Interview
1- You started the piano at the age of 5 with professor Yana Kaminska, winning your first international competition 3 years later. Can you tell us more about this early master for you and which competition that was and what pieces you played?
Yana Kaminska was my first teacher and I will always be infinitely grateful for the love of music and the will to practice that she managed to give me from the very beginning. She is someone with a very rare pedagogical talent, and she knew that for me, entering a competition would be incentive to practice hard. The competition was an international piano competition named after the princess Lalla Meryem. In my category there were 77 candidates from various countries. We all had to play an imposed piece (I can’t remember the name, but I can hear it in my head!) and had to choose another piece from a choice of three (mine was ‘Une petite fille parle au bon Dieu’ by F. Barlow).
2- You were admitted with scholarships from both the U.K. government’s Music and Dance Scheme and the school itself to the prestigious Yehudi Menuhin School in Surrey, becoming its first Moroccan student. How did this honour feel like?
It made me feel proud because that way, I could represent my country in a positive way through my work. When, after a concert, members of the audience ask me where I am from, they are always surprised to hear the answer... Whilst it is true that things are changing for the better, there is still not much diversity in the classical music world. I want through my work to encourage young people from all origins and backgrounds, but particularly from the Arab world, to pursue careers in the Arts, and I would be very happy if my career could somehow contribute to the emulation of diversity in classical music.
3- You are the recipient of numerous prizes in national and international level competitions. Does anyone particularly stand out for you?
I remember the most the excitement about the first one, that I described above, but also the last competition I did in Azerbaijan which made me discover this amazing country that I probably wouldn’t have visited otherwise!
4- You have studied with Marcel Baudet and Emmanuel Despax at the Yehudi Menuhin School. How was it like to be mentored by these masters?
Marcel Baudet and Emmanuel Despax are both incredible teachers and people and I owe them so much. They have quite different approaches but they are similar in the way that they are both extremely convincing and have such strong personalities!...
5- What are your fondest musical memories, privately or performing?
The beauty of musical memories is that a song or piece randomly pops in your mind years after having physically listened to it and that they are each filled with their own emotional charge. I welcome them all heartily as they come, I dont have a favourite.
6- How often do your practice?
Everyday, but the number of hours depends on the other things I have to do. Generally between 3-6 hours a day.
7- Would you consider teaching music in the future?
Absolutely! I am teaching already and I love it.
8- Who would your dream accompanist be, from the present or past?
One of my dream chamber music partners would be the singer Dietrich Fischer-Dieskau. It would be incredible to hear him from that close. Also Lord Yehudi Menuhin, because I know I could learn so much from him in rehearsals. Also, all my colleagues from the Menuhin school whom I admire so greatly.
9- To what extent is there an appreciation of classical music amongst the public in Morocco and do you see yourself as a bit of a representative of that nation in that capacity?
Morocco is a very rich musical country, however, classical Music is not at all the mainstream type of music in Morocco, and as a classical musician, I stand out as a bit of an exception. But!... Classical music concerts are very often packed! I think the idea authenticity behind classical music concerts appeals very much to people, and the audiences are growing, and are generally much younger than in Europe.
