Denise Azzopardi interviews pianists Natascha Chircop and Marco Rivoltini prior to their performance, when they will be teaming up for some Poulenc and Britten.

Natascha Chircop and Marco Rivoltini.Natascha Chircop and Marco Rivoltini.

Have you ever performed as a duo in the past?

We have been performing as a duo since 1994, when we met for the first time in Milan. We mainly perform in the piano, four-hands type of duet and occasionally with two pianos and orchestra. Since then, we have performed together several times, but began to perform more regularly once we moved to Malta. Our collaboration is ongoing so we do not particularly work towards a specific concert date.

After all these years, working together is methodical, but always inspiring. The most addictive moments of this collaboration are the selection of the pieces for study, the first stages of discovering the structure of the scores and the bouncing back and forth of interpretative ideas.

How are you both preparing for your upcoming performance of Poulenc’s Concerto for Two Pianos?

Initially, we practise individually and discuss certain technical details and, when the piece starts to take shape, we begin practising together. We also try to become familiar with Poulenc’s other works that are not necessarily for piano. The real secret of our success is long hours of concentration and hard work, not necessarily where piano playing is concerned.

Are there any challenging passages in the concerto that you are itching to tackle?

Every movement has its own colour, character and mood. In the spirit of Le Six (the group of six French composers who worked in Montparnasse), this concerto spells fun and provocation. It is very captivating like reading a good thriller that you cannot put down. The challenge for the performer is in deciding how to portray these diversities and contrasts while gluing the parts together.

The real secret of our success is long hours of concentration and hard work

At this point in time we are satisfied with our work on the two piano parts and are now itching to weave our parts into that of the orchestra under the baton of Kaspar Zehnder.

How do you relate to the other work that you’ll be performing – Britten’s Scottish Ballad Op. 26?

This work is being performed for the first time in Malta. Therefore, we bear a certain responsibility and are feeling very excited about it!

In the suggestive opening, the two pianos play big crashing chords in unison, leading onto an intense section which, in our opinion, depicts an imaginary war between the clans in the midst of the majestic, rugged mountains and beautiful lochs of North Scotland. This is followed by the exuberant highland reel, which is a display of the pianists’ and orchestra’s virtuosity as they must do their utmost to outdo and outwit each other with zest and vivacity.

What tips can you give to pianists who are looking to improve their coordination and technique when performing as part of a duo?

One can never listen to the other enough and, by ‘listening’, we mean reacting consciously to complement what we are hearing. Clear exposition of ideas and experimenting with different interpretations can be fun and very constructive. Last, but not least, one has to feel comfortable enough to be able to communicate and expose intentions freely, so working with someone you like makes life much easier.

Concert Three of the Piano Concerto Series takes place on Friday at 8pm at the Manoel Theatre, Valletta. Tickets are available by calling on 2124 6389, sending an e-mail to bookings@teatrumanoel.com.mt or online.

www.maltaorchestra.com

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