Forte
Director: David Donnelly
Producers: David Donnelly, Anastasia Boudanoque
Cast: Tatiana Berman, Anastasia Boudanoque, Elbjorg Hemsing
Q&A by Brad Balfour
When the film Forte premiered a year ago at Washington, D.C.’s Kennedy Center Justice Forum, its remaining tour dates were cancelled due to the COVID-19 pandemic. Detailing the story o
f three women defining their own idea of success in the classical music world, the film illustrates the perseverance one must have to succeed in this globally competitive field. The documentary focuses on Russian-born prodigy Tatiana Berman, manager and entrepreneur Anastasia Boudanoque, composer/pianist Lucia Caruso, and Norwegian violinist Elbjorg Hemsing. The issues raised in Forte, particularly with Berman’s story, have been made even more pointed because of the impact the pandemic has had on the employment of women in general.
Soloists who embark on a traditional classical music path are expected to perform more than 100 concerts a year, forcing many women soloists to choose between motherhood and their career. And thanks to the pandemic, women, especially mothers, have been disproportiona
tely impacted by quarantine measures.
Producer Boudanoque is glad to share the film with an American audience, as she says, “This film is more timely than ever.” It is available to stream throughout March given that this is Woman’s History month. For info and to stream the film, go to https://www.fortefilm.com/home
Subject Berman has been creating new ways of connecting classical music with a broader audience as the co-creator of the performance concept Not So Classical which has offers an innovative approach to presenting a classical music concert experience.
Throughout her concert violinist career, Berman has collaborated with renowned musicians such as Joshua Bell and Nico Muhly, and as a soloist, she has worked with conductors Paavo Jarvi and the late Yehudi Menuhin, appearing with both European and U.S. orchestras. Her notable performances include world premieres of Violin Concertos by Charles Coleman and Michael Csányi-Wills. In 2012, she was named Arts Ambassador for the City of Cincinnati, Ohio and became a Ted Talk speaker.
And given the present pandemic conditions, an email interview was conducted with Berman to address her career, the film and the future.
Q: How did you choose your instrument — was it a natural choice?
TB: I grew up in a family of musicians in St Petersburg, Russia. I was one of those creative kids who wanted to do everything – the list included a violinist, artist, conductor, philosopher, dancer, composer, writer, and a cosmonaut. I was always singing everywhere, and sometimes “conducting” my mother’s rehearsals with her orchestra from my seat in the audience.
At age four, I attended a recital where my father was performing on the piano with a violinist in a Grand Philharmonic Hall in St Petersburg. The music was beautiful, and on top of that, the crystal chandeliers were magical — something a four year old girl finds fascinating. After that, I decided I was going to become a violinist, and kept nagging my parents until I got a violin. When I started to learn, I quickly realized that practice was not my favorite part because it doesn’t sound that great when you first learn how to produce the sound. But, I loved making up music on the violin and performing for my family, so I persisted. At seven I got accepted into a top specialized music school, and the rest is history.
Q: What about the violin appealed to you?
TB: There is something ethereal about the sound of the violin, it reaches the depths of the soul.
Q: How was the transition from Russian culture to American culture?
TB: Having lived in Russia, then, from the age of 14 studying in the UK. In my 20s, I moved to the US. Being a curious and worldly person, I identify with different aspects of each country’s culture and enjoy adapting to various cultural dynamics. I think the societal system in which people exist, and the methodology of how they approach life varies. And perhaps things culturally accepted and valued in one country are not the same in another, but in the end, in my experience people are really the same. Most people care about the well-being of their family and friends, and having a purpose in life.
Q: How have your musical tastes grown/evolved?
TB: Growing up, we didn’t have TV, so I got lost in books, attended many classical music concerts, opera and ballet performances, practiced the violin several hours a day, painted and listened to records. Somehow, my sister and I also had time to play with the neighborhood kids. Mostly, it was all classical music and a bit of jazz. I wasn’t exposed to popular music until I was 12. As a teenager, especially after moving to England, I began exploring anything that I could find — the best in pop culture, jazz, latest trends in music.
Fast forward to the present time — it’s amazing to be able to explore all sorts of music at a touch of a button — from independent singer-songwriters to ultra-contemporary classical music to bossa nova and jazz masters. There is one slight disadvantage in having perfect pitch and being trained as a classical musician – makes it almost impossible to listen to “bad” music.
Q: How was the process of making film and being in film different from making music and performing music?
TB: There are many differences in these experiences, and here are just a couple of examples. In the documentary our actions are captured as we go about our lives and eventually, after several months, the film takes shape. On the other hand, the preparation process for a performance is behind the scenes and is not usually documented. Making music together in a performance with others is an immediate, inspired process that happens in the moment.
Q: In making the doc, how much were you the subject as opposed to controlling the process?
TB: We didn’t know which part of the footage would make it into the documentary because it is shaped into a feature-length film towards the end of the filming process. As the subjects, for the most part we all just had to be ourselves. I am a highly conscientious person by nature, add to that being trained as a soloist in classical music— that makes me quite a perfectionist.
In this context it’s not easy to show vulnerability, personally or professionally. To an extent, we did have some say in how we were portrayed, and we selected the musical performance clips that we were happy with releasing to the world as part of the film.
Q: How do you balance out the different processes of creation and of doing business in being creative?
TB: Balancing the business side with realizing creative ideas, and on top of that staying in great shape as a musician is a balancing act… It helps to surround yourself with like-minded people who want to help you achieve your goals. Looking ahead and envisioning my ideal present and future is very important for me, but to be perfectly honest, it is a constant learning process to prioritize and compartmentalize everything.
Q: How do you balance out a commitment to repertoire with doing new music and a synthesis of classical and pop?
TB: I am not a crossover artist, so there is no synthesis of pop and classical in my work, rather an updated presentation of classical music, old and new. My intention with the creation of the Constella Arts and Not So Classical is to introduce more people to amazing classical music in a fun, fresh way. I love reaching people who have not been introduced to it in the best way, and perhaps have misconceptions about what classical music is.
Q: I’m from Cincinnati, so I am curious about your connection to the city.
TB: I came to Cincinnati because of a personal connection, and even though I travelled a lot, it became my home base for many years to come. My children attended school in Cincinnati, and lots of creative projects began there. I founded and developed the Constella Arts organization, co-created the Not So Classical experience, painted a lot, and much of the new documentary that features my journey balancing my musical career and motherhood, Forte, was also filmed there. So, I have fond memories of the Queen City.
Q: Did you try Cincinnati chili and how did you like it if you did?
TB: Haha… As a Russian, my go-to comfort food is still borscht. As for Cincy chili — I’m not sure if the idea of a pile of meat on spaghetti is my thing.
Q: Have you performed in Eden Park, Mount Adams or Union Terminal?
TB: For many years I actually lived right next to Eden Park and frequently took walks there. I organized and was a part of several events that Constella Arts presented at the Cincinnati Art Museum and the Union Terminal throughout the years.
Q: Have you played any Celtic music?
TB: I love the energy of Celtic music very much, but haven’t had the experience to play it. Maybe something to try in the future, who knows?