{"id":9851,"date":"2019-07-27T16:03:01","date_gmt":"2019-07-27T14:03:01","guid":{"rendered":"https:\/\/www.riccardomuti.com\/?p=9851"},"modified":"2021-06-01T08:39:45","modified_gmt":"2021-06-01T06:39:45","slug":"music-maestro-and-revolution","status":"publish","type":"post","link":"https:\/\/www.riccardomuti.com\/en\/2019\/07\/27\/music-maestro-and-revolution\/","title":{"rendered":"Music, maestro (and revolution)"},"content":{"rendered":"

Musica, maestro (e rivoluzione)<\/strong><\/h3>\n

–\u00a0 Leonetta Bentivoglio | July 27, 2019<\/p>\n

Per le lezioni dell’Italian Opera Academy, il direttore d’orchestra sceglie Le nozze di Figaro<\/em> di Mozart e parla di Salisburgo dove celebrer\u00e0 il leggendario Herbert von Karajan “Cambi\u00f2 il suono per sempre: con lui gli strumenti cantavano come una voce umana”.
\nRiccardo Muti guida con acutezza verbale, profonda sapienza musicale e sapido umorismo (l’aneddotica esilarante allevia l’impegno serrato e rigoroso) giornate di lezioni (aperte al pubblico che riempie la platea del Teatro Alighieri di\u00a0Ravenna) sul significato, la tecnica e la sostanza misteriosa del dirigere un’orchestra. Che in questo caso \u00e8 la sua Giovanile Cherubini, \u00abprogetto nato nel 2004, composto da giovani che cambiano ogni tre anni e formato per plasmare l’identit\u00e0 anche etica di una professione da vivere come un privilegio\u00bb, ci dir\u00e0 Muti, sottolineando che numerosi musicisti passati attraverso l’esperienza della Cherubini suonano oggi in compagini internazionali. Siamo nel pieno del periodo da lui annualmente dedicato all’Italian Opera Academy (fino al 2 agosto), iniziativa giunta alla quinta edizione. Stavolta il corso, concentrato su cinque maestri del podio a inizio carriera, selezionati fra centinaia di aspiranti nel pianeta, si vota all’indagine delle Nozze di Figaro<\/em> di Mozart. Magnetico \u00e8 lo spettacolo delle istruzioni impartite dal glorioso docente, dei suoi densi ritmi pedagogici, della sua scomposizione trasparente dell’edificio operistico, di un’analisi che penetra con scavo certosino tutti i momenti strumentali e vocali della partitura. Ci si tuffa in ogni cellula dell’opera e quando si riemerge se ne afferra un’altra che s’assembla con la precedente e la successiva. Una fucina, un viaggio, un’avventura. E un’occasione per parlare di un mestiere affascinante nell’anno in cui cade il trentennio della morte di un leggendario esponente della categoria, Herbert von Karajan, avvenuta il 16 luglio 1989 ad Anif, vicino a Salisburgo, dov’era nato nel 1908. \u00abKarajan m’invit\u00f2 a dirigere nel\u00a0festival\u00a0salisburghese fin dal ‘ 71\u00bb, ricorda Muti, che da allora in poi \u00e8 stato presente a Salisburgo ogni estate e quasi approda al mezzo secolo di partecipazione al\u00a0festival, il che \u00e8 un primato assoluto per un direttore. Pochi giorni dopo la scomparsa di quel Re Sole della musica, fu Muti a condurre, il 23 luglio, il Requiem<\/em> di Mozart nel Duomo di Salisburgo come tributo al memorabile collega. Quest’anno Muti celebrer\u00e0 Karajan nel\u00a0festival austriaco rendendogli onore, a capo dei Wiener Philharmoniker (13,15 e 17 agosto), col Requiem<\/em> di Verdi. \u00abDiressi lo stesso brano a Salisburgo a fine agosto dell’89 con i Berliner Philharmoniker, che dal ’55 erano stati l’orchestra di Karajan\u00bb, riferisce Muti. \u00abFu lo stesso Karajan a scegliermi per quell’occasione. A Pasqua s’era consumata la sua rottura con il suo complesso berlinese e mi aveva chiamato per dirmi: vorrei che in estate fossi tu a dirigere i Berliner nel Requiem<\/em> al mio posto\u00bb.<\/p>\n

Chi \u00e8 stato Karajan, secondo Riccardo Muti?<\/strong><\/p>\n

\u00abUno dei tre direttori fondamentali degli ultimi decenni. Toscanini \u00e8 l’adesione al testo e l’instancabile perfezionismo. Furtw\u00e0ngler \u00e8 la capacit\u00e0 d’immettere l’inatteso nell’esecuzione e un’estemporaneit\u00e0 che fiorisce su base solida. Karajan \u00e8 la rivoluzione del suono, la sua magnificenza. Non prescindeva mai da un’ineffabile, ammaliante belt\u00e0 sonora. Con lui l’orchestra cantava come una voce umana, e i Wiener hanno mantenuto questa magica facolt\u00e0\u00bb.<\/p>\n

Wiener e Raffinar furono i suoi due grandi amori. <\/strong><\/p>\n

\u00abRese celebri i Berliner con dischi, film, tourn\u00e9e… Grazie a lui divennero star. Quanto al suonare come cantando, \u00e8 a tutt’oggi una cifra inconfondibile dei Wiener,
\nnel segno del suono di Karajan\u00bb.<\/p>\n

Che fu da molti venerato, ma reputato da altri di voluttuosit\u00e0 calcolata e artificiale.<\/strong><\/p>\n

\u00abSolo nell’ultima fase delle sue esecuzioni una coltre sonora uniformante rivestiva compositori diversi per epoca e linguaggio. Stravinskij non amava il Sacre du printemps<\/em> diretto da Karajan: lo considerava smussato, edulcorato da punte telluriche. Inoltre il suo Haydn e il suo Mozart paiono rivestiti da una patina romantica che ora pu\u00f2 sembrare obsoleta. Per\u00f2 bisogna tener conto del fatto che Karajan viene da un mondo che precede i movimenti cosiddetti filologici. Non prevedeva affatto le interpretazioni di alcuni contemporanei gruppi barocchi d’oltralpe, che a mio parere risultano spesso irritanti. Certi fondamentalismi esecutivi tolgono passione e vitalit\u00e0 alla musica\u00bb.<\/p>\n

Qualcuno afferma che Karajan fu un despota che aliment\u00f2 il mito del maestro come “signore del mondo” stigmatizzato da Elias Canetti. C’\u00e8 del vero in quest’immagine autocratica? <\/strong><\/p>\n

\u00abStimo immensamente il musicista Karajan, che mi ha donato alcuni degli ascolti pi\u00f9 belli della mia vita, e penso sia necessario sfatare pregiudizi. Non fu un uomo altero e si dimostr\u00f2 generoso. Aiut\u00f2 giovani direttori, sostenne cantanti. Sapeva riconoscere la grandezza dei colleghi. Aveva nel suo studio una foto di Toscanini e ammirava Antonio Guarnieri, direttore che non raggiunse mai una vasta popolarit\u00e0 poich\u00e9 non us\u00f2 i media. Una volta Karajan mi raccont\u00f2: entrando nel buio della Scala durante una prova, dal suono che usciva dalla buca avresti potuto dire ecco, sul podio c’\u00e8 Guarnieri, e solo con Guarnieri ci\u00f2 accadeva\u00bb.<\/p>\n

Il fenomeno Karajan fu intensificato dal suo investimento sul connubio arte-tecnologia. Circolano pi\u00f9 che mai le sue incisioni: la Deutsche Grammophon ha pubblicato due cofanetti, Decca presenta un box di 34 cd in settembre e Repubblica-L’Espresso sta proponendo in edicola una collana di 20 cd.<\/strong><\/p>\n

\u00abCredo che con tutte le tecnologie di oggi, Karajan impazzirebbe di gioia. Adoper\u00f2 a piene mani i nuovi mezzi: compact, tiv\u00f9, filmati… Nutriva una fiducia entusiastica nelle possibilit\u00e0 degli strumenti di riproduzione moderni\u00bb.<\/p>\n

E lei, maestro? Si fida della tecnologia?<\/strong><\/p>\n

\u00abPu\u00f2 essere utilissima in prospettiva educativa, ma \u00e8 perniciosa se trasforma i dilettanti in divi. Una volta si conquistava la celebrit\u00e0 con lacrime e sangue, mentre oggi, tramite certe sofisticazioni tecnologiche, capita che si creino colossi costruendoli sulla sabbia\u00bb.<\/p>\n

Leonetta Bentivoglio, Robinson (La Repubblica)<\/em>, July 27, 2019<\/p>\n

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Conductors:<\/h1>\n<\/div>
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Nicol\u00f2 Umberto Foron\u00a0<\/strong><\/h2>\n

Born in Genoa to an Italian mother and a German father, a family of musicians, Nicol\u00f2 started playing the cello at the age of four and the piano at the age of seven. He continued studying the piano at the University of Hannover, winning several competitions like the \u201cJugend Musiziert\u201d and the \u201cHanns Bisegger\u201d prizes. In 2012 he enrolled at the University of Detmold, and also took part in masterclasses by Matti Raekallio from the Juilliard School.
\nAt 9 he started studying conducting with Peter Kuhn in Bielefeld, and two years later he joined Jorma Panula in Helsinki taking part in various master classes, which gave him the opportunity to conduct orchestras straight from the beginning. In 2012 he joined the class of Karl-Heinz Bloemeke in Detmold. In 2014 he started studying piano and conducting at the Amsterdam Conservatory, where in 2018 he also took up composition. He graduated in Orchestra Conducting in January 2019.
\nPreviously, in 2012, he had conducted the New Year concerts of the Het Zeeuws Orkest in Middleburg, Terneuzen, Goes, Vlissingen and Hulst. For two years he joined Leonid Grin\u2019s Winter J\u00e4rvi Academy in P\u00e4rnu and Tallin, and in 2013 he was among the finalists of the 53rd International Competition for Young Conductors in Besan\u00e7on, which won him a position as the assistant to Lorin Maazel in Munich. He also collaborated with Herbert Blomstedt, Neeme J\u00e4rvi, Paavo J\u00e4rvi, Christoph Eschenbach, Thomas Hengelbrock, Marc Albrecht, Jun M\u00e4rkl, David Robertson, Vladimir Ashkenazy and Jonathan Nott.
\nIn 2014 he won the \u201cNational Master Orchestral Conducting\u201d in the Netherlands, and in the 2015-16 season he took part in more masterclasses by Bernhard Haitink at the Lucerne Festival, and by Marc Albrecht with the Netherlands Philharmonic Orchestra. In 2017 he attended a masterclass by Daniele Gatti at the Amsterdam Conservatory. In the same year he conducted the first performance of Boris Bezemer\u2019s Verbena at the Dutch National Opera, and the world premi\u00e8re of Frieda Joanna\u2019s Kamisama at the Amsterdam Conservatory. In 2018 he conducted the world premi\u00e8res of David Ko\u2019s Totem at the Academy of Theatre and Dance in Amsterdam, and Brechtje van Dijk\u2019s Niet de Klucht van de Koe\u2019s at the Grachtenfestival in Amsterdam.
\nIn 2019 he was selected to join a masterclass with Heinz Holliger at the Peter E\u00f6tv\u00f6s Academy.<\/p>\n<\/div>

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Felix Hornbachner\u00a0<\/b><\/h2>\n

Felix Hornbachner studied Orchestra Conducting with Georg Mark and Andreas Stoehr at the Musik und Kunst Privatuniversit\u00e4t in Vienna, from which he graduated in 2015. In 2013 he took part in the Hernandez Silva masterclass in Elche (Spain), and won the first prize at the International Conducting Competition in the same city. He is currently specialising with Sophie Rachlin.
\nSince 2014 he has been the r\u00e9p\u00e9titeur of the Wiener Kammerchor, the Domkantorei St. P\u00f6lten and the Linzer Singakademie. As a choir conductor, he was the assistant to Heinz Ferlesch with the Ad Libitum Choir (2011-2015) and the conductor of the Chorvereinigung Jung-Wien in Vienna (2016-2017). He has been the conductor of the Bachl Choir of Linz since 2018.
\nHe has also been the Conductor of the M\u00f6dling Symphony Orchestra since 2017, and the Lied accompanist for soloists Wolfgang Bankl, Eva-Maria Schmid, Laura Olivia Spengel since 2018. As a conductor, he regularly assists Guido Mancusi at the Wiener Volksoper and at the Operettensommer Kufstein. Especially worth-mentioning experiences are: Haydn\u2019s La speziale, Offenbach\u2019s La Chanson de Fortunio and Beethoven\u2019s Symphony no. 2 (2012); a concert at the Carinthischer Sommer in Ossiach, Beethoven\u2019s Symphony no. 5 and Wagner\u2019s Wesendonck-Lieder (2013); Sch\u00f6nberg\u2019s Chamber symphony op. 9 at the Arnold Sch\u00f6nberg Centre in Vienna, Le nozze di Figaro at the Sch\u00f6nbrunn Palace Theatre and K\u00e1lm\u00e1n\u2019s Gipsy Princess at the TAG-Theater in Vienna (2014); Strauss\u2019s Flittermouse once again at the Sch\u00f6nbrunn Palace Theater (2015).
\nMore recently, in 2017, he conducted Beethoven\u2019s Symphony no. 7, the Overture from The Marriage of Figaro, Bruch\u2019s Double Concerto in E minor for clarinet, orchestra and viola with the Steyr Symphony Orchestra, Haydn\u2019s Missa in Angustiis and Bach\u2019s Ratswahl Cantata with the Waidhofner Kammerorchester, and Tchaikovsky\u2019s Piano Concerto No. 1 with the Linzer Konzertverein at the Brucknerhaus in Linz. He also conducted a half-scenic performance of The Marriage of Figaro at the Wiener Konzerthaus on the podium of the Grazer Musikverein and the Orchester der Sommerakademie of the Wiener Philharmoniker, which he also conducted in La clemenza di Tito in 2018. In 2018 he conducted the Salzburg Philharmonie in Peter and the Wolf.<\/p>\n<\/div>

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Jiannan Cheng<\/b><\/h2>\n

After studying Choral Conducting at the Beijing Conservatory, Jiannan Cheng devoted herself to Orchestra conducting, first in Seattle, at the University of Washington, and then at the Cincinnati Conservatory and at the Hochschule f\u00fcr Musik und Theater in Munich. She also attended masterclasses by Johannes Gustavsson and Kurt Masur at the Aurora Music Festival in Trollh\u00e4ttan (Sweden), by Neil Varon and Victor Yampolsky, and by Daniele Gatti with the Royal Concertgebouw Orchestra in Amsterdam.
\nShe has taken part in international competitions, qualifying for the Deutscher Dirigentenpreis (where he obtained the second prize), and the Michael Hennagin Memorial Prize at the 4×4 Prizes for Composers and Conductors of the University of Oklahoma.
\nBesides her experience as the conductor of several university orchestras while she was still training, Cheng was the Assistant Conductor of the Philharmonia Orchestra and of the Ensemble Oktopus f\u00fcr Musik der Moderne in Munich. She held the same position at the National Music Festival in Chestertown, (Maryland), at the Peninsula Music Festival in Door County (Wisconsin), and
\nat the Heidenheim Opernfestspiele.
\nShe currently holds the post of Conductor of the Cincinnati Symphony Orchestra.<\/p>\n<\/div>

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David Quang Tho Bui\u00a0<\/b><\/h2>\n

A Vietnamese by birth, David was educated in Berlin, studying Engineering at Beuth University for Applied Sciences and Orchestra Conducting at the \u201cHanns Eisler\u201d Academy of Music. He also attended several masterclasses taught by Ulrich Windfuhr with the Abruzzese Symphonic Orchestra at the Abruzzese Symphonic Institution of L\u2019Aquila; by Luis Clemente at the Atlantic Coast International Conducting Academy in Esposende, Portugal; by Arthur Arnold at the Prisma Festival at Powell River, Canada; by Nicol\u00e1s Pasquet at the Allegra International Summer Academy in Pazardzhik in Bulgaria; by Zsolt Hamar with the Savaria Symphonic Orchestra at the Bart\u00f3k Festival in Hungary. He further specialised with masterclasses by Neemi J\u00e4rvi, Kristjan J\u00e4rvi, Paavo J\u00e4rvi and Leonid Grin at the P\u00e4rnu Music Festival and J\u00e4rvi Academy in Estonia.
\nDavid has been the Principal Director of the Wedding Neues Kammerorchester in Berlin since 2017. Also since 2017, he has conducted the Konzerthaus Orchester in Berlin at the Forum f\u00fcr Neue Musik in Lucerne and the Hamburger Camerata at the Elbphilharmonie in Hamburg.<\/p>\n<\/div>

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Stephen Lam (Lik-Hin Lam)<\/b><\/h2>\n

Stephen Lam obtained his master\u2019s degree in Music and Performing Arts in Vienna, studying Orchestra Conducting with Uro\u0161 Lajovic, Johannes Wildner and Simeon Pironkoff, with the supervision of Zubin Mehta, Fabio Luisi, Bertrand de Billy and Yuji Yuasa (Seiji Ozawa\u2019s assistant). He studied Choir Conducting with Erwin Ortner and Thomas Lang (choir master at the Vienna State Opera), and Musical Theatre under Kornad Leitner.
\nHe has been the Principal Director and Artistic Director of the Ponte Orchestra & Ponte Singers since 2010: based in Hong Kong, these Orchestra and Choir are intended as a bridge between European art music and the whole range of Chinese music, including contemporary and pop. With the Ponte Orchestra & Ponte Singers, he has organized over 70 classical music concerts and tours in Europe and Asia; he has conducted symphonies by Mahler, Bruckner, Brahms, Tchaikovsky, and commissioned works from young composers.
\nAlso since 2010, he has conducted the Youth Symphony Orchestra of Macao, with which, from 2014 to 2018, he toured Russia, Portugal, Australia, Italy, Germany and France. He has collaborated with international soloists and with European, American and Australian orchestras, and has taken part in training projects for young musicians and educational projects for the larger public.
\nHe has been Guest Professor at the Sichuan Conservatory since 2013; there he organises choral and orchestral activities for university courses and high schools.
\nHe was a guest conductor of the Vienna Radio Symphony Orchestra and the Webern Symphony Orchestra (also in Vienna); and of Op\u00e9ra Royal de Wallonie, Kings Philharmonic in London, St. Petersburg Chamber Philharmonic, German Youth Orchestra, Hradec Kr\u00e1lov\u00e9 Festival Orchestra in Prague, Hungarian Symphony Orchestra, Silesian Philharmonic of Katowice (Poland), Sichuan
\nChamber Philharmonic, Seoul Chamber Orchestra, Musica Viva and Opera Society of Hong Kong.
\nHe has conducted Carmen, La vedova allegra (2015), Cos\u00ec fan tutte (2016), The Magic Flute, Boh\u00e8me (2017), and Falstaff (2018).<\/p>\n<\/div>

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R\u00e9p\u00e9titeurs:<\/h1>\n<\/div>
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Veronica Cornacchio<\/b><\/h2>\n

Veronica started studying the piano at the age of nine. She attended the Piano Academy of the Marche Region in the academic year 2009-10, then continued studying at the \u201cLuisa D\u2019Annunzio\u201d Conservatory in Pescara, from which she graduated in 2014 under Filomena Montopoli. Two years later, under the guidance of Marco Moresco, she obtained a Level II-degree as R\u00e9p\u00e9titeur and opera vocal coach. In 2018, she also graduated from a two-year Specialization Course for R\u00e9p\u00e9titeurs and stage directors at
\nthe Academy of La Scala, Milan.
\nDuring her long training, she took part in several masterclasses by Andrea Lucchesini, Pietro De Maria and Marco Albrizio, and won a number of national piano competitions.
\nIn 2015-16 she was appointed R\u00e9p\u00e9titeur for the opera season of the Teatro Serpente Aureo in Offida (Ascoli Piceno), where she took part in the productions of Rossini\u2019s Tancredi<\/em>, Cenerentola<\/em> and The Barber of Seville<\/em>, Donizetti\u2019s Lucrezia Borgia,<\/em> Mozart\u2019s Marriage of Figaro<\/em> and Verdi\u2019s Nabucco<\/em>. For the same theatre she performed in the Grand Gala of Operetta (December 2015).
\nAs a r\u00e9p\u00e9titeur, she took part in Manuela Formichella\u2019s masterclasses and in several opera concerts in Rocca San Giovanni (Chieti), at the Teatro Comunale of Citt\u00e0 Sant\u2019Angelo, at the Savoia Theatre in Campobasso and at the Teatro Comunale di Atri.
\nShe has been the R\u00e9p\u00e9titeur at La Scala since 2017, taking part in a number of opera productions. In 2018 she was also the accompanist pianist of the Donizetti Vocal Workshop, organized by the Donizetti Foundation in Bergamo and held by Roberto Servile, director Francesco Micheli and soprano Luciana Serra. She also performed in the final concert.<\/p>\n<\/div>

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Clelia Noviello Tommasino<\/b><\/h2>\n

Clelia started studying the piano in 2001 with Rita Fusco, then obtained a three-year degree from the \u201cOttorino Respighi\u201d Conservatory in Latina under Daniela Caratori, before deciding to specialise as r\u00e9p\u00e9titeur\/vocal coach, studying for two more years with Angelo Michele Errico. She also took part in the \u201cBelcanto, in Pratica!\u201d course, taught by Franco Fussi, Alessandro Patalini, Angelo Michele Errico, Gianni Tangucci and Giovanna Lomazzi.
\nIn 2014-2015 she worked with Giuseppe Sabbatini as the r\u00e9p\u00e9titeur and vocal coach for the Course of Higher Education in Singing at the Conservatory of Latina. In the same season she was the musical director, pianist and r\u00e9p\u00e9titeur\/vocal coach in the creation of Giancarlo Menotti\u2019s opera Il ladro e la zitella<\/em>. In 2016 she was appointed as r\u00e9p\u00e9titeur\/vocal coach, pianist, organiser and coordinator in a production of Cos\u00ec fan tutte directed by Alessio Pizzech. As a closing event for the XXIV Misano Piano Festival, Clelia gave a concert with bass Mirco Palazzi on the Italian\/French opera and chamber music repertoire. As a r\u00e9p\u00e9titeur, she regularly collaborates with such artists as Luciana D\u2019Intino, Alessandro Patalini, Sandra De Falco, Marcello Nardis and Michael Aspinall.
\nShe attended the Course of Higher Education and Specialization for R\u00e9p\u00e9titeurs at the Opera School of the Municipal Theatre in Bologna, and in 2017 she was admitted to the Specialization Course for R\u00e9p\u00e9titeurs and stage directors at the Academy of La Scala, Milan. In 2018 Clelia worked as the r\u00e9p\u00e9titeur of the Opera School of the Municipal Theatre in Bologna, taking part in several concerts and operatic productions organized by the School in collaboration with the Theatre.<\/p>\n<\/div>

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Daniel Strahilevitz<\/b><\/h2>\n
Daniel Strahilevitz is the principal pianist, vocal coach and musical director of the Vienna PlusOpera Otto Edelmann Society Showcase organization with which he performed several operas, incl.\u00a0Gianni Schicchi, Cos\u00ec fan Tutte, Le Nozze di Figaro, L\u2019elisir d\u2019amore, La Serva Padrona, The Telephone and Jesus Christ Superstar<\/i>, of which he also conducted from the keyboard. In addition, Strahilevitz has been the musical director of the Vienna Bel canto company, with which he has performed\u00a0Lucrezia Borgia<\/i>\u00a0and\u00a0La Traviata<\/i>. Principal vocal coach in the American Vienna Summer Music Festival he has also been the vocal coach of the opera\u00a0<\/span>class of Sylvia Edelmann at the Richard Wagner Konservatorium.<\/div>\n
Through the varied performances in Solo Recitals, Chamber Music, Lied and Contemporary music performances Daniel Strahilevitz has established himself as a versatile musician – an exciting soloist and a passionate collaborative artist, performing in many countries around the world, in Europe, Asia, Israel and South-Africa. 2018 featured his debut recital in Xiamen, China. And in 2019 he conducted a public Lied & Opera Masterclass at the Xiamen University focused for singers and pianists.
\n<\/span>In 2015, he won the first prizes at the Baden-W\u00fcrttemberg Piano Competition in Stuttgart, and at the Composers Forum Prize of the \u201cHanns Eisler\u201d Academy of Music in Berlin and\u00a0was invited the following year by Lang Lang to perform at the Gstaad Menuhin Festival. He recorded for the Belgian RTBF and the Israeli “Voice of Music” Radio channels.<\/div>\n
After completing his studies with distinction at the Tel-Aviv Buchmann Mehta School of Music and the Hanns Eisler Hochschule f\u00fcr Musik in the classes of Eldar Nebolsin, Emanuel Krasovsky and Yossi Reshef\u00a0he undertook a practicum course in orchestral conducting at the University of Music and Performing Arts in Vienna.<\/div>\n
He worked in masterclasses with notable mentors including Andras Schiff, Menachem Pressler and Robert Levin.<\/span>\u00a0He is a recipient of prizes and awards from the South-African Music Rights Organization and the American-Israel Cultural Foundation.<\/div>\n<\/div>
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