Luis Gorelik, an academic and audacious artist: he will direct Martha Argerich, he disbelieves of the “cult” of the score, is an airplane pilot and soccer fan

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He talks about his relationship with the pianist, the link between music and aeronautics, the “rereading” of the classics, the value of merit and his view on rock.

The director of La Plata Luis Gorelik, in front of the Serbian National Radio Television Orchestra, together with the notable pianist Martha Argerich, will be in charge, on November 1, of opening the edition 52 del Festival Bemus, in Belgrade.

The meeting is the most legendary in Serbia and one of the most important in Southeast Europe, which on this occasion contemplates, as a “rarity”, the admission of body-present audience. Quite a piece of information, in these times.

However, for Gorelik the experience will not be entirely new. It is that the Argentine artist was already in charge of the direction of a lyrical gala in August and last September 7 and in the same city, the direction of a sunset of the opera Rigoletto, one of the first “face-to-face” shows to take place in Europe since the pandemic began.

“It was a very strong experience. It is among the first two or three that were mounted, and they did it very intelligently because it was designed for cameras, for television. It was outdoors and the audience was very limited. Almost decorative “, says Gorelik, passing through Buenos Aires before crossing the Atlantic again.

-However, on stage the artists acted as in “normal” times.

-Yes, totally. A month ago, in Serbia, which is in a country of 8 million inhabitants, there were about 80 or 90 cases a day, which is a very low number. So, they started some activities. The nice thing, the positive thing for me, is that the cultural ones are among the first that began to open, and not among the last, as it seems that is happening here, where it is not even talked about.

-Yesterday I was told that the mayor of London suggested to the musicians that they think about looking for another job, for a while.

-And yes, unfortunately yes. There, what in my view is very good is that a series of cultural activities such as opera was put in the front line or in the second line. So, symbolically that representation of Rigoletto It had a huge impact, because so many people saw it through television and streaming. And it somehow planted a flag for all cultural activity.

– Were you afraid of catching it, working with so many people?

-Yes, but I had fear here, when I got on the plane. I seemed to be on line B of the subway any day in the morning. In Ezeiza there is no one, because there are very few flights and only passengers enter, but once you got on the Aerolineas plane, it is the same accumulation of a lifetime but with a chinstrap. There, I really got scared.

-Will the concert with Martha Argerich also be outdoors?

-Not. But instead of doing it where it normally takes place, they passed it to the Sava Center – Sava is written, like the “Colorado”, who played in Racing – where about three thousand people enter. There, with 30% of the capacity, about a thousand people can enter.

The opening concert of the Festival Bemus It will not be the first time that Gorelik has worked with the 79-year-old pianist, who in 2018 traveled to Entre Ríos to do a concert in Paraná and another in Concepción del Uruguay, with the local symphony and the director in charge. And he describes that which until recently had been a “dream” as a unique experience.

“Throughout all these years I have worked with many great pianists, but Martha is out of that ladder. It is above for many reasons, not only technical “, warns the musician, who in Belgrade will share with Argerich the interpretation of the Concerto for Piano and Orchestra No. 1 Op. 15 the Ludwig van Beethoven.

-Can you explain at least one of those reasons?

-For me, the great virtue is its great ability to incorporate the logic of spoken language into musical language. That is to say, when she plays the piano, Martha talksliterally. What you are doing is a spoken language speech, which is very difficult to achieve. There are very few pianists who have that ability, and Martha has it spontaneously and naturally. Work with her it is an apprenticeship for anyone.


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