As for the fundraising events that UNICEF organizes last year they kicked off the benefit concert mode and it looks like it’s here to stay. In December 2021 they started at the Teatro Colón with Elena Roger and this Monday 28 continues with the pianist Horacio Lavandera, also in the main hall of our first Colosseum.
All proceeds will go to UNICEF programs in Argentina and around the world, aimed at the most vulnerable child population.
“About six months ago, the UNICEF authorities summoned me and kindly explained all their plans to me,” says Horacio Lavandera. “I am happy to participate. I am interested in the protection and education of children, and this is what the function is intended for”.
accustomed to charity
-It’s not the first time you’ve participated in charity concerts, is it?
-All my life I have participated in charity concerts. Not from UNICEF, but from various foundations, hospitals, charities and other types of institutions.
-How did you put together the concert program?
The program was put together with UNICEF according to whatever ideas they had, how to reach a very new audience. I think there is something uniting the three composers on the program –Beethoven, Mozart and Clara Schumann– that we found very interesting: the three were child prodigies of humble originsand they got a lot of support and that way they were able to perform like they did.
The case of the works of Mozart and Beethoven has to do with UNICEF’s research to make the event very popular, which may attract people who are going to a concert for the first time. Many children will come to the Teatro Colón for the first time and the idea is that they find music they can have some reference to, that’s why the Sonata Turkish style by Mozart and Moonlight from Beethoven.
-And there is the participation of women, composers and performers…
Yes, in the second part. Karmen Rencar (cello), Lucía Luque Cooreman (violin) and Virginia Tola (soprano) will play.
child prodigies
-Is there a point where you feel identified with the lives of these children who have been on the scene from an early age, as was your case? Even if you always complained about being classified as a child prodigy.
-First of all, I think about the role of the father. The father’s role in each of them is very important, the accompaniment. When you see a child prodigy today, with all those references and their certain structures, you can think about what can be done better. All parents have tried to do the best for their children.
-Have you thought from your experience if there was anything that could have been done better?
-I was very privileged. I look forward. I am still very saddened by the death of my father.which happened two years ago. With me he was an exceptional person, he left me his integrity as a person, his desire for a better world to exist. A person full of love.
-It’s hard to lead gifted children, isn’t it?
-I never think in those terms, more and less gifted. All children should have their own space to develop with your intuition and you need to be able to follow it.
The public, the repertoires and the instruments
-You mentioned the idea of choosing an appropriate repertoire to approach a new, young audience, to keep them close to this music. What else can be done to broaden and connect audiences with these repertoires?
Right now there are more and more tools. The last thing I just saw is a sort of video game for children to interact as if they were conductors.
There are also other projects where children can be integrated into the musical work. I think there’s more and more research, so there has to be a lot of strength between all the possible players in order for this to have a lot of momentum.
The whole point is to find financial support so that everything works and realizes the development of art and is in contact with the community. It’s not easy to find that support.
-What is your next project?
-I am very excited about my upcoming participation in the Cosquín Festival. I believe that It will be the first time that a classical music character will take the stage of the Festival. I’ll start with a whole survey that I’ve been doing on the job of Nenette Pepin, the companion of Atahualpa Yupanqui. She wrote her own music and was instrumental in the development of her art.
File
UNICEF charity concert “Join the generation that protects girls and boys”
Horace Lavandera: piano Program: Wolfgang Amadeus Mozart: Piano Sonata, K. 331, Turkish style Ludwig van Beethoven: Piano Sonata, Op. 27 No. 2, Moonlight. Clara Schumann: Trio, Op. 17 for violin, cello and piano; 6 Songs, Op. 13 for voice and piano. With the participation of karmen rencar (cello), Lucia Luque Cooreman (violin) e Virginia Tola (soprano).
The show is at the Teatro Colón, Monday 28 November at 20:00. Tickets can be purchased on TuEntrada.com.
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Source: Clarin
