This means that by promoting cultural, social, educational, and recreational activities, it strengthens local community bonds, combats loneliness, and fosters diversity between cultures and generations. ASTA does this with five permanent staff members and about twenty volunteers. In this context, the choice of performers was perfect.

Georgia Koumentakou is fourteen years old. She was born in Brussels. Her mother is Polish, her father Greek. She began violin at three and a half years old and evolved from the Suzuki method to the class of Erik Sluys. She has already amassed an impressive list of prizes, teachers, and concert halls. Canadian Michael Song is twenty-six. From his fifth to his eleventh year, he divided his attention for the violin with a colorful mix of sports activities. Then he turned to the cello. With success, because, inspired by Gary Hoffman and Lynn Harrell, he progressed from the prestigious Colburn School (Los Angeles) to residency at the Royal Elisabeth Music Chapel and acceptance into the Royal Elisabeth Cello Competition, which starts on May 4.

They were accompanied by the Brussels Sinfonietta, which since 2006 has united talented students from Brussels academies and the Arts Humanities school to perform together with established musicians in orchestra formation.

Leon Blekh has been their principal conductor since 2023. It's surprising that a master violinist who strung together first prizes, performances at home and abroad, and successes, and who was Artist in Residence at the Music Chapel in Waterloo from 2019 to 2023, would still swap the bow for the conductor's baton before turning thirty. Yet understandable for someone who admits "conducting, I've cherished that dream since I was young."

That explains the fervor, the empathy, and the enthusiasm with which Leon led his orchestra through Elgar's Serenade and a waltz by Tchaikovsky, compositions where the violins perhaps could have sounded somewhat more expressive and passionate. And where the violas drew attention.

Otherwise, the concert was one great heart- and mind-warming discovery. Starting with the 'Concerto per archi' by the brilliant 'godfather of film music,' Nino Rota. The Prelude sounded intriguing, the Scherzo grim. We heard that it was good. Presenting news and tradition, that's what the orchestra did. And cellist Michael Song is also consciously going for that. His participation in the upcoming Elisabeth Competition includes three hours of repertoire. Part of that goes toward the Concerto of the semifinal. Unlike in previous sessions, this year, alongside classics such as Joseph Haydn or Mozart, one can also choose between works by Michael Haydn, Heinrich Hofmann, or Antonin Kraft. A choice right up Michael Song's alley, who chose Kraft's opus 4, and a pleasant surprise for the audience. It's an animated piece where the cello now and then playfully danced around, then again melodiously mused.

And then the best had to come! It came in the form of a little angel in hazy white, with burgundy hearts and a matching bow, who conjured Henryk Wieniawski's second Violin Concerto from her violin (Patrick Robin) with childlike playfulness and quiet confidence. Young Georgia Koumentakou was clearly proud to be able to play such masterful work of the great countryman of her mama, who also played a role in Belgium. The way she did it proves what a mature young violinist she already is. She's not yet old enough for the next Elisabeth Violin Competition.

Still, the Competition came very close when Stéphanie Coerten, the familiar voice and presence behind every performance of every participant, probed the artists with great empathy about their young lives that can be described as 'not like the others.' And who, after Georgia's virtuosic 'Flight of the Bumblebee,' got enthusiastic applause from a packed hall. Well deserved!