During the concerts at the Romanian Athenaeum on March 13th and 14th, you will perform Symphonie espagnole for violin and orchestra, composed by Édouard Lalo. You previously played this piece in Japan in 2020. What does revisiting this score mean to you?

First of all, it is always a great pleasure to perform Symphonie espagnole, this violin concerto, because it is quite atypical. Usually, violin concertos have three movements, whereas this one has five. Édouard Lalo, being French, greatly admired the Spanish violinist Pablo de Sarasate, who was an extraordinary artist and violinist with impeccable technique and exceptional musicality. These two elements are reflected in the music Lalo composed for Sarasate in this Symphonie espagnole. At the same time, the two influences-the French style of Lalo and the Spanish flair of Sarasate-must be well-balanced by the soloist performing this piece. Otherwise, the interpretation may risk losing its stylistic coherence or even becoming, in some cases, excessive. So, for me, it is a joy to play this piece, to rediscover it, and to work on the technical aspects so that when I step onto the stage, I can be completely free to express my musicality and personal interpretation.

This is your first time collaborating with French conductor Jérémie Rhorer. How does his vision impact your interpretation?

When I work with a conductor and an orchestra, it should feel like a kind of symbiosis, a short-term marriage in which all parties must find a common ground in service of the music. We are merely interpreters of a masterpiece that has been entrusted to us. It is always fascinating to hear the other's perspective, to find common denominators, and to try to get as close as possible to the composer's vision so that we can convey it to our audience in a sincere manner. In my opinion, this is the only way to truly move an audience when they listen to a piece. Working with Jérémie is a pleasure. He is a deeply emotional conductor, full of powerful musical energy, with very clear ideas, and he truly values collaboration between the orchestra, the soloist, and himself.

You have performed on exceptional violins throughout your career, including the 1735 Santo Serafino and the 1785 Giovanni Battista Guadagnini. What instrument will you be playing this time, and how does a violin's timbre influence the expressiveness and sonority of Symphonie espagnole?

I have played on several violins. I had a Ruggieri, as well as the Serafino and a Guarneri for two years. I have performed in Bucharest with these violins. The violin, for me, is an extension of my soul's voice.

For the concerts on Thursday and Friday, I will be playing a Giovanni Battista Guadagnini from 1785, from the Turin period. I chose this violin, and later, a generous Swiss patron acquired it for me. So, for the past six years, this violin has been like a family member to me. It is a joy to play this instrument, which has a rather dark timbre but remains refined on the higher strings-not strident, but very aristocratic.

You have performed as a soloist with the George Enescu Philharmonic Orchestra on multiple occasions and have mentioned that its musicians feel like family to you. What makes this orchestra so special to you?

As a child, I used to come to Bucharest to visit my father, who was a longtime member of this orchestra. I attended rehearsals and concerts when I was five or six years old, and everyone knew me. During rehearsals, I would sit in the Athenaeum and draw. Later, my father would let me try the violin, because all violinists start with a quarter-sized violin, then a half, then three-quarters, and only transition to a full-size violin as adults. I experimented and was cherished as the youngest in the orchestra. That is why, 25-30 years later, it is incredibly special to see how I have evolved and grown alongside this wonderful ensemble. It truly feels like an alma mater.

Throughout your career, you have won numerous awards, including first prize at the Joseph Joachim Competition in Hanover. In 2011, you became a laureate of the George Enescu Competition. Looking back, what role did this experience play in your career?

Every competition is a test of character, perseverance, patience, and ambition. Competitions also provide an opportunity to present yourself to the world, to say, "Here I am," and to meet new people and programs. If you win a prize, you also gain new collaborations with conductors and orchestras. From my perspective, competitions always have a positive impact on young artists. That was certainly the case for me.

In August, you will return to Romania for the George Enescu International Festival, this time alongside the Ukrainian Freedom Orchestra. What does this collaboration mean to you, and what are your expectations for this concert?

I am very happy to have been invited to the George Enescu Festival by its artistic director, my colleague and friend Cristian Măcelaru. I am especially pleased that this concert will take place in Bucharest at Sala Palatului, and I am certain it will be an unforgettable experience.

In 2016, you founded the Arta Vie (Alive Art) Foundation to support talented young musicians from Moldova. In 2025, the foundation will celebrate nine years of activity. What impact do you think this project has had on the community, and how do you envision its future development?

The foundation was established in 2016 in Chișinău. It was my desire to have something at home-not just in terms of family, but also artistically.

The foundation initially started as an organization that brought students from Ciprian Porumbescu High School into social institutions, oncology centers, orphanages, and facilities for children with autism. We organized concerts and brought music to places where it would not normally reach. In this way, music became a form of therapy. After the pandemic, we had to restructure our approach, shifting our focus to masterclasses. Every year, we strive to bring two or three masterclasses to Chișinău for high school students, giving them access to the experience and advice of great artists-my colleagues-who, at my request, are happy and eager to come and discover Moldova, Chișinău, and its talents. For me, it has always been important to contribute in any way I can. Through this work, I know I am making a positive impact on others. This is a vital part of my life-not living just for myself, but also for others.

In the Romanian artistic landscape, are there any musicians you follow with interest?

Of course! I follow many musicians with great interest and collaborate with many of them-Cristian Măcelaru, Andrei Ioniță, Valentin Răduțiu, Răzvan Popovici. I am afraid I might have left someone out, but they are all my friends. With social media and the internet, we are always connected, and I have immense respect and admiration for all those pursuing solo careers. It is a challenging life that requires many sacrifices. But when you are on stage, you know that every sacrifice was worth it.