That is why he accompanied his wife Charlotte Cromheecke when she sang among the twelve finalists at the Queen Elisabeth Competition 2018.
That is why they continue to be expertly accompanied by Lucienne Van Deyck, the 'éminence grise' and pride of Mechelen.
That is why he organized numerous Masterclasses by names that fire the imagination such as Joseph Middleton, Macej Pikulski, Martin Hellmchen or Roger Vignoles.
That is why he is the driving force behind concerts with among others Roberto Alagna, Christoph Prégardien, Zeger Vandersteene, Ian Bostridge, Jeanine De Bique or baritone Kartal Karagedik.
That is why he founded Antwerp LiedFest in 2020, which chairman Andre Gantman proudly handed over to Mechelen culture alderman Kristof Calvo who welcomed it enthusiastically.
Immediately it became clear that Wajnberg is not only an outstanding pianist and art song accompanist, but also excels as an organizer. LiedFest relies on the support of sponsors and co-productions with among others Ballet van Vlaanderen, DeSingel and International Opera Academy Gent. It attaches importance to the philanthropic aspect, concretized by Foundation Uningo: thirty remarkable non-profit initiatives. Moreover, each year a new well-known work by a Belgian composer will be commissioned and there will be an annual Prize. The first will be announced in January 2026 in the Mechelen Stadsschouwburg. Fitting this mission and in keeping with the decadent oppressive atmosphere of the Twenties was the performance of a gripping composition for voice, piano and percussion by Robert Groslot on the text 'Tout est fini'. This is linked to the latest novel by Jeroen Olyslaegers "De Wonderen", which comes to market in November. There too war suffering, lost glory and resilience. Soprano Tineke Van Ingelgem was a picture in red and black. Her supple, nimble voice can effortlessly switch to parlando, a cry or a sarcastic laugh. In dialogue with the ever attentive, suggestive and nuanced piano accompaniment of Aäron Wajnberg, she sings, narrates, whispers, laments or seduces. And whoever, despite her impeccable diction and expressive empathy, temporarily loses the thread, finds text and translation in the carefully prepared booklet. This is no superfluous luxury because where zest for life, disappointment, heartache and indomitability are present, every word counts. The CD is named after the third song of the twelve, the enigmatic 'Je ne t'aime pas', on text by Maurice Magre and music by Kurt Weill. If this is the most emotionally charged Song, then 'Nannas Lied' is the most poignant, 'Der Abschiedsbrief' the most narrative, 'Youkali' the most sensual, 'Barbarasong' from Weill's and Brecht's 'Dreigroschener' the most famous, 'La Dame de Monte-Carlo' by Poulenc / Cocteau the most sarcastic and 'Funeral Blues', the sublime poem by W.H.Auden set to music by Benjamin Britten, by far the most tragic. 'Je ne t'aime pas' is more than a possession. It is a living presence in the house of someone who has lived it, loved it, wept and suffered. [embed]https://www.youtube.com/watch?v=nBsOZTJBmN4[/embed] CD Label: PRIMA CLASSIC 2, PRIMA080 - UPC 195081566979
