Pianist Alexandra Dariescu returns to Romania this Friday, on the 14^th of March 2025, to perform with the Iași "Moldova" Philharmonic Orchestra, under the baton of conductor Nicolò Foron. Alexandra Dariescu discussed with Ioana Țintea about this reunion with the Iași audience and other aspects of her artistic career.

Alexandra Dariescu, my first question is about your connection to the score of Clara Schumann's Piano Concerto in A minor - a piece you first introduced to Romanian audiences at the 2021 edition of the George Enescu Festival. In your view, what are the main advantages of this concerto?

This is a concerto that Clara Schumann composed at the tender age of 13, and she premiered it at 16, with Mendelssohn conducting the Gewandhaus Orchestra in Leipzig. To me, it is a piece full of color and dazzling technical brilliance. Her writing is fearless, without hesitation. Technically, the concerto is extremely challenging, with numerous leaps, and she had remarkably large hands, but overall, this is a highly innovative work. It was the first concerto in which the second part is written solely for piano and cello - an idea that went on to influence other composers, including Brahms. In his Piano Concerto no. 2, he includes a beautiful solo cello passage with piano, almost like a ray of light breaking through storm clouds. That second part feels like sunlight shining through, just piano and cello. This is a piece that speaks from the heart - to the heart of both the performer and the audience. It has many stylistic elements reminiscent of Chopin, and it is a brilliant work that every audience I've performed it for has absolutely loved.

Last year, you released your ninth album with the British label Signum Records, featuring Clara Schumann's Op. 7 Concerto and Edvard Grieg's Op. 16 Concerto. While researching for this album, did you uncover any remarkable insights about Clara Schumann's work?

I made a fascinating discovery thanks to a close friend of mine in America. Through her, I had the chance to meet the great-great-great-granddaughter of Clara and Robert Schumann - an extraordinary woman who, interestingly, has no direct connection to music and lives in the U.S. We had an incredible conversation, and she shared something truly moving: "Without Clara, there would be no Robert."When we look back, Robert was a law student who gave up his studies to pursue composition. He was completely unknown at the time, but Clara Schumann was already one of the most famous musicians in Europe - a true child prodigy, performing everywhere. She believed in Robert, loved him deeply, and promoted his works wherever she went. There wasn't a single recital in which she didn't include one of his compositions. This conversation with her great-great-great-granddaughter made me realize just how true that statement was: without Clara, we wouldn't have had Robert.

For a long time, you've been particularly interestedin works by female composers. What significance does Clara Schumann's concerto hold in your artistic journey?

To me, Clara Schumann is a life model. She was such a strong woman, almost a real-life superwoman: she performed extensively, raised a family, had seven children, took care of Robert, composed, and wrote. Her resilience and determination are extraordinary and inspire me in everything I do. I have performed her concerto all over the world, and in most places, it has been a premiere, and my dream - one that I realized by recording it on CD - is for this concerto to become more widely known, loved, performed, to be played on the radio and heard more often on concert stages because Clara Schumann absolutely deserves that recognition. Her music is remarkable and truly deserves to be listened to.

What can you tell us about your collaboration with the Italian conductor Nicolò Foron?

We are just getting to know each other musically. We first met backstage at the Royal Festival Hall in London a few years ago, but we've never performed together before. He is a highly determined young conductor, full of curiosity, and I really appreciate how much detail he puts into working with the orchestra, because we're not only performing Clara Schumann's concerto together, but also Mozart's Rondo allaTurca, which, I must admit, brought tears to my eyes today - when the orchestra started playing, I was overwhelmed with emotion because this was the very piece I made my solo debut with at the age of nine. And now, for the first time since then, I am performing it again. It was an extraordinary moment, and Nicolò worked with great precision, inspiring both the orchestra and me, and I truly believe Friday's concert will be an unforgettable one.

You mentioned in a recent post that every return is a gift. What are your thoughts as you prepare to reunite with the Iași audience?

It is the greatest joy. I am returning with a heart full of emotion, gratitude, and love and I can't wait to see friends, family, and all those who have supported me since childhood - it is always a privilege to come home and perform here. This will be my first concert without my teacher, who sadly passed away a few months ago. It will be the first time she won't be in the audience. She was always there. My heart is full of emotion - both happiness and sorrow. But as we know, those who are no longer with us continue to live on through music, and that is the most beautiful gift of all.

Let's also look ahead at your upcoming events. Can you share some highlights from your schedule?

Yes. Next week, I'll be back in London for a very special and challenging concert with the Academy of St Martin in the Fields, where we'll perform Mozart and Clara Schumann, as well as chamber music pieces by Nadia Boulanger and Clara Schumann with the concertmaster and principal soloist.Immediately after that, I'll be recording my tenth album - an absolute dream come true, titled A Child's Dream. Then, in two weeks, I'll return to perform with the BBC Symphony Orchestra and their chief conductor, Sakari Oramo, at the Barbican in London, where I'll be performing the concerto by British composer Doreen Carwithen. It's a captivating 35-minute work for piano and strings, as part of a concert celebrating British music. I am truly thrilled to be reuniting with the BBC Orchestra.