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Despite the absence of some major festivals this summer, the Lebanese cultural scene remains vibrant and offers exceptional events. The concert “Fantasy of a Pianist” by Bassam Challita and his orchestra of 40 international and national musicians promises to be breathtaking. It will take place on June 15 at 8:30 PM at the Casino du Liban theater. All proceeds from this charity concert will be donated to the social services of the Saint Elias parish in Antelias.
He caresses the keys of the piano, looks intently at the magical keys that open up to the vastness of the world, singing its beauty and telling its wounds. He is Bassam Challita, who discovered his vocation as a pianist at 11 years old, when he transitioned from an unknown student to a long-applauded artist. This surge of dopamine, this heart that leaps into his chest and infuses him with life in large doses, Bassam would do anything not to lose it. Like a lovesick person who wants to bring down the moon for his beloved, Bassam strives through his hard work to resurrect that magical moment, that prolonged embrace between him and the audience. With a diploma in hand, he traveled the world to deepen his musical experience and engage with the expertise of the greatest professors, conductors and composers. Since 2007, he has also been involved in managing large productions while shaping his original artistic vision. The pianist, composer, conductor and producer spoke to This Is Beirut about his grand concert Fantasy of a Pianist, which brings together international celebrities from the worlds of music, singing and dance.
You are giving a concert with 10 international stars accompanying you, not counting your orchestra and choir. Why do you always feel the need to impress, to go all out?
I am obsessed with the new, the unprecedented, and I believe that a successful concert must surely have an unusual dimension. It’s my signature, an absolute necessity for my entire audience and for those who come to see Fantasy of a Pianist in a legendary place like the Casino du Liban theater. My challenge is to see the audience transported by the different dimensions and emotions of the concert. This dates back to my early adolescence when the audience gave me a standing ovation at the end of my piano performance of Asturias by Albéniz. Since then, I have wanted to reconnect with the audience by exploring all facets of my creativity.
What is the dimension brought by the great invited artists in the context of Fantasy of a Pianist? How did you manage to bring them together?
I have very strong friendships with the invited artists, and we form a large family. Each of these great artists has their own sparkle, role and special touch in an overall concept that I have imagined. I prefer not to reveal the content to surprise the audience. Fantasy of a Pianist will feature the greatest clarinet player in the world, the Romanian Relu Balkan, and international singer-songwriter Mike Massi. One of the greatest flamenco guitarists, the Spaniard Carlo Pinana, will perform on stage, as well as the Russian singer Pauline Kz, a well-known actress, top model and exceptional jazz singer. I will also have alongside me the versatile artist Jessy Gleilaty, with whom I have played music for 20 years, Manel Mallat, the Franco-Lebanese star with many hats who needs no introduction, and Alec Missakian, the brilliant distributor who has performed in major auditoriums. I would also like to mention Ihab Jamal, the excellent violinist who plays with illustrious orchestras like maestro Daniel Barenboim, the tango star Mazen Kiwan and the choreographer and dancer Sahar Bou Khalil. I must also mention Joseph Nassar, who handles the artistic and visual direction of the event, and Anya Alaeddine, the Lebanese rhythmic gymnastics champion. Personally, I will present three of my new compositions for the first time: one with a classical structure, another dramatic and the third inspired by flamenco. A wide repertoire of Zaki Nassif, Shostakovich, Asmahan, Warda, Abdel Halim, Astor Piazzolla, Edith Piaf, Charles Aznavour, Jacques Brel and many others is planned for the program.
You are a pianist who also wants to be a storyteller. What stories do you try to tell in your concert?
I try to tell my painful past, lined with disappointments, burned with the red-hot iron of passion, when all my dreams ended up shattering. This concert is a moment of sharing with others, “my fellow man, my brother,” and a message of hope that I address to them. For if music reproduces the full range of sad emotions, it also tells the story of self-reconstruction and defeat transformed into victory. Here is a sequence: a beautiful nymph strolls. I am captivated by her and offer her a flower. She dances the tango for me around the piano while I play with the orchestra. She looks fulfilled and keeps looking at me. Suddenly, the atmosphere becomes heavy and dark. I start another tango, Oblivion by Astor Piazolla. The spectators see thousands of candles dancing and melting like love that consumes itself. Then a dancer arrives (Mazen Kiwan), invites the goddess to dance and takes her in his arms. I am devastated. The atmosphere turns dramatic while the couple dances feverishly. The song ends, the new lovers disappear, as does the orchestra. The light focuses on the pianist who seems doomed to solitude. I’ll stop there. You will see the rest on June 15.
What is the role of artificial intelligence in the concert? Doesn’t the use of AI contradict artistic creativity?
I limit myself to exploiting AI performances on a visual level because the scenes and images accompanying the concert are there to enhance the pianist’s work and music, not to replace them or steal the spotlight. I do not use it on a musical level. In principle, artificial intelligence is based on data collection from information found on the Cloud to generate new ideas and new music. Some composers try to combine styles such as Chopin/Thelonius, Monk/Oscar Peterson or others and harmonize them in a new style.
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