Vasco Dantas: the rise of an excellent Portuguese pianist

By Joana Patacas*, on July 1, 2024

In an artistic field as competitive and constantly evolving as classical music, Vasco Dantas stands out as a figure of excellence, whose career consecrates him as one of the most calm Portuguese pianists of today.

His virtuosity is remarkable and his technique exemplary, allowing him to perform complex passages with surprising ease and fluidity. His fingers glide across the keyboard, producing a crystal-clear and brilliant sound, even in moments of greatest intensity and speed. His mastery of the instrument allows him to create a wide range of dynamics and subtleties, from the most delicate pianissimos to the most powerful fortissimos. However, his technical dexterity serves expressiveness and emotion, resulting in deeply engaging and moving interpretations that have won over audiences and critics alike.

“ Mozart becomes extremely emotional, almost romantic, in this piano concerto. Vasco Dantas underlined this with his introverted and almost flawless performance, which, despite all the sentiment, did not lack a virtuoso structure, the soft, almost flattering touch, the flowing melodic lines and sparkling runs as well as the finely graduated dynamics. ” PZ-news.de

Born in Porto in 1992, Vasco Dantas has conquered the world with his extraordinary talent. With a successful international career and over 50 awards in international competitions, he is an undisputed name in the classical music scene. From his public debut at just six years old at the Porto Tram Museum to the most prestigious stages in the world – Carnegie Hall in New York, where he made his solo debut, the Théâtre des Champs-Elysées in Paris and the Great Hall of the Tchaikovsky Conservatory in Moscow as a soloist with orchestra – he has captivated audiences with his virtuosity and passion for music.

“ Dantas is a performer with exceptional technical possibilities who, in addition, manages to put his abilities into practice to create short but impressive musical expressions. (...) With calm gestures and discreet body movements, he made a contact with the keyboard through which the unity of sound and movement could truly be perceived. ” – Muzički Limbo

He holds a Bachelor of Music degree with 1st Class Distinction from the London Royal College of Music, having studied piano with Dmitri Alexeev and Niel Immelman and conducting with Peter Stark and Natalia Luis-Bassa. He completed his Masters in Performance with top marks under the guidance of Heribert Koch, as well as his Doctorate "Konzertexamen" from the University of Münster. His excellent training is reflected in his performances, as has been highlighted by critics:

" A pianist who is rare for his great generosity and emotional strength, Mr. Dantas is characterized by the intensity and sweetness simultaneously conveyed in his interpretations. " – Aachener Zeitung (Düren)

In addition to his career as a pianist, Vasco Dantas He also stands out as artistic director of several festivals, including the Algarve Music Series , the Sezim Music Series , The Piano Concerto Festival and the Music Series Festivals . In this exclusive interview with SMART , he talks to us about his first steps in music, the experiences and challenges that shaped his career and the valuable lessons learned along the way.

How did music come into your life?

My father used to sing in a choir. He would rehearse on Saturdays and I would sometimes go with him to rehearsals. When I was three years old, I was a very restless child and during breaks I would try to go to where Professor José Manuel Pinheiro, the choir conductor, had his keyboard and ask him to guess the sounds. He thought it was really funny and started doing some musical games and quick tests. He realized that I had musical talent and that I had some kind of perfect pitch, because I reacted very well and very quickly. So he advised my father to enroll me in music. At the time, my father was very surprised because he didn't know it was possible to start learning an instrument so early. I started learning at Valentim de Carvalho, in Porto, and I have continued studying music ever since.

You started by studying the piano, but then you also started learning the violin. Tell us about that.

The violin came about because my sister, who is two and a half years younger than me, also started studying music. She was about three years old at the time and began her violin studies using the Suzuki method. As she studied at home, I would hear her playing and that sparked my interest in the instrument. So I told my parents that I wanted to start studying the violin as well, in addition to the piano that I was already learning.

And did you complete your studies on both instruments?

I studied violin until I completed the 8th grade, but there came a point where I had to make a choice. Although I loved it, the piano was my first instrument. Furthermore, I was already very advanced in my studies, even when compared to other students. I felt that I had greater potential to develop and express myself musically through the piano.

What differences were there between the two instruments?

I really liked playing the violin and I always wanted to keep learning that instrument for as long as possible. I even found the violin quite easy; for me, the piano was a more difficult instrument. I dedicated many more hours to studying the piano, but I kept playing the violin because it allowed me to make music together with other colleagues. From that point of view, the piano is a more solitary instrument. I remember very well wanting to enroll in the OJ (Youth Orchestras of the Official Music Conservatories) where all my colleagues were, but there were no vacancies for piano. I was very sad that I couldn't go with them just because I was a pianist. However, I realized that I could also take exams as a violinist. No one had ever done that with a second instrument. I studied violin at a private school and everyone took the exams with the instrument they studied at the Conservatory. So, one day I went to take the exam as a violinist, I passed and started to participate in the OJ. In other words, in a way, I kept studying the violin because it allowed me to socialize and make music together.

Do you still play the violin?

Only once in a while, for fun, and never in a professional context. The piano demands a lot from me in professional terms.

You started acting very early. What was it like to perform publicly at the Porto Tram Museum at the age of six?

Oh, it was very easy! A six-year-old child has no idea that he or she is performing in a concert. At the same time, I also played on the “Praça da Alegria” program on RTP. It was spectacular. It was only later that it became more difficult to perform in public, when it was no longer a “game”. I think it was only from my adolescence that I began to be aware of what it is to be on stage, what it represents and how to deal with the fact that other people are evaluating my work.

When did you start to realize that you were going to be a professional musician?

At school, compared to the rest of the class, I was an average student. I wasn't the best in the class. I was among the good students, but I didn't stand out as the best. However, in piano competitions, it was a different story. I always won a prize, usually first place. This started to become noticeable in my adolescence, and that was when I realized that it could mean something important. I then began to imagine what it would be like to pursue a musical career. However, I never made a definitive decision. At the end of the 9th grade, I chose Science and Technology, because I didn't want to limit my options. In fact, I even considered going into Medicine. I was involved in the “Pós…Zarco” project, at the Gonçalo de Zarco Secondary School in Matosinhos, which prepared students who wanted to study Medicine in Higher Education, including Spanish classes for the entrance exam in Spain, where the entrance averages were much lower. Halfway through secondary school, I began to realize that I didn't want to study Medicine and turned to Engineering. Meanwhile, I entered the Faculty of Engineering of Porto (FEUP) to study Materials Engineering, with the intention of later moving on to Micro and Nanotechnology Engineering, but at the same time I took exams in London for a degree in music at the Royal College, the Royal Academy and Trinity College. At the age of 18, I ended up freezing my enrolment at FEUP and went to London, where I ended up graduating with distinction from the London Royal College of Music.

Was your move to London motivated by the perception that you would have more opportunities abroad than in Portugal?

Yes, absolutely. I had the option of staying in Portugal, but I had already decided that if I chose to study music, I wanted to do it abroad. The exams in London are held a year in advance. I had to decide in September of my 12th year whether I wanted to take the exams to enter the degree the following year, in September. I took the exams in November and December 2009, and then I entered in 2010. At that time, there were few Portuguese musicians studying abroad, but I had two examples of Portuguese pianists who had gone to England – João Pedro Costa, who had also studied at the Porto Conservatory of Music, was in Manchester, and Pedro Gomes, who was at the Royal College, in London – and I wanted to follow that path. I had already participated in competitions all over the country and won several awards, but every now and then I faced some reality checks. For example, when I competed in Spain, I could no longer win first prize. I realised that it would be harder to progress in Portugal than if I went abroad, where there were clearly people better than me. I was also excited by the idea of the adventure of going to study abroad, which always ends up being an added value. I don’t mean to say that there aren’t excellent teachers in Portugal, but learning isn’t limited to just the teacher. Furthermore, being part of a college in London is, in itself, a unique experience. It wasn’t just about the educational offering, but also the cultural offerings that are available to students, the diversity of students we met from other countries, and the huge network of contacts that we started to create when we were 18. All of this counts. When I left the Royal College, I had a much wider network of contacts than many of my colleagues who chose to stay in Portugal. Even if they played as well as I did, that extra dimension is very relevant and makes a difference. And I probably also faced some challenges that I wouldn’t have faced if I had stayed in Portugal.

Tell us about these challenges.

For now, we are faced with a different reality: it is a different country, with a different language, currency and culture. Furthermore, it is very challenging to be surrounded by so many talented pianists every day. I had classmates from all over the world and in class we would play for each other, under the guidance of the teachers. I had never been in an environment with so much talent gathered in one room. Suddenly, I realized that I was only average or, in some cases, below average in terms of level, compared to my classmates. This made me feel the need to work even harder to keep up with the rhythm and musical level that they demonstrated. At the same time, I had the opportunity to play the piano and make music with them, which proved to be extremely enriching. I would say that the biggest challenge was this need to improve my musical quality. I also had many opportunities, such as taking classes with international teachers and pianists, or attending masterclasses by incredible international artists, such as Alfred Brendel, András Schiff or Lang Lang, who are among the best pianists in the world. This possibility was presented to us as something completely normal, and we could sign up to participate in these classes or attend them and have personal contact with these invited artists. This allowed me to broaden my artistic horizons immensely and receive small pieces of advice and ideas that became extremely important in my career.

What was the piece or composer that challenged you the most during your training?

During my undergraduate studies, Franz Liszt was undoubtedly the composer who challenged me the most. At that time, I was very involved in studying the vast repertoire and artistic life of the composer Franz Liszt. I carried out some interesting projects with Liszt's "Spanish Rhapsody", which, despite its name, is a collection of Iberian themes, including Liszt's "Grandes Études de Paganini" and the Sonata in B minor, and Chopin's "Souvenir de Paganini" Variations. It was a period in which I approached many works of great virtuosity, which made Liszt the composer who challenged me the most at that time. This period even resulted in two CDs: my first album " Promenade " still recorded at the Royal College of Music in 2013, including Liszt, Petrarch's Sonnets, and the Spanish Rhapsody , as well as Mussorgsky's " Pictures at an Exhibition ". And the second album already recorded at the University of Münster at the beginning of my journey in Germany, in 2015, including the “ Grandes Études de Paganini ”, the Sonata in B minor and the Variations “Souvenir de Paganini ” by Chopin.

And now?

Right now, the works of Rachmaninoff and Mily Balakirev, both Russian composers. Balakirev is the author of " Islamey ", a piano composition written in 1869, which is still considered one of the most difficult pieces in the world. It is quite challenging and I am putting together a recital program around these two composers and they have occupied much of my thoughts.

You have won over 50 awards. How does a young artist deal with this level of success and recognition?

It requires some emotional work. My teacher at the Porto Conservatory of Music, Rosgard Lingardsson, was fundamental in this process. She noticed that I tended to be very competitive and knew how to use this to my advantage. I remember how she constantly set new challenges to encourage me to work harder. The curricula were designed to be accessible to all students, which ended up dragging the level “down”. However, nowadays, I have the feeling that this tendency has become even more pronounced. Since I quickly fulfilled everything that was required, she tried to go further, motivating me to participate in competitions. I started winning prizes in various competitions very early and very often, which could create a false impression of superiority. To counteract this, Professor Rosgard encouraged me to participate in international competitions. This experience proved useful, because there were times when I studied less, confident that I would win as usual, which did not always happen. Facing this different reality, such as not winning anything in competitions in Spain, made me dedicate myself to studying even more intensely. This management was crucial. Despite my competitive nature, I am very perfectionist, and she knew how to channel these characteristics in a pedagogical way. Thus, at the end of each semester, I had already completed the equivalent of a full academic year.

In professional terms, you are also the Artistic Director of the Algarve Music Series and other festivals. How does an instrumentalist with such a busy schedule manage all these responsibilities?

The Algarve Music Series was created by cellist Isabel Vaz, who invited me to be the artistic director for the third edition of the festival. Since then, we have shared responsibilities. In the meantime, we changed the name to Algarve Music Series , as it was previously called “ Algarve International Chamber Music Festival ”, a very long name with little international recognition. Managing the schedule is really difficult. In a festival with few resources, as is the case with most festivals in Portugal, the artistic director needs to take on several roles. At the beginning, we didn’t have a very developed structure. I was a producer, director, driver, performer, answerer of emails and managed the little we had, to be able to do everything. At the same time, I continued with my concerts. It was very demanding. Fortunately, we managed to grow the festival structure, although it wasn’t easy. Now we have a more robust structure and we are more efficient, but in the beginning we needed more support to have a larger team, but that meant we needed people to help us have better visibility and present the projects more effectively so that we could get that support. Now, more and more, I can just be the artistic director.

However, have you expanded the Music Series concept ?

Exactly. The Avis Music Series will be in its third edition in September and the Sezim Music Series had its first edition at the end of April this year and it was a huge success. I was expecting it to go very well because on an artistic level we had extraordinary guests: I played with the Mário Laginha Trio, but we also had performances by Isabel Vaz (cello), Ricardo Gaspar (viola d'arco), Marco Rodrigues (trombone), Joel Cardoso (clarinet) and João Barradas (accordion). In addition, the festival took place in the historic Casa de Sezim, in Guimarães, which gave the show an even more refined atmosphere. Meanwhile, later this year, the Music Series will have its debut at the stunning Teatro del Lago, in Frutillar, in the south of Chile. It is an artistic centre that encourages the development of culture and creativity in education through music and art and the current director of the Teatro del Lago Music Festival and responsible for the programme is the Portuguese João Aboim. We had been in talks with him for some time and in the meantime a platform for Portuguese artists was approved. Until now, there had been no project of this kind in Chile that promoted cultural contact between the two countries. This is how the Teatro del Lago Music Series came about, which will now have an annual programme dedicated to relevant artists from the Portuguese music scene.

You are also co-artistic director of The Piano Concerto Festival in the Algarve. How does this event stand out from the others?

This is a more educational festival. While in other festivals we invite several artists to compose the programme and perform concerts, this event offers young pianists the opportunity to play with an orchestra. We identified a significant gap in this area. Although there is quality piano teaching in Portuguese universities, the opportunities for students to play with an orchestra are very limited. This is due to the high cost, complex logistics, lack of space and the time needed to organize 50 musicians on stage, among other things. However, it is essential for a pianist aspiring to a professional career to have experience playing with an orchestra. We observed that many colleagues played very well in solo recitals, but then faced difficulties when playing with an orchestra, due to a lack of experience in following a conductor or in adapting to the orchestral context, something that is essential to achieve a high level in this professional area. Therefore, it has this more educational aspect, as it offers pianists the opportunity to rehearse, record and perform with an orchestra and participate in masterclasses with different teachers and conductors. Furthermore, the festival is open to the community, allowing the general public to attend the concerts. This year (2024), the festival will take place in two locations: in Faro, with the Orquestra do Algarve at the Teatro das Figuras; and in Florence (Italy), with the Orquestra il Contrappunto.

Do you think that the ecosystem in Portugal is more conducive to the emergence of this type of classical music festival or are there still some obstacles?

I think that the environment for classical music in Portugal has never been so favorable, but it still lacks the investment seen in more popular and commercial musical genres. In other styles, investment focuses more on marketing and the “visual” of the show, that is, on what is “Instagrammable”. This attracts a mass audience more, despite sometimes not having as much artistic quality. Classical music, on the other hand, tends to focus its resources on the quality of the musicians and has not managed to achieve as much publicity and image creation. We see this in the experience of the public, who often do not even know that such events exist. I often hear people who only find out about a concert after it has happened and wonder how they did not know about it before. This shows that publicity is still insufficient, but I have seen some festivals, orchestras and concert halls with new artistic directors greatly improving this aspect.

The marketing strategy in classical music needs to evolve. Other genres are able to partner with brands and create advertising campaigns that make events " cool ", something that is lacking in classical music. Although new technologies and social networks help to promote classical music and make it more accessible, this is still not enough. There are more and more excellent musicians with higher education, and many people interested in listening to them, but creating a more engaged audience is still a challenge. Many of my musician friends end up emigrating because, despite receiving training here, they find better opportunities abroad. It is sad to see the State's investment in training these artists not being used here in Portugal, where they could enrich our cultural panorama.

You also teach. What has that experience been like?

As a “back-up plan”, I did a Master’s degree in Music Teaching at the University of Aveiro, but I only give private lessons, and less regularly than I would like. In a music school, a teacher has to follow the curriculum, often decided by very competent academic people who, despite their qualifications, may not understand how the practice works, which is essential to teaching music. And this also ends up demotivating the children. By teaching outside the formal education system, I can teach students who are really committed and interested. In addition, I don’t have to deal with the bureaucracy and programs that don’t add practical value.

In addition, you have a Master’s degree and a PhD in Performance “Konzertexamen” from the University of Munster. What drives such a successful performer to continually invest in academic training?

In Germany, the “Konzertexamen” is not a traditional doctoral degree. It is an advanced degree in the field of musical performance, which focuses mainly on the practical side, without the academic research component, with the aim of preparing musicians for concert careers at the highest level. Although I did not write an academic thesis, this qualification allows me, if invited, to teach at any German university, as it attests to an exceptional level of mastery and competence in musical performance. In Portugal, it is different. If I wanted to get a doctorate in performance, I would have to write an extensive academic thesis. As I have already mentioned, in Portuguese universities, an academic level is required of musicians (in the performing area), but academics are not required to have the same proportion of practical experience in performance. I do not think that is correct. I am very interested in the academic side, but not in the way that it was offered to me in Portugal, namely at the University of Aveiro, where I completed my master's degree in music teaching. I felt this during my master's thesis, when I already had a deep knowledge of the subject, but I still had to follow strict rules, such as writing a minimum number of pages, words, and including an extensive bibliography, not necessarily adding knowledge to the subject but certainly making it more extensive. I would only do a PhD here if it were inevitable for some reason, as I have no interest in completing this academic degree just to fulfill formal requirements.

How do you see your role in promoting Portuguese music abroad, as a Portuguese musician performing internationally?

I have been promoting Portuguese music a lot abroad and people end up associating me with that too. The truth is that, in the world of classical music, originality and the brand that artists bring are valued more than just the performance itself. If a German pianist plays Beethoven or Brahms, the audience may question why they should listen to a Portuguese person playing the same repertoire, since they have already heard countless Germans doing it. However, if I present something Portuguese that they have never heard, I end up generating more reach, because people are interested in discovering new composers and new music. I believe that this role of promoting music is something that all musicians should take on. I have been doing this for a long time and there was a time when I noticed that not everyone liked doing it, because there was a certain perception that Portuguese music was of inferior quality. Nowadays, that perception has changed. I feel that musicians increasingly recognize that Portuguese music is an asset and increasingly value the repertoire that includes Portuguese composers.

Besides your career as a pianist, do you have any other interests or hobbies?

I have several other responsibilities, whether as a teacher or as an artistic director. Sometimes I take on other more casual roles, such as designer, manager or accountant. But I also dedicate myself to other activities in my free time. I really enjoy sports, such as surfing, athletics and cycling. I like being in natural places, and I really value being in silence (perhaps because I already spend a lot of my days surrounded by music). Sometimes the last thing I want to do is watch TV or listen to the radio; I prefer silence, or go to the beach or go for a walk. I have the privilege of living by the sea and I take advantage of it to play outdoor sports and relax. I also really enjoy football and playing chess. I have been playing chess since I was little and, at some points in my life, it even became an addiction! I have participated in district and national championships. Nowadays, I still play, but only as an amateur. In addition to all this, I am always trying to learn something new; At the moment, I am improving my French, dedicating a few minutes every day to studying and practicing this language, while at the same time trying to maintain fluency in German.

Finally, what advice would you give to young musicians or pianists who want to follow in your footsteps and build a successful career?

So many… If I could give just one, I would say that practicing in the practice room for three, six or eight hours a day is important, but it is not the most important thing. Initially, yes, it is crucial to reach a high level. However, there comes a time when it may be more beneficial to use that time to attend concerts, listen to colleagues, or meet other artists. These experiences can be more valuable than an extra hour of isolated study. In the beginning, the most important thing for me was to study as much as possible and meet new artists. However, I would never do more than four hours a day. That is more than enough to keep in shape and still have twenty hours left over, which allows for a healthy balance with other activities, such as having a better social life, family life or sleeping eight hours a day. I see many colleagues complaining about the lack of time, but I think this is often due to poor management. Working intensely for three or four hours a day should be enough. Studying is essential, but balancing it with other activities that complement and shape us as human beings is equally important.

You said you had a lot of advice. Would you like to share any more?

Yes, I would like to say that you should not be afraid to explore and experiment in your rehearsals, even if it seems risky or you may be criticized. For example, Astor Piazzolla, during his studies in France, created compositions that he initially hid because he thought they would be seen as ridiculous. He was experimenting with styles that were not considered serious, such as fusing elements of tango with classical music. His teacher was initially displeased that he was pursuing ideas that seemed frivolous. However, when she finally heard his work, she recognized its unique and innovative value. Today, Piazzolla is celebrated precisely for this innovation and originality. So the lesson here is to not be afraid to follow your creative instinct, even if it seems to go against the established norms.

* Joana Patacas - Communication and Content Consulting

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