{"id":166171,"date":"2026-10-02T14:50:29","date_gmt":"2026-10-02T18:50:29","guid":{"rendered":"https:\/\/panm360.com\/interviews-panm360\/entre-chostakovitch-et-improvisation-gabriela-montero-raconte-la-liberte\/"},"modified":"2026-10-02T16:00:51","modified_gmt":"2026-10-02T20:00:51","slug":"entre-chostakovitch-et-improvisation-gabriela-montero-raconte-la-liberte","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/entre-chostakovitch-et-improvisation-gabriela-montero-raconte-la-liberte\/","title":{"rendered":"Between Shostakovich and improvisation, Gabriela Montero speaks of freedom"},"content":{"rendered":"\n

A world-renowned pianist and composer, Latin Grammy Award winner, and a unique artist who embodies the spirit of the great virtuosos of the past through her multidisciplinary approach, Gabriela Montero will perform Dmitri Shostakovich\u2019s Piano Concerto No. 1 at the Maison symphonique with the Orchestre M\u00e9tropolitain this Saturday, October 3. Conducted by Polish conductor Barbara Dragan, this concert will also feature Gra\u017cyna Bacewicz\u2019s Symphony No. 2 as well as excerpts from Sergei Prokofiev\u2019s ballet Romeo and Juliet<\/em>. Running through each of these works is an underlying theme: one of oppression, the anxiety of war, and political pressures. These are themes that are millennia old yet still resonate in a very contemporary way\u2014themes to which Gabriela Montero responds with an insatiable drive for freedom, where music becomes a voice to break the silence. Alexandre Villemaire spoke with her about Shostakovich\u2019s concerto, as well as her artistic identity.<\/strong><\/p>\n\n\n\n

PAN M 360 :<\/strong> Do you remember the first time that you played this concerto in a concert, or that you discovered it in your own fingers? What was it like? <\/p>\n\n\n\n

Gabriela Montero :<\/strong> I don’t remember the first time I played it, to be honest with you, but it’s a concerto that I’ve played quite a few times. I’ve toured with it with Alison Balsom, who is, of course, an extraordinary trumpet player, and the Zurich Chamber Orchestra. That tour was very significant because the musical marriage between the orchestra, Alison and myself, was so in tune in such an emotional way that it really became a live experience of almost going back to the time that Shostakovich wrote this concerto. It was just an incredibly visceral experience to play this concerto many times together. Those were some of the most incredible memories I have of this concerto.<\/p>\n\n\n\n

For me this concerto is such a physical work in the way that he wrote the messaging, as far as the time and the place that he lived in and his experience of feeling oppressed and feeling suffocated and feeling under threat. It’s really incredible how he is able to bring us to that feeling and to that place in time as well. <\/p>\n\n\n\n

PAN M 360 :<\/strong> Musically, what does this concerto evoke to you when you play it? And what is the musical journey in which this concerto takes us with you and the trumpet player?<\/p>\n\n\n\n

Gabriela Montero :<\/strong>\u00a0 In my view, I think that the trumpet serves as some kind of voice that is always adding, and contributing with this very haunting sound that complements the piano. There’s a lot of sardonic humour in this concerto.\u00a0There’s a lot of pain and incredible imagination. It’s a very dark piece, but with this kind of desperate laughter and, of course, humour in suffering, when there is no oxygen, is a very human tool to evade, take your mind off things and survive.<\/p>\n\n\n\n

You have a lot of that in Shostakovich’s music in general. But in this concerto, I just feel there’s a sense of the absurd as well. For me, it’s a piece that also reminds me very much of what I feel as a Venezuelan, even though it’s two very different situations and two different times. There are a lot of, when you’re dealing with autocrats and when you’re dealing with abuse of power and when you’re dealing with a society being suffocated by dictators, the feelings and the experiences are very parallel. So, I very much feel that as well as a Venezuelan, I connect to this piece through my own experience.<\/p>\n\n\n\n

PAN M 360 :<\/strong>\u00a0Would you say that, as a composer, you identify with what Shostakovich experienced during his lifetime?<\/p>\n\n\n\n

Gabriela Montero :<\/strong> I think that Shostakovich, aside from his musical genius, what he really left us was a legacy of information. It was for him, a choice perhaps, to become what I call a musical journalist and to reveal through this coded language of music, the human experience of losing everything. And the only thing he had left, of course, was his voice through his music. And he left us a testimonial of his life and his country’s life and how that whole experience, you know, evolved.<\/p>\n\n\n\n

As a composer myself from Venezuela, everything that I have written until now, except for one piece, which I wrote for Gautier Capu\u00e7on, which is a five-minute piano cello piece, that has nothing to do with oppression or suffering, everything I’ve written from\u00a0Ex Patria<\/em>, which was my first work that I wrote in 2011,\u00a0Babel<\/em>,\u00a0Canaima<\/em>, my\u00a0Latin Concerto<\/em>, everything has to do with the now and the experience of me as a Venezuelan woman having to deal with the realities of what living now in this time of history and what my country has been going through for almost three decades. That’s all encapsulated in the music that I write, because I too have become a musical journalist.\u00a0I have no option, really. It’s my voice and it’s my way of actually trying to break the silence.\u00a0<\/p>\n\n\n\n

PAN M 360 :<\/strong> You always carry this feeling with you in everything you do. <\/p>\n\n\n\n

Gabriela Montero :<\/strong> Absolutely.<\/p>\n\n\n\n

PAN M 360 :<\/strong>\u00a0During your concert, you are known for creating connections with your publicnotably with these improvisations that you are doing in your concerts, when people can give you a musical excerpt of their choice around which you improvise. Why is it important for you in your musical identity to present this kind of interpretation in your concerts?\u00a0<\/p>\n\n\n\n

Gabriela Montero :<\/strong> I’ve always improvised, since I was a child. Having no musicians in my family, for me, improvisation has always been the way that I tell stories, the way that I communicate, that I say hello to the piano. It’s just a very intimate and very personal and very real experience of telling stories through sound. It’s interesting because, you know, I lived in Montreal from 1998 to 2001. In those years that I was here, I actually stopped playing. I wanted to study psychology, I wanted to do something to help people. It wasn’t until 2001, just before I left that I met Martha Argerich here at the Place des Arts. She invited me to play for her at one in the morning.<\/p>\n\n\n\n

And it was in that meeting when she was rehearsing with Ivry Gitlis. And after the rehearsal, she said, Gabriela, please play for me.  And at that time of my life, all throughout my teenage years, my 20s, I wasn’t really improvising in public because I had a teacher in Miami from the age of eight until almost 18, who told me not to improvise because it was worth nothing. <\/p>\n\n\n\n

PAN M 360 :<\/strong> The classical musicians always have cold feet about performing in improvisation, which is something that is so natural in the jazz world, or even in contemporary music. It’s something that is more accepted and natural.<\/p>\n\n\n\n

To you it feels natural to you.<\/p>\n\n\n\n

Gabriela Montero :<\/strong> Well, for me, it’s just a language. It’s a very personal approach to music and a relationship to the instrument and to yourself. I\u2019m telling you this story about Martha, because when she said to me, \u201cGabriela, you know, this is so unique, you have to share it with the world,\u201d it absolutely made sense that I had turned my back on the piano and music because I wasn’t being fully myself. I was shunning a big part of myself, which was this creativity as a person.<\/p>\n\n\n\n

And by her giving me this approval and motivation, it just absolutely made sense, because I was finally allowing myself to be fully myself as an artist. What followed was that, of course, improvisation became a very, very big part of my concerts and of my encores. I don’t think I would have had the career I’ve had, or I would be playing the piano if I hadn’t come to the point of fully becoming myself as an artist and also sharing that on the stage with my public.<\/p>\n\n\n\n

Improvisation, of course, is different for people. For me, it’s something that is just a very natural thing. I don’t think when I do it. Its composition in the moment. But I think what the value of it is for all artists is that it creates a world of metaphor, that is incredibly beautiful, and also very useful in how you approach the written score by the composers. It gives it an extra dimension of imagination, commitment, perhaps, or involvement. It is looking beyond the lines. It’s something that gives you a myriad of opportunities to actually explore.<\/p>\n\n\n\n

PAN M 360 :<\/strong> When we look at it that way, you are doing a very authentic thing with the score. If we talk about the concertos cadenzas, for example, they were meant at the time to be expressions of virtuosity of the performer. So, the score is blank for that in a way.<\/p>\n\n\n\n

It’s only with Beethoven that we are starting to see written concertos cadenza. <\/p>\n\n\n\n

Gabriela Montero :<\/strong>\u00a0Yes. And of course, I don’t improvise when I’m playing a Beethoven sonata or when I play Shostakovich.\u00a0Anything that belongs to someone else, I fully respect. But I do improvise the cadenzas when I play a Mozart concerto, for example. But, you know, when you think about it in the time of Mozart and Beethoven and Liszt and Bach, improvisation was a natural extension of the language of musical expression for the great composers. Improvisation is something quite old-fashioned in a way. It was just a very natural door that was open and that also served to create the compositions that they left for us.<\/p>\n\n\n\n

PAN M 360 :<\/strong> Do you remember a time when you were maybe given a, not impossible, but really difficult motive to improvise onto? <\/p>\n\n\n\n

Gabriela Montero :<\/strong> Oh, there’s been many times. But you know, any theme is valid. I don’t necessarily need a theme to improvise. I do it because I want to involve the public. If they hear the theme in the improvisation and they see how it travels, then they become a part of the process and they also understand what’s happening in that creative venture. What’s beautiful is to experience something that is so fragile that it will die in the moment. I’ve had people give me ringtones or a very local folk tune like when I’ve been in Turkey, themes that I’ve never heard. But there have been a few that have been particularly strange. Then again, anything is possible.<\/p>\n\n\n\n

In improvisation, there are no mistakes. Every avenue is a possibility. And it’s because you’re in a state of non-judgment that it shows it has nothing to do with what is right or what is wrong. It’s just about a tapestry of possibilities that is always changing. <\/p>\n\n\n\n

Orchestre M\u00e9tropolitain : Romeo, Juliet and the Struggles of an Era<\/strong><\/p>\n\n\n\n

Saturday, October 3rd<\/sup>, 8 PM<\/p>\n\n\n\n

Maison symphonique de Montr\u00e9al<\/p>\n\n\n\n

BACEWICZ Symphony n\u00b0 2<\/p>\n\n\n\n

SHOSTAKOVITCH Piano Concerto n\u00b0 1<\/p>\n\n\n\n

PROKOFIEV Rom\u00e9o and Juliette (extraits)<\/p>\n\n\n\n

Barbara Dragan, conductor<\/p>\n\n\n\n

Gabriela Montero, piano<\/p>\n\n\n\n

Antoine Mailloux, trumpet<\/p>\n\n\n\n

For tickets, click HERE<\/a><\/p>\n\n\n\n

photo : Andres Bogaard<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

A world-renowned pianist and composer, Latin Grammy Award winner, and a unique artist who embodies the spirit of the great virtuosos of the past through her multidisciplinary approach, Gabriela Montero will perform Dmitri Shostakovich\u2019s Piano Concerto No. 1 at the Maison symphonique with the Orchestre M\u00e9tropolitain this Saturday, October 3. Conducted by Polish conductor Barbara […]<\/p>\n","protected":false},"author":1466,"featured_media":166168,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false},"categories":[4628],"tags":[],"genre":[3111,3117],"class_list":["post-166171","interviews","type-interviews","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews-en","genre-classical","genre-modern-classical"],"acf":[],"yoast_head":"\nBetween Shostakovich and improvisation, Gabriela Montero speaks of freedom - PAN M 360<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/panm360.com\/en\/interviews-panm360\/entre-chostakovitch-et-improvisation-gabriela-montero-raconte-la-liberte\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Between Shostakovich and improvisation, Gabriela Montero speaks of freedom - PAN M 360\" \/>\n<meta property=\"og:description\" content=\"A world-renowned pianist and composer, Latin Grammy Award winner, and a unique artist who embodies the spirit of the great virtuosos of the past through her multidisciplinary approach, Gabriela Montero will perform Dmitri Shostakovich\u2019s Piano Concerto No. 1 at the Maison symphonique with the Orchestre M\u00e9tropolitain this Saturday, October 3. 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