We live in an era of shrinking distances – a few days before his appearance at the Meleagris Festival, pianist Ioannis Potamousis spoke to us from Abu Dhabi. However, no matter how much circumstances change, some experiences – and among them Art – remain timeless.

Dear Mr. Potamousis, there is one question that must be asked right now: what is happening in Abu Dhabi?

Abu Dhabi is currently experiencing something like a cultural explosion. Many things are happening simultaneously. It is a city that is investing impressively in culture and education — from large museums to significant university institutions. At the same time, however, there is also a strong contradiction: the geopolitical reality of the region reminds us how fragile everything can be. Personally, I feel safe because the country has very strong protection mechanisms, but when you hear interceptions or explosions, you can’t help but feel a sense of fear. In these moments, music becomes much more than work for me; it is a refuge, a way to maintain my balance.

It brings to mind Georges Bizet, who composed “Carmen” while listening to the Prussians bombarding Paris in 1870.

The history of music is full of such moments. Composers like Shostakovich or Rachmaninoff created some of their most powerful works during periods of great turmoil. In such conditions, you realize that art ceases to be a luxury and becomes a necessity. When there is tension or uncertainty around you, creating music functions almost like a small act of resistance. Personally, I have often felt that the louder the noise of reality, the deeper I immerse myself in study. When I sit at the piano, for a while the rest of the world falls silent.

In general, what is the musical life like in the Arab world?

It is much more vibrant than one might imagine. The Arab world – and particularly the United Arab Emirates – is developing culturally at a very rapid pace. When I first came here, classical music was still in a relatively early stage. Today, however, significant concert venues, orchestras, and a continuously growing activity have been established. The most interesting thing for me is the attitude of young people. There is great curiosity and genuine interest in piano and classical music. This freshness — which has sometimes been lost in more mature European music scenes — makes the environment here particularly creative.

Has anything changed in your musical perception?

Life away from Greece and daily contact with a different culture have helped me to see music with a broader perspective. Teaching here, I constantly realize that music is a living dialogue — not only with the repertoire but also with the people around you. I learn daily, even from my students. I listen, discuss, read, and try to constantly experiment. My goal is simply to serve music as honestly as I can. After all, a musician is, in a way, “naked” on stage. The audience doesn’t just hear the performance of a work; they also perceive the personality, the soul, the truth of the artist. That’s why I try to constantly evolve as a person, because ultimately music always reflects who we are.

The composers you will play in your concert were both well-traveled, but they carried their homeland with them everywhere.

This is something that particularly moves me. Rachmaninoff always had the sound of Russia within his music — you can almost hear the church bells. Liszt, on the other hand, was truly a citizen of the world, but his music strongly retains the roots and experiences of his travels. I think every musician always carries their homeland with them, wherever they are. And I, living between Greece, America, and the Middle East, feel that all these experiences shape the way I play and think about music.

What feelings and pianistic interest do the works you will perform evoke in you?

To perform these two works in the same program commands great respect. For me, it’s like a continuous narrative — a journey from bondage to redemption. Rachmaninoff’s Moments Musicaux have a deep lyricism but also an intensely physical relationship with the piano. Each piece opens a different emotional world. Liszt’s Sonata, on the other hand, is truly the “Holy Grail” for a pianist. It is a work of immense power and depth. The challenge is not only technical; it is to be able to narrate a great inner journey full of tension, doubt, and ultimately a form of redemption.

How romantically can one play today in a not particularly romantic world?

We live in a very fast-paced, digital, and often somewhat cold era. And yet, I think today romantic music is perhaps more necessary than ever. Personally, I don’t try to approach it with any ironic distance. I remain — if you will — a rather “old-fashioned” romantic pianist. I am interested in beautiful sound, the grand phrase, the emotion that slowly builds within the music. Playing romantically today is not an exaggeration; it means exposing your sensitivity and letting your truth be heard with sincerity.

After everything that’s happening, I suppose the Meleagris Estate will seem more serene than ever.

The Meleagris Estate has always been, and remains, hospitable beyond all expectations. This time, however, my return holds the significance of a personal challenge; the concert takes on another dimension for me. Amidst the turmoil of war, with the anxiety of “will we be okay?” and the sound of explosions, studying and preparing become a small, personal victory. I am glad that my arrival in Greece coincides with a venue where the program can truly breathe; the serenity of the landscape and the warmth of the Estate create the ideal setting for this music to be heard. When Ms. Nikolaidou and I chose the title of the concert, I never imagined that I myself would identify so deeply — from the “Bonds” of war, to the serene atmosphere of the Estate, and finally to “Redemption.” This journey is what I want to share with the audience.

THE CONCERT AT MELEAGRIS ESTATE…

PROGRAM

• Sergei Rachmaninoff (1873-1943)
  Moments Musicaux (Op. 16)
• Franz Liszt (1811-1886)
  Sonata in B minor

Saturday, March 21, 2026, at 8:30 PM
Meleagris Estate – 2nd km. Spaton – Artemidos Ave., Spata

More information and tickets…

https://www.ticketservices.gr/event/meleagris-from-constraint-to-redemption

The Meleagris Estate will be open one hour before the concert begins to welcome anyone who wishes to visit earlier. After the event, MELEAGRIS CLASSIC will offer local delicacies and wine from the local winery EVOYNOS (which are included in the ticket price).