actually— this is connected to the Global Leaders Program actually. And so it's a project. So I will go there to perform with orchestra, but also I will be teaching the piano students and doing some concerts with them. I'm thinking already to do some 4 hands, sends things together. So this is the plan. It all depends on the pandemic. And actually, this would have happened already. I don't remember now the date, but should have already happened. We had to— ah yes, in September. You see, I'm forgetting right now because so many things got canceled and we postponed, and other things are going to be postponed, but still they are not able to provide me any date, so I'm, I'm here waiting for that.

As a woman, as a female professional, so what do you feel the difference between on this continent currently where I am in Europe, but even in Europe you said you studied in Germany So Germany and Italy are completely different in terms of that gender dynamics, traditional versus modern, but contemporary, right? So what do you think? What, what do you think this gender dynamic contrast in the United States and where you are right now, let's say?

Wow, this is A very important question, and I need carefully to— it's not easy to express carefully what I would like to say. Um, okay, there are differences. Uh, I need to say that as an introduction is I always try to fight with my whole life in the sense that I try not to think when I'm I'm working as a professional, that there are gender differences, which doesn't mean that there aren't. Of course, I'm not saying that, but I just say that I never find, found that there are way in which woman should act and men should act. I just be myself. I don't mind if I'm a young woman. I always did what I wanted to do. And if someone was a little bit like talking to you, to me in a sexist way, like, you are a woman, well, for me, that person disappeared right away.

Sure.

So, um, I, I honestly felt always very confident with myself and never really care about that dynamic. This doesn't mean that things didn't happen, and happen actually. I had quite bad experiences, and I'm sorry to say, sad to say, that in Italy, especially in Italy and with Italian people, because something also in United States happened to me And I was in bad situations. And like, you know, for example, in the United States there is this strict way in which professors should not date or have anything with a student. I know it's an uncomfortable topic, but in Italy this is actually happening, or a lot of professors flirt with students, and something that's still happening now. And I had this experience with more than one professor, more than once. And it's, it's just, just bad. And unfortunately happened more in conservatory, in the music school, than in my school, normal school. And this is bad. And I hear the stories happening all the time. I just have a friend who shared with me about it and what happened now to her with a professor in conservatory. So, and the thing is that if happens, it's very hard to find a way to protect yourself, let's say that, because there is still not culturally a way out to say that this is not okay. People still don't think it's not okay. And in United States, I think this is stronger in the opposite side, which means that Of course, there is a lot of attention to that, and I'm very grateful for that. And so at least these things doesn't happen, let's say. So I'm speaking now when you are students. This is the risk when you're a student. Then regarding for job, I need to say I was, as I said, pretty lucky in that, in which means like I always went in my direction, and whenever I saw a situation which which scared me. It just took away and eliminated the person from my life. And, you know, and I thought about it a lot and I say, how can I help in this way? And some people suggest to me, for example, like I have a competition in my festival for composers, you know, and I could give a prize for woman. And I was saying, no, I don't want that simply because I mean, for sure, it's amazing woman who is amazing will deserve a prize. And we don't need that. I mean, I don't— I just wish we don't need that. This is my opinion. I know it's maybe unpopular. Yeah. But I don't want because to have a special prize because I'm a woman. I want to have a prize because I'm a good composer., and she should deserve that anyways. So we decided to make it anonymous, okay? And of course, one of the winners, 3 winners, was a woman because, simply because, yeah, she was just doing great and we didn't have to do anything for this to happen, you know? And, but I realized that actually there are other countries in the world in which the situation is is a lot worse. So at the end, even if I see that things are not good and can be a lot better, and they should be better in terms of wage— sorry, no, wage income, being paid fairly and other things— there are situations which are worse around the world. So one of the projects I'm working right now is trying to collaborate with some association, uh, like in Afghanistan and Dubai, to bring women in music here.

Wow, amazing!

Because that's different to the situation. It's sad to say, but just because they— it's, it's harder for them to get opportunities. So for me, makes sense to empower them more and to help more this, this, this woman from this country. For the rest, I just I just hope that, and I'm fighting this every day just by showing what I do and I could be a man. I don't know if I can say that. I just love what I do and I don't feel like I need to prove anything because I'm a woman, just myself. And I just wish that everybody would acknowledge that. Salve a tutti, sono la direttrice artistica dell'Uligiana International Ballet Company. MUSIC.

So Chantal, what was the name of your festival again?

Lunigiana International Music Festival. It's the name of— Lunigiana is the name of the region in Italy, in the north Tuscany where this is happening. And it's called Lunigiana because we literally go all around the region to the concerts with our students from all around the world and teachers. They perform together and in 10 days, and we actually have 18 concerts in 10 days. So it's pretty intense.. And it's just amazing because it's all in the nature. We do concerts in caves, by the castle, in the castle actually, by the sea, lake, by the mountains. So it's just very, very, very beautiful for the audience, but also for the students themselves to perform in these places. And then of course they get lessons. And it's not just pianist, piano and chamber music too with string players and voice students. So this is basically the festival.

It sounds absolutely magical. And the link to the website will be in the description for the podcast. So unfortunately, I think that's all the time we have today. We wanted to thank you so much, Chantal, for joining us today. And thank you to our audience for listening.

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