MOSCOW, 20 Jun. The French composer and pianist Nicolas Celoro settled in the city-reserve of Suzdal in the Vladimir region. He spoke about the reasons for the move, love for Russia and attitude towards everything Russian in Europe in an interview. data-crop-width=»600″ data-crop-height=»400″ data-source-sid=»not_rian_photo» class=»lazyload» width=»1920″ height=»1280″ decoding=»async» />
—They write on the Web that you stayed in Suzdal during the pandemic. Did you finally get over?
— I came to Russia to give a few performances. True, I did not know that there would be such problems with the coronavirus. After the second concert, venues and borders began to close. And then I did not have the opportunity to continue touring. In the end, I stayed in your country, and there were some interesting projects.
In the Vladimir-Suzdal Museum-Reserve, they organized an online performance for me. Then — in the Russian National Museum of Music. Maybe the fact that I stayed here is an accident, or maybe it's fate. Now I have family and many friends here.
— What attracts you to Russia?
— So far there has been no time for big travels, but I have been to concerts in all federal districts. Russia is a legend for me. As a child, I was very fond of the history of the 20th century: Nicholas II, Grigory Rasputin, the revolution and, of course, everything that happened after. A special relationship was also formed through music: Tchaikovsky, Rachmaninov, Scriabin, Taneyev.
When I watched the Olympic Games in Sochi, I was surprised. Usually rock sounds at the opening and closing, but here it is a real triumph of classical music. Performed by Borodin, Mussorgsky, Rimsky-Korsakov, Second Piano Concerto by Rachmaninov, Stravinsky, Schnittke. It was incredibly beautiful!
I think that Russia treats culture and high art with special care. Modern France has changed a lot in this sense.
—From the point of view of a musician, where are the opportunities: in France or in Russia?
— Forty years ago in France, when Jacques Lang became Minister of Culture, they launched a policy of gradually weakening the role of high academic art and classical music in society. And today there are anecdotal and absurd cases of the «cancellation» of Russian music and art in Europe. 667″ data-crop-width=»600″ data-crop-height=»400″ data-source-sid=»rian_photo» class=»lazyload» width=»1920″ height=»1280″ decoding=»async» />
In addition, in France it is very difficult to organize festivals or concerts in small towns. In Russia, if you want to play Chopin, Beethoven, Debussy, please. There is no policy of «cancelling» high art and high music.
And you even invest in projects that are financially unprofitable, but important for the development of culture. For example, the Presidential Fund for Cultural Initiatives was created. By the way, they supported my musical program «Song of Donbass».
In your country, people are open to new ideas. Perhaps there is not enough money for everything, but as a result, they find other resources to help (for example, provide a site for free).
— Why are you attracted to Russian composers?
— Yours has a very strong expression of emotions through tragedy. 0″ data-crop-height=»400″ data-source-sid=»not_rian_photo» class=»lazyload» width=»1920″ height=»1280″ decoding=»async» />
Let's say the Frenchman Debussy has beautiful harmony, elegance and charm, but this is not something that breaks the soul.
However, I like different music.
< strong>— You wrote «Song of Donbass». Why?
— As a person and a composer, I feel the pain of Donbass. What happened in the DPR and LPR is terrible. My shock was very strong and I composed tragic music.
— Have you yourself been to Donbass?
— Not yet. In the near future I plan to play «Song of Donbass» there.
By the way, I have been to concerts in Crimea several times.
— How do you like this region? Is there something in common with the Cote d'Azur of France?
Yes, of course. But completely different architecture. During Soviet times, not very aesthetic buildings made of concrete appeared there. The Cote d'Azur is more elegant.
Nevertheless, Crimea is unique, there are many interesting places on the peninsula. I am sure that modern authorities will build more beautiful houses.
— Has the attitude towards you changed in France now that you are still living and will continue to perform in Russia?
— France has been a non-democratic country for many years. There is a Politburo that decides everything — this is the EU. They don't do much in the public interest.
The attitude towards me has changed. I know about it. It's a pity. As if the French were taken prisoner — we are under constant pressure.
Even in medicine there: you have to wait a few months to get help. » data-crop-height=»383″ data-source-sid=»rian_photo» class=»lazyload» width=»1920″ height=»1224″ decoding=»async» />
— How did you come up with the idea for the Tales of the Russian Forest cycle that you performed abroad?
— I like walking very much. Night winter forest with stars is inspiring. So I wrote ten things with Russian motives.
My wife is a director, she made a video against which I played. I have already given about 40 concerts with Skazki in Russia and other countries.
— In what?
— Last year — in Algiers at the French Institute. It was a great success.
— What are you working on now?
— I am writing music for the 1000th anniversary of Suzdal (it will be in 2024. — Approx. ed.). Very poetic place with beautiful architecture. Spiritual heart of Russia height=»400″ data-source-sid=»not_rian_photo» class=»lazyload» width=»1920″ height=»1280″ decoding=»async» />
There are many churches and monasteries in this city where we can ask God questions in silence. If we remember that we will meet sooner or later in heaven, then we will not forget about our connection on earth.