The tales of this world have already been written ... and have to be written over and over again. Not because we need new tales. They have to be written so that the tradition of telling tales, of writing tales does not die out." - Peter Bichsel (Swiss writer)

These words that capture the Swiss tradition of storytelling marked the inauguration of Swiss Tales 200S, A cultural gift to the Cairo Opera House on its 20th birthday. The cultural and artistic exchange program will bring six varied performances and concerts by Swiss artists throughout the year to the stages of the Cairo and Alexandria Opera House.

On Sunday night, First Lady Suzanne Mubarak, the President of the Swiss Confederation Pascal Couchepin and Culture Minister Farouk Hosni rang in the year-Iong jubilee with a bang. To kick off the celebrations, audiences were treated to a feast of sights and sounds, of styles and ski Ils from famous c1assical musical group Piano Seven.

At the main hall of the Cairo Opera House, Hosni opened the night with a word on the role of the arts in Building a bridge between different cultures and the history of the opera house in enriching our lives through concerts, ballets, art shows and performances from around the world.

With that he welcomed Couchepin to the stage, where he congratulated Egypt on this cultural milestone in its history. " Egypt's geographic location makes it a cultural gateway to the Middle East and Africa," he said, adding that activities planned for Swiss Tales 200S are meant to foster cultural exchange between musicians, dancers and artists of both countries.

The stage was set up with seven pianos facing the center of the stage where the percussion section was set up. The performers made their way onto the stage: the seven current pianists – Francois Lindemann, Olivier Rogg, Marc Perrenoud, Valentin Peiry, Fabrizio Chiovetta, Michel Bastet and PierreLuc Vallet - accompanied by violinist Stephanie Decaillet and percussionist Nicolas Levon. Piano Seven started out in 19S7 as a one-off experiment, the brainchild of Lindemann and Sebastian Santa Maria. The first performance bringing the sounds and skills of seven pianists on one stage was an instant hit, and a second run was in high demand. Since then, the Swiss-based ensemble has played around 150 concerts in Switzerland, France, Belgium, Lebanon, Egypt, Brazil, Thailand, Hong Kong, Singapore, Taiwan and China.Their first performance in Egypt took place on the very same stage exactly 10 years ago, and while some of the musicians are new to the group, the Quality and diversity of the music presented has not faltered.

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Victoria Concert Hall

Originally conceived by pianists François Lindemann and Sebastian Santa-Maria as a one-off experiment for seven pianists playing together, Piano Seven has enjoyed such success that the concerts have had a second run and a Swiss-based ensemble was soon born. Now, thirteen years on, we have the pleasure of hearing this unique group, together with their guest soloists Sebastien Risler (piano) and Cyril Regamey (percussion). Their programme for the night il newly-composed by the very performers themselves, first performed only about a week ago in Europe; it was conceptualised as a musical suite of piano and percussion music of the twentieth century. And indeed, what a pleasant evening spent in the company of a talented ensemble.

Imagine the Romantic virtuosity of the Russian masters from Rachmaninov to Shostakovitch; the exotic harmonies and quaint Orientalism of French Impressionists like Debussy and Saint-Saëns; and modern works for jazz ensemble, with infectious syncopation and jazz chords. Now take all of these together, and add in the element of exuberant fun and free improvisation, and you will realise just how much enjoyment exudes from the stage once the eight performers start playing.

The aptly-named opening piece, "Convergence", is a slow but dramatic buildup, with one performer adding on another, until finally we get a full symphony of 70 instruments (if we consider each finger as playing one instument). This piece and "Bantaey Srei", the twelfth piece, are composed by the co-founder of Piano Seven, François Lindemann, whose stale has a more noticeable lean towards whhat I suspect to be that of twentieth-century Russian composers.

The 'circus music' so advertised in the various introductions to the music of this group, is mostly written by Olivier Rogg: "Slalom 4" and "Mobicum". It is not difficult to imagine an outdoor carnival in full swing while listening to his music, with crowds cheering and balloons and streamers.

Michel Bastet is quite the opposite: his compositions ("Ectoplasm", "Anis Breeze", and "Rain & Sun") have an elegiac dream-like quality. "Ectoplasm" makes use of a technique gleaned from the 'prepared piano'- using fingers to directly strum on the open metal strings of the grand piano, creating a haunting effect not unlike a harp, but much more surreal.

Piano Seven had an almost complete percussion section for this show, with two timpani, snare drum, tenor drums, various cymbals, a marimba, a bell tree, wood blocks, and many other knick-knacks that only percussionists would know, but whitch make so much differrence to a piece. And all these instruments played by a single person: Swiss percussionist Cyril Regamey gave a dazzling performance in all the pieces, and no less in his own compositional for this evening, Sir Hill. Cyril's study in rhythm is amply reflected in his choice of motif: middle C, repeated on the piano in an odd and difficult syncopated rhythm. He himself had an extended solo section in this piece, and another in "Across Manhattan". In both, he expounds his mastery over his treasure trove of instruments: without smashing, clattering or ear-bursting decibels, Cyril dazzled with impeccable technique and earnest showmanship.

However, which caught the spirit of Piano Seven's show tonight was the performers' ability to improvise, to build up an atmosphere, and to show a sense of fun. Most, in fact all, the pieces have an element of jazz, either in the rhythm or in the harmonies or both, and in many instances one performer improvises over the accompaniment based on motifs or chords. Cleverly-designed lighting using multi-coloured lights from the ceiling and the floor accentuated the mood of the pieces provided an atmospheric backdrop.

Clearly, the infectious sense of fun that this group displayed was reflected in the music they play, and many pieces simply beckoned you to stomp your feet along, while others exude an unquiet solitude. And it was evident that the audience was not the only ones enjoying themselves - the players were aglow too with joy, from the casual and informal presentation (no tailcoats) to the smiles on their faces and the way they jogged off the stage with springs in their strides.

Soo Kian Hing

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