Celebrating World Piano Day 2025: An Exclusive Interview with Lebanese-Canadian Pianist Steve Barakatt, Composer of UNICEF’s Official Anthem, Debuting in India

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Celebrating World Piano Day 2025: An Exclusive Interview with Lebanese-Canadian Pianist Steve Barakatt, Composer of UNICEF’s Official Anthem, Debuting in India

If you love music that crosses borders and blends different styles, then you need to know about Steve Barakatt. This Lebanese-Canadian composer and pianist has dedicated over 30 years to creating music that mixes classical, jazz, and pop influences. He has performed on five continents and composed pieces that resonate globally. On April 4, 2025, he’s set to showcase his music in India at the Royal Opera House Mumbai as part of his Néoréalité World Tour.

Barakatt’s India debut is perfectly timed just before World Piano Day, celebrated annually on the 88th day of the year—one for each key on a piano. This day, founded by pianist Nils Frahm in 2015, honors the piano’s significant role in music. Barakatt himself notes, “The piano has given me the ability to express emotions beyond words and connect with audiences worldwide.”

Over the years, Barakatt has worked with numerous artists and organizations. His composition “Lullaby” serves as the official anthem for UNICEF, marking the 20th anniversary of the Convention on the Rights of the Child. This piece has become a beacon of hope for children around the world. His music has been featured in major events like the FIFA World Cup and the Formula 1 Grand Prix. Barakatt has also produced albums for popular artists such as Natasha St-Pier and collaborated with international stars like Yoko Oginome and Noriko Sakai. His contributions to the cultural landscape were honored when he was named a Knight of the National Order of Quebec in 2020.

Barakatt’s musical journey began early. He took his first piano lessons at just four years old and performed with the Orchestre symphonique de Québec by age thirteen. He reflects, “My early exposure to the piano and performing with an orchestra provided a profound foundation for my musical career. It taught me discipline and the power of music to unite people.”

Raised in a home blessed with a blend of Lebanese and Canadian cultures, Barakatt was surrounded by diverse musical influences. He describes it as an environment where music was vital for preserving tradition and connecting with others. “This multicultural upbringing allowed me to explore a wide spectrum of musical genres,” he explains. His musical style today reflects influences ranging from Beethoven’s classical works to traditional Eastern sounds, creating a rich tapestry of sound.

His latest album, “Néoréalité,” is like a breath of fresh air in a busy world. It invites listeners to slow down and reconnect with themselves. “The inspiration stems from my reflections on our modern world, marked by both beauty and complexity,” he says. Each piece serves as a sanctuary for those seeking comfort in shared human experiences.

Now, performing in Mumbai, Barakatt is excited to connect with a new audience. “I expect the Indian audience, known for their appreciation of arts and culture, to embrace the emotional qualities of my compositions,” he adds. Given India’s diverse musical landscape, he’s intrigued by the idea of collaborating with Indian musicians in the future. Though he hasn’t worked with Indian music yet, he finds it fascinating. “I’m eager to explore meaningful exchanges that create new musical experiences.”

After over three decades in music, Barakatt has plenty of wisdom to share with aspiring musicians. “Always stay true to your artistic vision. Embrace cultural diversity as it enriches your artistry. Stay adaptable and curious, and never forget your core purpose—why you began creating music in the first place,” he advises.

As Barakatt prepares to take the stage in Mumbai, his journey continues to unfold. His music acts as a bridge between cultures, and for one night, this bridge will lead to the Royal Opera House, where audiences can experience his unique sound.



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