Anna Bondareva & the Enchantment of the Piano Revenge Festival’s First Edition
Breaking boundaries, transcending borders, and ascending to new musical heights.
In the heart of Paris, where the Seine whispers secrets to the cobblestone streets, the inaugural edition of the Piano Revenge Festival unfolded like a sonnet in June. We sat down with its visionary founder and artistic director, the composer and pianist Anna Bondareva, to unravel the magic woven into this extraordinary event.
The Day of Music: A Symphony of Solstice
“It has been ten days since the festival’s final note, which coincided with France’s Fête de la Musique. How did this day resonate within the festival?”
Ah, the Fête de la Musique — a day where Paris itself becomes an orchestra, and the air hums with melodies. For us, it was the longest and most luminous day of the festival. Beyond the two evening concerts, we hosted a masterclass, a communion of minds and hands under the summer sun. The heat was relentless, but it only added to the day’s intensity.
June 21st, the summer solstice, is a day of pure magic. It invites us to turn inward, to draw nourishment and inspiration for growth. Our theater, nestled in the courtyard of Île Saint-Louis, became a sanctuary, shielding us from the cacophony of the streets. Yet, the energy of the city seeped in, mingling with the piano notes that flowed from our stage. It was a dream—a fusion of sunlight, music, and the hearts of musicians, all converging for the Parisian audience, who listened with the sophistication only this city can muster.
The Birth of a Vision
“What dreams did you harbor when creating this festival, and how do you measure its success?”
To embark on such an adventure is no small feat. Twenty years ago, I founded a festival in Montmartre, but life led me to London. Now, back in France, I felt the call to create once more. Last year, performing at Le Théâtre de l’Île Saint-Louis, I realized it was possible.
Paris is a crucible for art, a place where new music can be tested and embraced. Our international musicians rose to the challenge, and from an artistic standpoint, the festival was a triumph. We took risks—cosmic risks—and they were justified. We are not merely creating for the present; we are sowing seeds for the future. In giving space to new music and piano art, we are enriching the soul of Paris, earning not material wealth but something far greater: cosmic currency and good karma.
The Artists: A Symphony of Souls
“How did you choose the artists, and what qualities did you seek?”
Igor Stravinsky once said, “I haven’t understood a bar of music in my life, but I have felt it.” This resonates deeply with me. I sought to feel the essence of each artist, to connect with their inner world. The desire to participate had to be undeniable—a spark that could ignite the festival’s spirit.
We were fortunate. Each artist harmonized with the program, creating a tapestry of sound that was both diverse and cohesive.
A Tapestry of Styles
“The festival’s participants span a wide range of musical styles. Was this diversity intentional?”
Yes and no. One of the festival’s core concepts was to bridge the classical piano tradition with the minimalist piano music gaining traction today. Neoclassical music, for me, traces its roots to the early 20th century, to innovators like Alexander Scriabin and Erik Satie, whose centenary we honor this year.
Anna, Festival Director of Piano Revenge, speaks with a poetic Parisian flair:
« Ah, this theater—it is not merely a building of stone and wood, but a vessel of memories, a sanctuary of sound. Many moons ago, I stepped into its hallowed halls as a spectator, drawn by the ethereal melodies of Alain Kremski, the pianist and composer who often graced this stage. He lived on the island, and his music—oh, his music!—was a tapestry of metaphysical wonder, a dialogue with the infinite. We met after one of his recitals, and a friendship blossomed, delicate yet enduring. Within this theater rests a grand piano, once his, now a silent witness to his legacy. It was essential to me that every artist who touched its keys felt the presence of Alain, remembered the soul behind the instrument. In a way, he has been with us, unseen yet ever-present, guiding us on this journey. This theater, this piano, this spirit—they are the heart of our festival.
After the first festival, the question is not if we will continue, but where the winds of destiny will carry us next. During the closing concert, as my fingers danced across the keys, I shared a thought that had been whispering to me since the festival’s inception: our festival knows no borders. Today, Paris cradles us in her arms; tomorrow, Venice may serenade us, Vienna may waltz with us, Shanghai may enchant us, Athens may inspire us, or Chicago may embrace us. The world is our stage, and music is our compass. When you pour your heart into something beautiful, the universe responds in kind, often in ways you least expect. We are open to these surprises, these gifts of fate. We have nothing to lose, for we carry with us the boundless love of our artists and the eternal song of the piano.
Ah, the dance between the festival and my own creativity—it is not a burden, but a symphony. Confucius once said, ‘Choose a job you love, and you will never have to work a day in your life.’ These words have been my guiding star. I am doing what I love, and in that, there is no separation between work and art. A true composer is always creating, even in silence, even in dreams.
When the world thinks I am resting, I am merely preparing the soil for new melodies to bloom. And when the moment is ripe, the music will pour forth, a gift to the world. The festival is not a distraction; it is an extension of my soul, a celebration of the art that binds us all. And so, we move forward, with Paris as our muse and the piano as our voice, ready to write the next chapter of this poetic journey. »
