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Welcome back to another episode of the PianoPod. I am your host, Yukimisong. Today we're thrilled
to have the esteemed presence of Grammy Award-winning pianist and Steinway artist, Chritian Benitez.
His exceptional album, Latin American Classics, won a Latin Grammy for Best Classical Album
in 2021. Throughout the season, we've had the privilege of delving into the rich tapestry
of Latin American piano literature, engaging with artists and Latin American music experts
like Carlos Franzetti, Alison Brewster Franzetti, and Walter Aprecio. Each conversation has unveiled
the profound diversity and fusion present within Latin American music and culture.
With Chritian's perspective, who is based in vibrant New York City but rooted in his
Venezuelan heritage, we aim to further explore the depth of Latin American music and culture today.
With the PianoPod's guest rosters spanning from Peru to Bolivia, Argentina, and now Venezuela,
our journey promises to uncover the rich, multifaceted layers of this captivating musical landscape.
But before we dive into our conversation with Chritian, let me take a moment to explore his
illustrious background. Known for his vivid and passionate concerts, Chritian explores a rich
blend of classical and Latin American music, earning acclaim as a leading figure among
a new generation of dynamic Venezuelan virtuosos. Praised by José Antonio Abru, founder of Venezuela's
El Sistema as a crucial leader in Latin America's musical movement and mentored by Philippe Entremont,
Chritian's performances resonate worldwide. He has performed in iconic venues like Philharmonic
Hall in Berlin and Davy's Symphony Hall in San Francisco, collaborating with top top conductors
including Claudia Bado and Gustavo Dudamo. In 2019, Chritian's prowess was showcased during
a 13-city recital tour in China, reinforcing his global reputation. His album, Latin American
Classics, captured a Latin Grammy for Best Classical Album featuring compelling compositions from
across the continent. His latest work, Afro-Cuban Dances, also earned a Latin Grammy nomination in
2023. Mr. Benitez's discography includes over 50 tracks for Steinway's Spirio and albums such as
miniatures, which won a bronze medal at the Global Music Awards. His leadership extends to
educational roles, having served as assistant conductor of the Philharmonic Orchestra of the
Americas and artist in residence for Venezuela's El Sistema. Chritian is a recipient of José Felix
Riba's award for his cultural contributions. So join us as we explore Chritian's remarkable
career achievements, including his accolades awards, and examine how his multifaceted identity
influences his creative processes. We'll also delve into how he has pioneered new ways of
experiencing music through innovative approaches to music production, extending from his traditional
concert performances to more experimental projects. Before getting started with this special episode,
I want to welcome all of our first sign words today to the PianoPod. I'm a classical pianist and
educator from New York City. Whether diving deep into a piano career, working professionally in the
classical music scene, or simply having a passion for piano tunes, this podcast is your backstage
pass to the fascinating world of piano music. To our incredible TPP fans and loyal listeners,
welcome back. Your continued support means the world to us. If you enjoy today's episode,
please take a moment to rate and review the show on your favorite podcasting platform.
Your feedback helps others discover the joy of the PianoPod. Now without further ado,
I'm thrilled to introduce Mr. Chrissian Benitez and kick off our conversation. So sit back and relax
and please enjoy the show. You are listening to the PianoPod where we talk to the brightest minds
in the industry about how they are bringing the piano into the 21st century. Welcome, Chrissian,
to the PianoPod. Thank you. Hi, how are you? Thank you so much. I'm so honored to be here. Thank you.
Oh, honor is ours. Look, honored to have you and thank you for being here. You know, this season on
the PianoPod, I've had amazing opportunities to chat with some incredible talents from our industry
who either hail from Latin America or passionately promote and perform Latin American music and I've
learned so much and I'm so looking forward to diving deeper into the world of Latin American
music and culture today with you. So I'm ready to learn. Great. Let's start with this. Your album,
which one of the albums which won the Latin Grammy for best classical album, which in 2021,
I believe, and the title is Latin American Classics and which was also produced under the Steinway label.
That's correct. Wonderful and congratulations. And so I watched actually one piece from the album.
It's called Adios Cuba by Ignacio Cervantes. So yeah, what inspired you to create the Latin American
Classics album? So I am originally from Venezuela. I grew up in Venezuela and as part of the musical
education that I got in the conservatory, we were always encouraged and we need always to add
as part of the repertoire music from Latin America and from Venezuela. So I kind of like grew up with
that. That was part of like my DNA and through the years, I saw that sometimes people were referring
to those type of music as like a different and separate part of the classical music
world and I started like researching a little bit and some of those composers were actually
friends and colleagues of the classical composers that we know. So I was like, yeah, so why there's a
difference? If I recall and as we know as musicians, a lot of composers were inspired
by folklore, by traditions, same way as Latin America. So one of the things that sometimes people
were making a differentiation about it was that, oh, in Latin America they were using more
folk music. Folk music was like, yeah, but for example, Brahms was using folk music, Borjak was
using folk music, Smith and I. You have a lot of composers that use that element, French music
as well. So it was like, this is the same type of music. It's just like classical music from
composers that were born in Latin America. So I needed to be able to show
audiences about what we are and when I say what we are, I'm not only talking about being Venezuelan,
but being from Latin America. It's like different countries with an extremely rich culture
that must be put there in the world. I think the same way that we musicians are
working so hard on exposing contemporary music, new composers, new ways of
doing music, we also need to activate some sort of way of the nostalgia of
what happened there. There are so many different composers, a lot of them unknown, with fantastic
music. So I have that urge to show a little bit of who we are as Latin Americans.
Well, thank you. Well said. I mean, Latin America, the continent itself is so diverse, right?
So how did you go about selecting the specific pieces for this album?
And why you chose these particular pieces from Cuba, Argentina, Brazil, and of course your
country of origin, Venezuela and Mexico as well? You know, I started doing a project
with Steinway about creating this catalog of Latin American music. And the first thing
that came to my mind was I want to play the music that I love, that I grew up with,
that makes me happy and makes me want to showcase better. I think when we have pieces
of music that we perform that we really love, the way that that interconnects the
artist with the audience, it creates some sort of magic. So I was like, I want to create that.
But at the moment was just like just doing a catalog for Steinway's Spirio piano, which is a
high resolution piano. And then I started to just record music that I knew since I was a little kid,
music that I wanted to perform, that I wanted to be part of that catalog. And then it changed
the whole project because that catalog became the album. And then when we talked about doing
the album, I was thinking, OK, I want to make a structure, I want to divide it into countries,
I want to make like a bigger thing, a bigger project. But then the pandemic came. And I
remember my producer calling me saying like, you already recorded 24 tracks of music. I know that
we have a plan that you want some structure, but we don't know what's going to happen with
the pandemic. And I think this is a really good material that we have here to release an album,
would you want to do it? And then I was like, yes. And I was happy at the same time, because
everything that I was selecting at first was just coming from the fact that I want to be more
connected to the music that I grew up with, that I love. So that album specifically has music that
I really cherish, that I really love, and that I wanted to show audiences. So it was like a really
rewarding, nurturing process. And then, of course, from that, then I started making more
structure, like I want to add more country. There are so many composers. I can just make maybe
like 10 albums of just one country, like Mexico, for example, that musical
culture diversity is just like, is so rich. But I need to just kind of like select, you know,
and sometimes selecting is complicated. But it was just trying to follow my intuition and then
connect with music that really connects with me emotionally. I think musical connection is
something that is very, very, very important, especially after everything that we've been
through, you know, that human connection, that magical connection, that chemistry,
that electricity that creates the artist with the music. And then we transfer that to the
audience, you know, is very important. So it was just trying to connect emotionally with music,
with Latin American music to show in that album. Then do you have any favorite piece on this album?
If so, what makes it stand out to your personal or maybe you love all of them? I love all of them.
I have to say that in that album, there's a piece by Ginastera, the Suite of Creole Dances.
That piece actually, I cherish that piece so much. And I, you know, like I always thank
Ginastera and that piece because it was a piece that actually started the whole project. It's
interesting because it's a piece by Ginastera from Argentina, but he composed that piece in New York
when he was living in New York. So for me, it was some sort of like, you know, me, a Latin American
that living in New York, start, you know, to build some sort of path with Stanway at that moment.
They didn't know who I was, you know, anything like that. And then just kind of like connect. So
because of that piece is that we are doing what we're doing right now. So I would say like,
I love them all. But that piece specifically is something that is very important to me.
Also, the Adios a Cuba by Sarandes that we also did after we did a music video with Stanway.
It talks about the fact that a person has to exile a country. So for me, you know, being an
immigrant and everything that is going on right now in my country with exile, that is something
that has been always very close to me. And it's hard, it's painful, but we create magic through
pain as well. So I think I needed also to show that in that album. And that's also a very,
very important piece.
We live in the States and we're not necessarily from here. Like we were not born here. We live
here. We are from here. But that story is kind of like relatable to any culture. You know, like
when you have to, you leave your country for many different reasons. You live in a country because
you want to leave your country or you're forced to leave your country, your country or life
happens that you have, you know, like things like that. So it's a very like universal story
for anyone, like even from people that live here in the United States, that they have to move from
a state to another. Like you have to move that moving part, that emotional journey that we all
live, even if we like move two blocks away, you know, there's an emotional movement there.
And I think we have to pay attention to that because especially as artists, we can't open
universes. We can create from that feeling and we have to be always connected with feeling. I
think like that's a very important thing. I know that in classical music, you know, we need to build
up a technical skills, like to the top level. And we all, we're all doing that. Or we did that at
some point. I think we're all, we're still doing it, you know, while we keep practicing and evolving.
But the emotional part, that's something that also has to be nourished, you know, like you have to be,
you know, like we have to water it every day. And we can be better human beings if we are connected
to it. Sure. And then that's one of the reasons we play music and also, you know, all of a sudden
music comes alive, right? When you put that part of yourself into the music, music making.
Before, you know, I go to the next question. I want to know the characteristics of Venezuelan
music. So, you know, I got to interview Walter Parischio. He is also the champion of the Latin
American music. And he actually is the one who recommended you, one of the people who recommended
you to, recommended me to interview you. He is obviously the foundation for the Bolivian artists.
So he told me many things about Bolivian music. It's so fascinating, the mixture of indigenous
culture to, you know, European influence to so many others. So how about Venezuelan music?
Yeah. So, you know, I feel like I have some sort of like flag now, you know, that like
motto that I, you know, this kind of like, I'm sure people have seen like this Instagram trend,
like the dude with the sign, you know, like the dude with the sign. I'm the one that said like,
we are from Latin America and we have a superpower. And the superpower that we have
is the mix of cultures, you know. We, all of Latin America in different, you know, percentages,
we have influence from European culture. We have influence, of course, for indigenous because
they were there already. And also we have influence from Africa, you know, like the Spaniards
were bringing slaves from Africa at that time. But the most beautiful thing is like the way we were
kind of like merging together. And even if you don't have, you know, like in your DNA,
that little part of, let's say like African culture, which I'm sure like we all have that a little
bit, you know, in Latin America, we some sort of like, we are splashed by it, by the music,
by the culture, by the festivities that we celebrate. One of the most interesting things is
like how the Catholic Church had to some sort of like adapt a little bit to the African culture
and to indigenous culture in order to blend, you know, there was, they were forced. But right now
when you think about it, like traditions and all of that, it's all together. And sometimes, you know,
we were thinking, I think, the past that people were not conscious about that. And it's actually a
superpower, like our, it's part of our identity. We're a mixture. And being a mixture gives us
variety, gives us, but natural, you know, it's not force, it's not something that we have to
make up, we have to kind of like make a construct to, we're just born that way. And I'm not saying
that we are better than everybody else, but it's something that's through history, we were kind of
like, oh, the Latin culture is kind of like a, you know, like a lower culture on the country. Like
we have, we adapt and we were open, forced or not, in the past to that mixture. And that gives us a
lot of color. And I think that's something that's interesting. And that's why sometimes like our
music sounds on a different way. There's some sort of like colors, some sort of like, of course,
there's rhythm, a specific rhythm. And when you go through all Latin America, you know, like from
Mexico all the way to Argentina, Chile, although we are different, like our accents are different,
the way that we feel the music and the way that we want to create, it's some sort of like equal,
like the same, like we'll come from the same core. And in Venezuela, we have that, you know, like
we have influence of indigenous, we have influence of African, we have influence of European.
Venezuela specifically, not like in the 1900s, but like in this like second World War, for example,
we had a lot of immigration from Europe, Italian, French, Portuguese, Germans, you know, like, so
that mixture, like even now, like you talk to a German, you know, person that immigrates
Venezuela and then they some sort of like, they have this interesting way of seeing life that is
different, you know. And that's because it's kind of like nurtured by what we are giving,
you know, maybe we're like, I don't know, too informal sometimes. And that informality, you
know, it's something that gave us the door, like that opened the door for immigrants to
came to our country and then have more mixture. So we're part of a mixture. And being mixed is so
important and so fulfilled, you know, you feel so full of joy, full of color, full of and then that
transcend to everything, you know, arts, music, different expressions. So in Venezuela, we have
that we are very, although we're from South America, we are on the coast of South America. So we get
that Caribbean also like flavor into it. It is interesting and then it is also interesting and
I encourage people to have some sort of playlist or listen to music from Mexico all the way down
or from Argentina all the way up. And then you'll see there are a lot of similarity, but also the
variety is just astonishing. Obviously, you won the Latin Grammy and that's a huge, huge milestone.
Where were you when you received the? So when I got the nomination, I was here in New York. I
never expected I when I saw it, I was like, oh my God, I cannot believe it. Like, this is insane.
This is not happening. And I remember that still like I have it right here. Wow, wow, I see it.
And I still like till this day, sometimes it feels like it was a dream, you know, I always thought
like a Grammys of being, you know, like pop music and rock and like which, you know, all of those
genres are amazing. But then for classical music, I don't know, like I never understand it. And
I went to a ceremony that was happening in Vegas at the time. It was like post pandemic. So it was
very weird situation, like the whole thing. And I was just trying to enjoy the moment. I was like,
I think this is like the only time in my life that I'm going to be walking a red carpet. You know,
this is like insane. I never expected that. I don't do music for that. You know, it was like,
and we went through the whole process. I saw the nominations. And then when I heard
Latin American classic, my name, my producer name, John Finer, we were just like static. We were just
like extremely happy. And when we were walking on the red carpet after one, a very famous artist,
Jorge Drexler, a singer, songwriter, pop artist, like it's like a huge, you know,
a guy, he approached me and he said, like, you know, that classical, like the classical,
like writing for classical music is like one of the most important things here. And I'm like,
no, it's not possible. Like, no. I mean, it's like, yes, it is because a classical music album,
you cannot add effects to it. So what you listen to, you know, besides of like editing or like a
little, you know, thing, there's nothing. It's very like naked. It's raw. There's no auto-tune.
There's no, you know, special effects to, especially when you're doing an album that is
only piano. And then that kind of like resonated with me. You know, resonated with me. And I was
like, okay, I think we're doing something that is important and I want to keep doing it for the rest
of my life. There was some sort of like reassurance of this is a hard path because it's not easy for
musicians, but it's not easy for anyone. Like, you know, life is just complex, but it was so happy
to be part of the musical world. And just a little bit, just like one little dot of that huge
universe and representing who I am, you know, as a person, with my culture. So it was just incredible.
Wow. Well, congratulations again. And also your another album, latest album,
Afro Cuban Dances was nominated for a Latin Grammy and two years later, 2023,
in this classical album category. So this album is filled with pieces by Cuban composer
Ernesto Le Buona. Why you chose his music? Well, I feel like part of my heart belongs to Cuba,
somewhere or the other. When I was growing up, I had the opportunity to
just to study with a fantastic Cuban pianist. And then it happens that when I came to New York to
study, I studied at the Mahálaz School of Music. I also studied with another Cuban teacher, Salomon
Mikovsky, rest in peace. And I don't know, I feel like Cuban culture and Venezuelan culture, they kind
of like, they feel very similar. I had the urge to show a little bit more of what Cuban culture was.
And, you know, some people like it, some people don't like it. The fact that the Spaniard with the
slaves, the first country that came and conquered was Cuba. So everything happened there first and
then expanded through Latin America. Le Buona was actually the first composer in history. And this
is something that not a lot of people know. And that was also the reasons for me of like creating
kind of like this album is he was the first composer that added African elements into
classical music, I put it into a regular classical music stage. And it was very controversial, you
know, the fact that he was like adding like, you know, drums like into like piano rhythms and like
doing things like that. It was like, what's going on with this? You know, like, I think this is
something that people should know and feel proud of it. And at the same time, all of these
selections of pieces, the Afro-Cuban dances, which is a suite, and then I added four more pieces, but
this selection of this suite, it talks a lot about the carnival celebration. And I was
telling you before, so the carnival was, you know, instated by the Catholic Church, but actually the
festivities of carnival were in masks of being, you know, like hidden. It's all African. So it was
a very interesting moment when they were celebrating the carnival, the processions of
carnival. They were having the parties, you know, like outside the celebrations with masks on.
So they were all equal, right? There were no Spanish, no indigenous, no African. They were all
wearing masks. And then it was very, very interesting because at night, you know, they took off the mask
and then they were going some sort of like underground parties or like celebration without
masks, but they were all mixing together, but it was something like hidden. So I wanted to show
also that in this album. Also it was an album that is very dear to me. I created the idea. It's the
first time that I play a piece on my own. There's a piece on my own in the album that I dedicated to
Ernesto Lecuona, like in his style. Also I'm highlighting his sister, Ernestina Lecuona,
which was the reason that Lecuona became a pianist and a composer. And she was kind of like
overshadowed. She was part of Cuban musical tradition and history. She wrote a lot of songs.
She wrote, you know, like she was famous, she was important, but she was forgotten. So I wanted to
highlight that and I did an arrangement of one of her songs and put it in the album, you know,
understanding that she was a very important part of who Ernesto was. The other important thing
is that I relate that and I was doing that in concerts, especially here in the United States,
is that Lecuona and Gershwin were really, really good friends. They were changing letters.
They were like a lot of communications. And when Gershwin wrote Rhapsody in Blue in response,
kind of like a satirical response, Lecuona wrote a piece that is called The Black Rhapsody.
That nobody knows. And I think it's being recorded just like the piano solo version, but there's a
piano and orchestra version similar to what Gershwin did, but African elements and using
the language of Lecuona. So it's very interesting, you know, how we are connected and we don't even
know. So for me it was very important to highlight that. And then I also dared to
draw the cover of the album. So the cover is me doing it, trying to kind of like put there
what I feel about the album, you know, the colors, the rhythm, the culture. And so, you know,
it's a project that is kind of like a baby. I was really, really, really involved in creating
the idea. And I have to say that the piece, my piece that is in the album, it was a product
of an improvisation. And it was very, very scared to do it for an album. You know, I do it like for
myself. But I think, you know, I've been trying to kind of like open up myself into that world.
And I know a lot of people know that this is not something new. Like improvisation in classical
music exists since Bach, you know. And for some reason classical musicians were kind of like,
you know, take off that element. You know, it's like, oh, you cannot improvise. Improvisation is
for jazz. And it is not true. So I want to kind of like get in touch again with that feeling.
It was very scary, I have to say. And it's funny stories when I was recording it in the studio,
I just did it in one take because it was improvisation. When I finished, I remember telling
my producer, this is not going to work. This is too short. I cannot, you know, this is like over
like two minutes, like under two minutes, I don't think it's going to work. And then he said like,
Christian, you've been playing for seven minutes. And I was like, I cannot believe it. Like it was
really mind blowing for me experience liberating also. So for me, that album represents a lot and
makes me want to continue, like do more research and do, you know, because it's not just like putting
music and that's it. No, I mean, at least for me, I need some sort of like research comes to something
that will get to people and start like seeing music, Latin American music on a different way.
You know, I understand that sometimes people feel a little bit intimidated by Latin American music,
or they feel that it's like minor, like all little pieces. But I encourage people to,
you don't have to like it necessarily, but just try it, listen to it. And then you'll see the same
thing happen with regular standard classical music, you know, like not a lot of people necessarily
love opera, let's say, I don't understand that. But some people just say like, it's too much for me.
Yeah, but even within opera, there are operas that are different. So give it a try, just
unblock that, you know, right away. And there's so this beautiful worlds to discover. Once you
give yourself permission to listen and to experience a little bit more. Absolutely. What's
a what what a great marketer you are to like, there's a call to action. That's so awesome.
No, well, I mean, I want to talk more about you as an improviser, but oh, I didn't realize it was
just the one take you sat down on in front of the piano and then you did it. Yeah. Oh, my goodness,
that was an amazing experience. And you know, I have to say I turned that piece into a score.
So the process like was backwards and it was so hard to try to, you know, with the inflections and
with the time that it was taking like while improvising because it's some sort of like a
like a low pace piece, like slow, slow side, but then put it into a score. It was also like a
challenge and an amazing experience, you know, to transform that into like actual rhythms that
kind of like match, you know, time signature and like so it was it was really entertaining,
a lot of hard work. But I will do it again a million times. So if I want to get a score,
is that available? Yeah, yeah, yeah. Really? Oh, yes. Look me up. I'm gonna buy it. Yes,
I want to try it. Yeah, I thoroughly enjoyed the album there. Yeah, very much. Anyway, so
to all our listeners and viewers, I strongly encourage you to check out Christian's Grammy
Award winning solo piano albums, Latin American classics and Afro Cuban dances. These albums are
lively, delightful compilation of works by Latin American composers, short to captivate anyone who
gives it gives a lesson. So you can find them on all music streaming services, right? That's
correct. Yes. Okay, I will also post the links in the description. So we just started talking
improvisation. And I also watched your improv chops on YouTube channel. One was called
the carnival after dark. Yeah. Wow. Fantastic. So improvisation plays a significant role
in your career sounds like and it could you describe your creative process when you approach
improvisation in the studio or during the live performance? So this is a, you know, when you say
like it takes part of like in my career. Yes, I had to kind of like turn it off for so long.
And I'm telling you a story when it was seven years old. And this is this is an interesting
story that I discovered recently with my therapist. So everyone that have access to a therapist,
please do it is the best thing ever. Amen to that. Yeah. Oh my God. Yes. So when it was seven,
I had to it was the first time that I was performing a concerto with orchestra. And it was a piece
that Venezuelan or Argentina composer wrote for me Alejandro Slobodianic is his name. It's like
the pianist name, but it's a composer from Venezuela, Argentina. And it was a brand new
piece. He gave me the manuscript and I had to learn it. And it was during summer. I was seven.
So for me, you know, finishing school and then have summer vacation was like the dream come true.
You know, and I remember at that time, my teacher in Venezuela, she said like, no, you have to,
you know, keep practicing all summer. You need to learn your new repertoire and then the concerto
because you have to play the concerto in September. And then it was June. So I had like very little
time and it was a new piece. And then, you know, it was a little like mad. It was seven. And then
seven. And I remember my mom and none of them in my family, there are no musicians. I'm the only one.
But my mom was very dedicated, you know, to understanding, you know, the pieces. She was
probably like the most strict judge that I had performing. Like it was so interesting. Like she
really learned like the pieces and she was understanding and she was like, oh, you're
rushing there and you're doing too, you know, things like that, that it was really interesting.
But at that time, she didn't know the pieces because she had to like go to lessons and start
listening to the pieces in order to get, and that new piece was the new piece, you know, like it
didn't exist. So she said, okay, so the plan for the summer is you're going to practice in the
morning and then in the afternoon you can play soccer. I love playing soccer, playing soccer and
play with my Nintendo, my video game. I was like, okay, seven years old. But at the same time,
I was mad. I was talking to my friends at the time and they were like, oh, I'm at the beach. I'm
like doing this and that. I'm like, I'm here, you know, like. So what I did was that I started
improvising pieces, like, and every day I was doing something different. And then
my mom, I think like after two or three weeks, she called my teacher and said like, yeah,
he's ready. Like he's been playing the pieces for me and this sounds great. And like, I really like
them. You know, I was trying to always add some similar things so my mom couldn't, you know,
recall that MP. But it was like, you know, just do like shenanigans, you know, like when
and then my mom said like, okay, so I talked to your teacher, you're going to have a lesson
because you're already ready. And then I started like weeping, like crying. And I was like, I have
to confess. Everything is made up. Like I didn't, you know, learn the pieces. And then, and then so
of course she was mad, but at the same time laughing, it was like a situation that and I remember
that going that time to my teachers that I kind of like turn off that because it was kind of like
forbidden. Like, why are you not learning the piece? And you're being like playing with the piano,
like literally playing games with the piano. And I didn't understand it at the time. So I learned
the piece after and you know, it was just doing my standard repertoire. But I remember at some
point, like adult age, remembering that story, I'm like, oh my God, I have that. I had it is still
there. And it was like a very interesting process to kind of like getting it back. I think like one
of my biggest reference in terms of improvisation and also as a musician is Venezuela pianist,
Gabriela Montero. I admire her, admire her so much. She's also a really good friend of mine. And I
remember talking to her a little bit and saying like, I don't want to, I don't want people to feel
that I'm trying to copy what you do. And then she turned to me and then she said like, remember that
improvisation exists not because of me, it's because of music, because of Bach, because of the beginning
of times. And I'm just telling you the way you improvise is a completely different approach of
what I do. So please go and fly and do what you want. And so my process is actually, it's just
connecting with the feeling that I have at the moment. Like sometimes it works, sometimes it
doesn't work. And I'm happy that if sometimes doesn't work, it's okay. You know, we're humans,
like it's fine. And it's just that I just let it go. Sometimes I think of a key, but it's so
interesting that every time I start in a key, I finish in a different key. It's the key that the
feeling like drives me to. But, and if I need to be like, you know, have some sort of a structure,
I kind of like say, okay, maybe I have to do like a two part thing, but that never happened. You know,
if I do, I'm going to do like an ABA form. It ended up being like a complete different thing.
You know, and I like that. I know that some people, they improvise with structure and I admire that.
Myself, I don't. And I feel like if I start like adding elements of structure to that, I will kind
of like, it would kind of like, loot the natural element of what I imprint in my improvisations.
So I kind of like let it go a little bit and just like do what I feel at the moment. It's a scary,
it's a scary moment as well, because when you let it go, you're also, you have to let it go also
everything, you know, like things that you like, your fear. So everything is right there. The
monsters are like next to you, but it's okay. It's part of you and you have to let your monsters out
and have coffee with you sometimes. And if they want to improvise with you, they're, you know,
they are open to and then I want them to be there with me. They're part of me, you know.
So it's scary sometimes, but when I'm finished, it's like, okay, let's hear. And honestly,
it's like, I don't remember what I do. Like it's little things, but like there are things like,
oh, I use that chord, like, oh, that chord is nice, you know, and then like, but I never like came
up with a specific plan. That's just my way. Yeah, but it's almost like a free writing like,
so you're really in touch with yourself in ourself. So you that's, that's maybe one of the reasons you
don't remember specific chord that you use, no? Yeah. For me, it's like a, like a meditation.
I remember during the pandemic, everybody were like sending you like, okay, so start like meditating
and then like these apps and like everything, which I think they're like amazing tools. But
my way of meditating was actually improvising. I was sitting in the piano and then just let go.
And then I could leave and like, you know, cry, laugh, everything, but it was like always
through piano. It's like, yeah, I think like, I don't see myself not in this life or not in our life
without the piano. It's crazy, but it's just like, it's who I am, it's part of me.
So it's like, it's my, it's my everything.
I was listening to many pieces this morning by you on Spotify,
playing through, and then I came across your 2016 album, Miniatures, which you earned the bronze
medal at the global music awards. And obviously this album is entirely of your improvisation, no?
Or arrangement? Yeah. Yeah. Wow. And then, you know, I loved the piece called Two Poems,
Op. 32, No. 1, F sharp major. And then also the intermezzo in E major and then
mania, mania nita, caracuore indian. Yeah. Wow. Am I pronouncing okay? Perfect. Okay.
Oh, that was so good. So tell me, are they like based on certain melody or a certain
whole chant? The poem is by Scriabin. Oh, okay. Oh, yes, yes, yes. Got it. The whole, the idea of the whole album
was to just, it was playing live in a concert. Everything was live. The album. Yeah. The whole album is live.
So it was a concert that I did in Mexico City. I had, I lived there for a year and it was just
right when I started living there that I had this opportunity to play this, this recital.
I didn't add all the pieces of the recital, but then this little jewels that I add here and there
were like very special to me at that time. Still, they still are. And the Scriabin,
it's nice that you mention it because I've been talking to some
Russian friends of mine and they say like, yeah, I like it, but it's, there's something different there.
So I don't know, I think, you know, sometimes we are, we grew up with the fact that we have to,
you know, we follow the score, everything that the composer, you know, writes there, we have to do it.
And yes, of course, but there's a moment in time in life that as performers, you know, also we
want to kind of like imprint a little bit what we are. And it's not just saying that the composer is wrong.
I mean, there's nothing to do with that. It's just like we have this some sort of like necessity of
show who we are. And if we play pieces written by different composers, then we also, you know,
we give a little, you know, space to add here and there. I mean, of course, if I'm going to a piano
competition and do that, like I'm not going to, but after you pass all of that, which I think is an
amazing experience to have, you know, competitions and like concerts and all of that, and of course,
school, you need to learn the structure. That's something that a dear teacher of mine told me
always. You need to first learn the structure and then you deform it the way you want it.
But you cannot deform it first. You need to know, understand how it sounds. You need to understand
why the composer is writing that. Why is that happening? You know, and it was a very special
teacher that I had in Germany. I was going to Hamburg for several summers and her name was
Elgin Roth, pianist, very, you know, from the old school. But it was so interesting
that when we were learning Beethoven, we learned all five pianos in terms of Beethoven,
one of the big things that we did. And she was always saying that to me.
Learn the structure first and then, you know, remember that Beethoven was a creative Beethoven,
you know, when he was not able to hear the music, he was feeling the music. He was his universe
inside was so big that it couldn't, you know, stand the real world. So it was like, for me,
it was eye opening. And it's not that I'm do whatever I want. No, but like understanding
the structure and then, you know, you take little licenses here and there if you feel like it
doesn't have to be that way. And then you see famous pianist, you know, I think like one of the
I think like one of the most amazing concert that I've listened to in my life was here in New York,
Lincoln Center, Martha Argerich playing and Rostropovich was conducting like the last years,
you know, and she played Beethoven first piano concerto that that's a concerto that she played
like since she was a little kid. And the way that she was playing that at that time, I'm sure like
she's like if I listen to a concerto right now playing by her, it's going to be a completely
different world. But it was so amazing, so unique. And I remember seeing like, I want to be that
pianist, you know, I want to be that artist, I want to be the one that that understand music,
respect music, because I respect music so much. I respect composers so much. But at the same time,
I want to put all of that in my own universe and in my own world. And I want to play it with my
own words. You know, sometimes when you're reading a book, and then you're explaining the book,
you're not saying what the book is saying, you know, you need you use your own words. So we
we have to use our own words to express ourselves after we understand what is it about. So
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classical musicians. Now let's continue with the show. And then there's another aspect of you that
is very interesting that it's equal that you work with the collaboration. I listened to the album
mostoros which also, am I pronouncing correctly? Mostoros. Which also won another award and so
and you collaborated with many incredible talents in the Latin music industry. Hey Glenn, Lauda
Guevara. Yeah. Yeah and so many others. And I really enjoyed the album. That album is so special.
So tell me about the collaboration. So that album is an homage to Venezuelan music.
But Venezuelan music of different genres. From classical Venezuelan music for piano,
all the way to like pop and you know boleros, like love songs, like all a huge range with my
current which at the moment when I recorded that it was you know I would just want to try to make a
fusion between classical music and or classical elements or my way like I'm a classical
pianist, trained pianist. Merge with all of that and create some sort of like a minimal elegant
approach to this music and then the idea was to collaborate with people from complete different
genres like not classical musicians like all from different music worlds like singers and
writers, pop, rock, folk. So it was really nurturing. It was an amazing process. I
wish that that album had more
impact but it got released right when the pandemic started. I see. It was kind of like frozen in time
I guess. Like it's stuck in a little capsule. I love that album. Like it taught me a lot.
It taught me a lot of what I want to do and what you know this kind of like homage that I was
paying to Venezuela. I was like doing arrangements also of my own and I asked our people
to help me with our arrangement. There's like a famous pop song that I turned into a kind of like
a Rachmaninoff list piece. So it was going like you know using like pop music. You know I was
like imagine Rachmaninoff listening to this song and creating his own arrangement, transcription
of it. Things like that and then I added there's one track that I collaborated with
a really good friend of mine. We add very 19th century Venezuelan tune and we turn it into
electronic music with acoustic piano and it was like a interesting process you know.
I don't know it was some sort of like paying homage to my country but at the same time paying
homage to composers and creators that they are daring to express themselves through the years.
And I think like one of the people that comes to my mind is Steve Reich.
That I remember the first time that I listened to what was the piece like piano with electronics
like the or the train like what like all of his compositions like it really like blow me
off. I was like oh my god like this guy is amazing and so I wanted to you know some sort of like
it's not the same but I'm saying like just thinking of people that I admire a lot and
Rachmaninoff of course is one of them. Yeah I know so there's one track inspired by jazz
and I admire so much Oscar Peterson. So it's like people that I you know listen to regularly
that I want to kind of some sort of like get some sort of influence but using classical music.
So it was a very interesting a very interesting project also it was a project where
my husband was executive producer he was I think it was like the first one with the idea
of doing things like that. He's a journalist he doesn't come from the music world but the way of
he doesn't come from the music world but the way of that he sees like aesthetics and like I don't
know like interconnections in art is very particular and so he was the one that came up with the idea
of that so it was very like significant for me. Yeah I loved it I love it so much yeah. Now we
we so far we talked about you as a you know pianist who plays Latin American music but
also of course you're a classical musician you're a classical pianist so you have that training as
well and so I'm curious to know how was it like to perform under the buttons of renowned conductors
like Claudia Bardot oh my god and Gustavo Dudavel oh my goodness and he is going to New York in two years.
Yeah so first of all I grew up in Venezuela and in Venezuela there's this social movement
musical movement called El Sistema that was created by José Antonio Abreu. My very first concert that I
did when I was four years old it was dedicated to José Antonio Abreu and that from that time
I started having some sort of like a connection with El Sistema and I think I mean I feel very
honored and privileged to say that I had the opportunity to play with orchestra since I'm
seven years old and I don't think like there's a lot of pianists that have that opportunity yet
like even like at like a older age and I never took that for granted and I owe that a lot to
to that program like El Sistema that I was able to perform you know like I feel like the most that
I did I think in my career has been like playing concertos and that's something that I love that
I adore doing it and I keep doing it but it was because of that you know I was growing up
with all of these fantastic musicians and one of them was Gustavo Dudavel was growing up there and
we had the privilege to play together it was amazing now of course he's a superstar but we kind of
like grew up together so like seeing all these people like shine as artists and also being
nurtured by that through the years has been just amazing and the moment when I well one of the
things is I have to thank Elaine Grimo the pianist because she got sick for a concert and because
she got sick I'm sorry for that that's when I got to play with Claudia Valle it was like a last minute
thing I played Rachmaninoff's second piano concerto with him it was the scariest moment of my life
when I came to a first rehearsal because I had only one week to prepare I didn't know like that
that was going to happen I feel like I practiced the most I don't know maybe like 14 hours or
something like it was like crazy like I was just like and you know also the responsibility you know
it was like playing for someone that I had like I lived I have albums that I own albums that it's
like you know the biggest you know the biggest of the biggest and it was one of the most amazing
moments of my life how kind he was how connected with music he was and I learned so much from him
he wanted to do at the very at the very end of the third movement before the before the cola like the
big you know climax he wanted to me to add like some octaves and he's like I really like it I mean
I know it's not written but can you please play the octaves like playing some octaves there
and I keep playing those octaves till today every time I play a concerto it's like and it really it
was an amazing time it was he was playing a concert in Caracas with the Simón Bolívar orchestra
and then Ellen she came after and played a concert with him but then like for the first concert she
was not able to and then I really thank her for that she doesn't know me I mean she we met there
but I don't think she remembers that even that moment and for me it was like you know
a moment in my life that it was just amazing but you are amazing because you know Rachmaninov
oh it was the last minute thing Rachmaninov for the Giro nº2 I mean it's not something that last minute
thing that anyone can really I mean I'm sure you've practiced in the past you know before but
yeah I feel like growing up and then you see that's one of the things that probably like growing up
in Latin America or in Venezuela that some things happen because because of improvisation you know
because a last minute thing and it has concertos that I had to learn and I like to learn
and I like last minute I played Brahms first piano concerto that I had to learn in one week
and I remember that I mean if I'm thinking about that right now I'm like I'm completely crazy
but at that moment I don't know I just felt like I I had like like that rush of playing this and
learning and you know like of course the amount of stress was inhumane but I really
appreciate that because of that is that I have like you know so many concertos that I
perform that I have on my repertoire that I can you know and also learn from that it's
like a different configuration you have the regular configuration of like learning a piece
I have the whole process and I have enough time to do it and then and then also I had the opportunity
to have that or experience which is not ideal for everyone there are people that are not suitable
for it I was doing it because I loved doing it I love playing piano I love playing with orchestra
so much that it was like I don't care I'm gonna do it you know it was it was just like that and
um it taught me a lot it taught me it taught me a lot how to like approach um music on a different
way nowadays not just practicing in your own practice rooms for hours hours but actually to
do it with the orchestra to do it with other musicians that that's when you learn so complete
and I I believe in collaboration I believe in collaboration so much I think this is one of the
things that sometimes like in the like the old school of classical music that was not necessarily
something good like to collaborate or to you know but I always feel like I I'm a better musician
when I collaborate with ours or you know if I have an opportunity and I can help a friend get that
opportunity as well you know that is something that makes me happy and I truly believe in that
I think that was something that maybe you know sometimes like ego or like you know there are
people that are like I don't want I don't want to give you my sources or I don't want to give you my
wisdom because you know and that talks a lot about insecurity and that's a that's another
different topic uh for me it's all about what what is right and understanding that in the music world
regardless of the genre of music there's space for everyone that doesn't mean like if there's
someone that is extremely famous and there's another person that is also equally famous that
doesn't mean that they're gonna clash you know they have their own moment the audience like this
is subjective you know uh this is something that and you're able to like 10 different artists it's
not just one you know like and and I I believe in that and I believe in like that give an opportunity
to people uh collaborating with other people interchange experiences wisdom and I think like
one of my my biggest dreams um is I I always say like I want to be extremely famous but not
because of fame or ego I don't care about that it's because that will be like my only way to
help our people like I want to have a foundation an organization that helps young musicians to
achieve their goal something that not a lot of us had you know there's no like there are
organizations doing it but like something that you know there's so much talent in the world
and one of the most important things for us that we are in this stage or in this age at this moment
after all of the experience that we had is to plan you know to seed to plant that seed for next
gen generations you know by teaching by giving master classes by helping others it's not just
about winning Grammys and playing concerts that's nice receiving the applause of the audiences that's
amazing um the energy is is is wow but it's more wow when you see uh that everything that you're
doing that you're working on that you're like you know fighting for it's getting you know new
roots and it's like developing in a different way so I think that's one of the most important
things for me in terms of like fame collaboration uh interaction with with with our musicians like
I love to play with musicians that they don't have to think the same way as I do but some sort of
like same values you know the values of uh of artistry the values of of of being human
and the values of humility for me are very important and passion always passion I'm from
yes I can I can really sense your passion for gear yes no worries no so but just just to be a
little bit of I don't know I don't want to sound so cheap or anything but or cheesy or anything but
you know Gustavo de Zanjel is coming and is there any collaboration future collaboration with you
again um yes I'm doing a I'm doing a project uh with the Venezuelan American pianist Vanessa Perez
and uh composer Stephen Buck we have a special project of Latin music and classic it's a two
piano project uh it's a solo recital two piano project and a two piano and orchestra project
um that I don't know if I'm allowed to say it but I'm going to say it because
yeah why not um we premiered the the two piano project last year in Romania and uh we the the
plans are uh we're gonna record the the the project is called a fuego lento and it's a mixture of
really um famous uh music of Latin America turned into uh two piano arrangements by uh Stephen
Buck and some like original works by him as well um but turning like into like in a level of
difficulty that is like you know classical pianists like you know like technical and like
contemporary music and of course the Latin rhythm of it and then we are mixing that uh with uh
Rachmaninoff second piano suite and um some other things so it's like a it's a project that we have
that we uh if someone is listening to this that is interested in we're more than happy to
play for you um anywhere in the world that's the idea it's an amazing project and working with them
they're like family to me it has been just a uh a blessing and one of the most important thing is
that we think alike we want to expand the universe we want to expand the universe of music we want
to help other people um and collaborating with great people and there are so many great people
in the world that um that yes i mean like i think this is something uh worth mentioning uh that
project and then um yeah our projects and our people i'm collaborating with um yes i cannot
say that right now but it's it's coming okay
um
do
Now let's talk about identity.
I watched a YouTube clip of your performance of Piano Concerto in A major by
Eveni Inesio Castellanos, Venezuelan composer, conductor.
Your music production profoundly embodies the spirit of Venezuela.
I can really sense that.
So what significance does your native country, Venezuela, hold you in regards to your music making?
Venezuela is where I was born, where I grew up.
Venezuela gave me the love of music.
Venezuela gave me my family, my traditions.
Venezuela gave me a lot of things and took away things from me as well.
That shaped me into the musician that I am right now.
It also showed me the beauty of arts through people, not necessarily through light landscape.
We have beautiful landscape.
Venezuela is beautiful.
It's amazing.
Another amazing country.
But I'm just saying like just be touched and be who I am through the people that I grew up with.
And then it gave me also the opportunity to learn overseas.
And I think that the most thing that I owe to my country, that it kind of like it gave me and my family, of course, the support.
But it gave me that kind of like platform to go and understand the real world.
I think I left, I lived a life, a privileged life full of love.
And I'm grateful for it, for my family and my friends and my teachers.
But I also need to see myself.
What do I want to become?
And that because I was living in Venezuela, that gave me the opportunity to be outside and understand me more.
And so, yeah, Venezuela gave me my family.
Venezuela gave me my husband.
Venezuela gave me so many things.
And even though I'm here and I've been in the States for so long, Venezuela is still in me.
And it will always be.
But it's just like on a different way.
I don't see myself, as I told you in the very beginning of this, as a Venezuelan necessarily, but more as a Latin American.
And even further, just as someone that had the chance to get some sort of spark from the universe and create.
And I have a duty with that.
So kind of like as a worldwide artist.
So just given what I was given to the world.
Then also you mentioned, you know, when we were communicating that, you know, you as not only Latino artists, but also you mentioned bisexual artists.
So can we talk about experiences as a Latino and bisexual artist in the classical music industry?
How have these aspects of the identity influenced?
It's interesting.
It has been rough, I have to say.
Like Venezuela is not necessarily like the open country that is very close.
And I always felt that it was some sort of like alien.
You know, I was like weird.
I was like, why do I have this dual, you know, way of see life?
You know, like I like and everything's like dual, you know, like for me.
And I felt it was weird.
And sometimes, you know, people think that the music world, the arts world is like, oh, yeah, everything happened.
The arts world is super open and you can just do whatever you want.
And it's not true.
Sometimes it's the country, you know.
So I think like one of the things like now that I'm like older is that I'm proud of who I am.
I've been like going through like this like identity process that also influenced my music.
I feel like the way I'm playing piano right now is completely different from before.
And that not mainly, but there's a lot of percentages that is due to understanding who I am and being proud of who I am as a human being.
It has been tough.
And you get like, I don't know any or experience, but mine at this moment.
But sometimes bisexuality is always seen as we're like the underdogs, I feel, of the LGBTQ community sometimes.
I mean, I'm sure like a lot of people feel that way and they belong to a different group.
But but in my experience, it's like they always like take it like, oh, no, you're just closet or oh, no, this and that, you know.
And I think the only entity to call it that way that understood myself, understood me all the way has been the piano, like my best friend, my everything.
So I feel that that when I was playing piano, I was able to be completely myself.
And I don't have to give any excuses to anyone.
Just let it go.
And so for me, like playing piano as well has been like very kind of like a cathartic experience.
I was able to tell people who I was or who I am without telling it with words.
Now I am happy and I can tell it with words and I'm proud and I'm like and I and I want all people that are feeling that way, especially young kids, which I'm sure that they're more advanced than us.
For sure to feel comfortable in your own skin.
And the more comfortable you are in your in your own skin, the better artist and human you can be.
And so that doesn't go to her for some people.
It is so important that the stimulation that you get from like exterior like agents, like even like watching TV, going to a park, everything influence the way you approach.
Music.
So if you're not happy with who you are, then the music is going to be broken.
You want that to be a beautiful sphere, you know, and if you want to break it, it's your decision.
It's not because the social construct or people or bullying or anything.
I'm completely against that.
So, yeah, I've been always I think like I've been.
OK, with the fact that because I have the piano and I can be myself there, I didn't have necessarily that urge before.
Also with the Latin culture, you know, which was very like macho, you know, like oriented.
And now I'm just who I am. I'm free. I'm happy.
And if there are people that they feel threatened or they don't like it or or it's OK, it's fine.
I think like that's part of like the diversity that you don't have to like everything.
But respect is something that we all have to give and we have to receive.
OK, I didn't mean to really label you in any ways, you know, by talking about, you know, bringing Venezuela, for example.
And I understand you lived in this country for a long time.
So, you know, when someone does that to me about my origin, native country, you know, sometimes it's like, please, I've been here too long.
You know, so I don't mean that. But, you know, I was very fascinated about how complex we are as human beings.
And then these days, as hard as you mentioned, challenging as it can be.
But then you still can express yourself that way in a complex way.
Yeah, does that make sense? Yeah, that's that's the reason I asked all these questions.
So I don't mean to really I don't think no, no, no, no. Thank you.
I feel like this is like it's good. It's liberating for me. Thank you for. Yeah, thank you.
Like, sometimes people get scared of asking things and there's the worst thing that could happen is I can tell you, no, I'm not going to.
As you say, like, I'm happy to. I'm an open book, especially now. I appreciate that.
I appreciate you. Yeah, it's a great conversation. Anyway, I want to know your alter ego, Benitez.
Because Mr. Benitez has his own Instagram account and I'm following you and then also the music streaming service account as well.
So tell us. So Benitez is an extension of me. Benitez is well, you know, it's a reason to say that I love music, regardless of the genre.
I come from the classical music and I will be playing classical music all of my life because it's part of me and I love it so much.
But also I can do other things. You know, people are.
They have the right to do other things and just not be labeled for one for one thing.
So the reason to create Benitez was to explore a little bit of my my side of creating music, always using the acoustic piano, but go a little further,
using electronic elements, doing music for for film.
I am actually I just work in a fashion film. I did the music for a very small fashion film.
Wow. Entertainment Latin America. And so it's amazing, you know, that you have to like your your universe expanded.
You know, it's not just piano. It's not just like the way it is also like, OK, you need to understand a visual.
You need to give it a different place.
Creating music right now, I think Benitez is going through like a lo fi era.
It's creating music with acoustic piano and like electronic elements.
One of my dreams, I would say, is to play a concert. It's Christian Benitez and Benitez in the same stage.
And then showing me classical pianist and then showing Benitez and have kind of like a collaboration together.
It's like Benitez Christian Benitez featuring Benitez. Wow, that sounds so amazing.
Where these two worlds, they are the same world.
It's like sometimes it's not understood by by everyone.
And I think for now, also for me, like I'm like entering this new world and it's good to kind of like separate it.
And then I think eventually it just will merge into just one.
So maybe Benitez will be just everything in the future. Who knows?
But I encourage people to first of all, to all classical musicians there that you love classical music, but you also love electronic music.
You love pop, you love rock, you love everything else. Do it.
It's going to enrich your classical performance. It's going to enrich you as a human being.
And if you have moments where people are like, oh, so now you are a classical or you are a pop or you are electronic or you are you can you can be everything.
Just always do it with love and with a lot of responsibility.
Just don't take it as like, oh, whatever. No.
Do it with responsibility, do it with discipline, do it with love.
But you're you can do everything. And that's true.
That that is not a cliche.
Thank you. So powerful. So what's your next phase?
I know new album is coming up soon.
Yeah. Yeah. So we have the the Latin American Classics Volume Two is coming in in the fall.
So we in this one, I'm trying to add more countries.
It's inevitable not to add Venezuela. Venezuela is there. Cuba is there.
It's Mexico is there again, Argentina.
But then I'm adding Brazil, Colombia.
There's. Or Walter Bolivia that actually Walter gave me some suggestions of repertoire that I really thank him a lot.
So it's it's going to be there going to be a lot of variety in that.
And and I'm looking forward, I'm looking forward to this to this album to continue the catalog.
So the idea is to create in the future three volumes of this.
So, you know, the fact that we're doing the second volume right now, it's a dream come true.
There are going to be some side projects like Afro Cuban Dances, who was kind of like it's part of it, but it's like just specific for for La Cuana.
There's something coming there like one are related again next year.
And just stay tuned, just, you know, go to my social media.
I always like post things. I'm not as regular as I should be.
Sorry for my husband that he always like encouraged me to post more things.
But I'm always trying just, you know, to be myself and post things that I like and play and improvise.
And eventually I want to be able to, you know, to communicate more with with with people.
I one of the things and this is changing just a little bit the subject, but one of the things that I remember when I won the Grammy is that I remember someone told me that, oh, you're famous now.
Then what are you going to do?
Like replying to people, you know, messages and all of that.
And I say, like, I don't care if I'm like, you know, famous as the most famous people in the world.
I will always go and reply to every single one of them.
And I remember when I won, I got.
I don't know, it was like maybe like three or four thousand messages, and I replied to every single one of them because they're taking the time to listen, to celebrate with you, to listen to your music.
They're giving you time and I'm giving them, you know, my appreciation of my time and my my my thank you.
Well, thanks. What a wonderful conversation I had.
I enjoyed thoroughly.
My heart is full because there's a really enriching conversation.
But before I let you go, we have one more thing to do.
Yes, that's the piano part.
I think my questions.
So whether you like it or not, here we are.
So I'll ask some silly questions, but be careful because these questions tend to be a little tricky because that shows really your answers may reveal who you truly are.
OK, get ready.
And so I want you to answer them as short responses as possible.
So we'll start with level one.
OK, question number one.
What is your comfort food?
Pasta.
Oh, yes.
How do you like your coffee in the morning?
Double shot espresso.
Sounds great.
Cats or dogs?
Definitely dogs.
Sunrise or sunset?
Sunset.
Summer or winter?
Fall.
OK.
I'll allow it.
Level two.
What skill have you always wanted to learn but haven't got the chance to?
To dance like N-Sync.
Dance like N-Sync?
That's a very specific era.
What is your word of words to live by?
Passion.
What is the most important polyv you look for in other people?
Truth.
Name three people who inspire you living your death.
Rachmaninoff.
Rubinstein.
There are so many.
I know, right?
I'll say it's Kriabin.
OK.
Great.
Now two more.
Now these are difficult ones.
Name one piece in your current playlist.
One piece?
Like classical music piece?
Anything.
Godofsky, Java, Sweet.
OK.
Last question.
Fill in the blank.
Music is blank.
Music is my everything.
Ding ding ding.
Thank you.
That was great.
So this concludes the episode of this episode of Piano Pops.
Thank you, Christian, for joining my show today
and sharing your stories and expertise.
I enjoyed it so much.
So for the Piano Pops listeners and viewers,
please visit Kbenitas.com to learn more about Christian's
career and the many time on social media.
All the links are listed in the show notes.
Thank you to my wonderful audience and fans
for tuning in today.
If you enjoyed today's episode, please rate and review it
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I will see you for the next episode of the Piano Pops.
Thank you, Christian.
Bye, everyone.
Bye.
Thank you.