In a pile of junk, two children in Warsaw discover a piano which does more than create music. What happens next is the subject of the animation film, Magic Piano, which will be screened in Delhi’s Kamani auditorium. Like the piano, it will not be a different kind of screening. It will, really, be a piano concert for the film. London-based pianist Dinara Klinton knows about magic pianos. She was a child when she found one herself and tinkled the ivories to her way to becoming a virtuoso. Her tour of India, as part of the Cinema in Concert initiative for Showhouse Events, will have Klinton presenting concerts in which she will play live as Magic Piano and another cinematic work, Chopin Shorts, plays on screen. The show in Delhi is on July 28, in Kolkata it is on August 4 and in Bengaluru, it is on August 11. Excerpts from an interview with Klinton:
What is the concept of Cinema in Concert?
It is a very unique project that is appealing to a wide audience of different ages and knowledge of western classical music. The masterpieces – Etudes by Frederic Chopin are played alongside the animated film created by an award-winning team Break Thru Films. The difference to a regular recital is that the listener’s experience is enhanced by the visual aspect, hence no member of public remains untouched.
What are the challenges to accompany to a film? How do you prevent the visuals from dominating the aural sensation?
There are quite a lot of things to take care of. First, we should remember that it is still a concert performance and make sure that if video was taken out the music would make just as huge impact. Music should always be in the first place – before the pianist or anything else, especially in case of such wonderful works as Etudes by Chopin. Then of course I should take are about synchronising my playing to the screen – again making sure that if video wasn’t there it would still sound convincing and natural. It takes some time to train for extra coordination, as there is no time to look at the keyboard much.
In the silent era, films were accompanied by live performances. Are you attempting to revive the tradition?
Not quite. Music isn’t an accompaniment in this case, but rather plays an equal role. In a way, I can probably compare it to ballet. Not to chamber music or playing with an orchestra, as in those cases it can often be like a musical conversation. Most of the ballet music can be played in a concert setup – and for example “Bolero” and by a famous 20th-century composer Maurice Ravel got much more praise as an orchestral piece than a ballet as initially planned. His choreographic poem “La Valse” is also much more often heard as a stand-alone orchestral piece or in its’ piano version. Similarly, Cinema in concert also presumes two relatively independent audio and visual lines, which, when blended, give a very bright and special sensation.
How did you enter music?
My mother was a school piano teacher, so we had a piano at home, which I started showing interest to as soon as I was able to stand up. By the age of three, I was able to play back the melodies I heard on TV, and mother, who wasn’t keen for me to be a musician, knowing how hard it is, decided to bring me to the special music school for an assessment. I have to say, I was lucky to be born in Kharkiv, as this city has quite a serious piano school started, among others, by Regina Horowitz, sister of famous pianist Vladimir Horowitz. This was, probably, the main reason why my mother decided to try piano for me, provided I had a talent, as she wanted me to get a good education.
What drew you to ‘cinema in concert” performances?
I have been involved with this project since 2013. At that time, I was on my first year at the Royal College of Music and had a very short notice request from the Southbank Centre to play some of the Chopin Etudes (which were all in my repertoire) with the screen. I didn’t quite know what to expect, but it was so well received that this project took me to some most famous festivals in the UK and Germany.
Dipanita Nath is a Senior Assistant Editor at The Indian Express, based in Pune. She is a versatile journalist with a deep interest in the intersection of culture, sustainability, and urban life.
Professional Background
Experience: Before joining The Indian Express, she worked with other major news organizations including Hindustan Times, The Times of India, and Mint.
Core Specializations: She is widely recognized for her coverage of the climate crisis, theatre and performing arts, heritage conservation, and the startup ecosystem (often through her "Pune Inc" series).
Storytelling Focus: Her work often unearths "hidden stories" of Pune—focusing on historical institutes, local traditions, and the personal journeys of social innovators.
Recent Notable Articles (December 2025)
Her recent reporting highlights Pune’s cultural pulse and the environmental challenges facing the city during the winter season:
1. Climate & Environment
"Pune shivers on coldest morning of the season; minimum temperature plunges to 6.9°C" (Dec 20, 2025): Reporting on the record-breaking cold wave in Pune and the IMD's forecast for the week.
"How a heritage tree-mapping event at Ganeshkhind Garden highlights rising interest in Pune’s green legacy" (Dec 20, 2025): Covering a citizen-led initiative where Gen Z and millennials gathered to document and protect ancient trees at a Biodiversity Heritage Site.
"Right to breathe: Landmark NGT order directs PMC to frame norms for pollution from construction sites" (Dec 8, 2025): Reporting on a significant legal victory for residents fighting dust and air pollution in urban neighborhoods like Baner.
2. "Hidden Stories" & Heritage
"Inside Pune library that’s nourished minds of entrepreneurs for 17 years" (Dec 21, 2025): A feature on the Venture Center Library, detailing how a collection of 3,500 specialized books helps tech startups navigate the product life cycle.
"Before he died, Ram Sutar gave Pune a lasting gift" (Dec 18, 2025): A tribute to the legendary sculptor Ram Sutar (creator of the Statue of Unity), focusing on his local works like the Chhatrapati Shivaji statue at Pune airport.
"The Pune institute where MA Jinnah was once chief guest" (Dec 6, 2025): An archival exploration of the College of Agriculture, established in 1907, and its historical role in India's freedom struggle.
3. Arts, Theatre & "Pune Inc"
"Satyajit Ray, Ritwik Ghatak were not rivals but close friends, says veteran filmmaker" (Dec 17, 2025): A deep-dive interview ahead of the Pune International Film Festival (PIFF) exploring the camaraderie between legends of Indian cinema.
"Meet the Pune entrepreneur helping women build and scale businesses" (Dec 16, 2025): Part of her "Pune Inc" series, profiling Nikita Vora’s efforts to empower female-led startups.
"How women drone pilots in rural Maharashtra are cultivating a green habit" (Dec 12, 2025): Exploring how technology is being used by women in agriculture to reduce chemical use and labor.
Signature Style
Dipanita Nath is known for intellectual curiosity and a narrative-driven approach. Whether she is writing about a 110-year-old eatery or the intricacies of the climate crisis, she focuses on the human element and the historical context. Her columns are often a blend of reportage and cultural commentary, making them a staple for readers interested in the "soul" of Pune.
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Dinara Klinton, London, April 2015.
