On Friday, October 25th, as part of the Royal Charity Concert given by the Universitaria Orchestra of the National University of Music in Bucharest, conducted by Tiberiu Soare, cellist Constantin Borodin will perform on the stage of the Athenaeum, together with other young soloists.

I will play Vivaldi's concerto for two cellos in G minor with Izabela Ghergu. I can't wait. It will be my solo debut for this event. It is one of the few concertos written in the history of music for two cellos. A much-loved concerto, both by cellists and music lovers.

What is your relation with this institution?

I was a scholarship holder for three years in a row in the Young Talentprogramme of the Royal Margaret Foundation of Romania. I can say that this scholarship had a direct impact on my development as a musician. In addition to the financial support offered, but also the mentoring, masterclasses, etc., it was also a confirmation that what I do is good and appreciated and seen by more people. It has given me wings and courage that what I am doing is good and to move forward.

Would you recommend this experience to young musicians?

Absolutely. It is with great confidence and with great warmth that I recommend that young people apply for this scholarship because they stand to gain in so many ways.

What exactly do young musicians need?

Young musicians need, on a personal level, ambition and hard work. Both young people and musicians in general deserve to be seen and encouraged to keep going, because at that moment your ambition also seems to grow and the desire to work is stronger.

How can people, listeners, music lovers support young musicians?

For example, talking about the Young Talents programme, to support this programme through donations, to get involved in the lives of young people through concerts or by having direct contact with them, following them in what they do, encouraging them.

Do you feel you could have benefited from more public support?

It would probably be easier or it would help me and I would have liked it if the audience, for example, after a concert, would directly connect with me, be more open, and I in return. Everything is done gradually anyway, and you build an audience, whether it's your own or that of an orchestra or an ensemble, it eventually becomes somehow yours, if you're on stage and you're giving concerts, that's what happens.

Would you like the audience to congratulate musicians backstage after a concert?

Yes, definitely. And from the musician's side, direct contact with people has a much bigger impact than simply some social media posts. Connecting with people and getting to know the person, both the audience to the performer and vice versa, pays off, I would say. I'm referring specifically to what comes after, as if the concert was something for fun. Well, the work starts afterwards, let's connect.