by Mike Telin
Over the course of his career, Argentine pianist Nelson Goerner has performed with an impressive list of ensembles including the Orchestre de Paris, Los Angeles Philharmonic, Mariinsky Orchestra, Brussels Philharmonic, Royal Concertgebouw Orchestra, NHK Symphony Orchestra, Orchestre Philharmonique de Radio France, Dallas Symphony Orchestra, and the Helsinki Philharmonic.
On Saturday, August 22, at 7:00 pm, Goerner will add The Cleveland Orchestra to that list when he performs Ravel’s Piano Concerto in G at Blossom Music Center. Under the direction of guest conductor Antonello Manacorda, the program also includes Debussy’s Prelude to the Afternoon of a Faun & Nocturnes and Ravel’s Suite from Mother Goose. Tickets are available online.
Due to scheduling we were not able to speak directly to the pianist but he graciously agreed to answer questions by email.
Mike Telin: How does it feel to be making your Cleveland Orchestra debut?
Nelson Goerner: It does feel very special. I grew up listening to the great recordings of the Cleveland Orchestra under George Szell. What an emblematic, extraordinary orchestra it is. I am thrilled!
MT: What are your thoughts about Ravel’s G major Concerto?
NG: Ravel said that, for him, a Concerto might not aspire to profundity but could be a sort of “divertissement.” One can feel that in the outer movements of this piece, so full of wit, joyous radiance. In contrast, the second movement is music of indescribable, melancholic beauty. All that in a relatively short frame of around 22 minutes. A miracle.
MT: How do you approach performing the piece?
NG: I would say my approach consists of being as faithful as I can to Ravel’s indications in the score — which are not very many — while taking the chance for my imagination to bring the music to life. A great variety and subtlety of touch is required to capture the spirit of the music, its brilliance, its sensuousness, and its jazzy colours.
MT: What are the challenges of coordinating the solo part with the orchestra?
NG: Ravel writes not only for a virtuoso pianist but for a virtuoso orchestra as well. Take, for example, the bassoon solo of the first movement! For the solo and orchestra to coordinate well a flexible but at times also unfaltering sense of the rhythm is necessary. Ravel’s nature always favoured a precise type of virtuosity, not a “Romantic” one. And the piano has some wonderful singing counterpoint in the accompanying figures when it embroiders the English horn melody in the Adagio with great delicacy.
MT: Have you worked with Antonello Manacorda before?
NG: This will be my first collaboration with Maestro Antonello Manacorda. I am greatly looking forward to working together on this concerto.
MT: You collaborate with many wonderful musicians, orchestras, and conductors: what do you take away from these experiences?
NG: No matter how strong my ideas are, I always try to leave my mind and my spirit open. It is essential in playing a concerto or chamber music to have the capacity to react to the unexpected, to a different viewpoint that might come from your partners. Then the experience is worthwhile and not just routine.
MT: You work with the humanitarian organisation Ammala: What attracts you to that organization ?
NG: To join Ammala’s efforts to help the lives of one of the last nomadic people on the planet means a lot to me. My journey to Ladakh highlands, the touching welcome of their people, the visits to the schools we support, and the smiles of their children is among the great and most rewarding experiences I’ve had.
Photo by Marco Borggreve
Published on ClevelandClassical.com August 18, 2026
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