The art of accompaniment has flourished to magnificence during the past eighty-five years or so. Back in the beginning of the twentieth century, the spectacular collaborations of Caruso/Leoncavallo and Chaliapin/Rachmaninov raised the status of the accompanist from a mere provider of background to the valued equal, whose artistic vision and interpretation shapes the entire piece of music. The lieder proved to be the most fruitful for they give the pianist a chance for fascinating music exploration. The works of Schumann, Puccini, Schubert, Liszt, Mussorgsky and other great composers benefit greatly from creative piano interpretations and arrangements. Most notable and influential conductors, instrumentalists and composers often took up this task, providing unforgettable recordings. One recalls Mstislav Rostropovich (for the great Galina Vishnevskaya) or Alfred Brendel (for Dietrich Fischer-Diescau) and Riccardo Muti (for José Carreras himself). In these cases, the contribution made by the pianist is no less than the one made by the singer. The deep and detailed knowledge of the composers' works possessed by the conductors often takes precedence over singers' insight. The accompanist here becomes practically a coach, shaping the composition to fit his particular artistic vision. This kind of accompaniment is particularly useful for leider cycles, arias, or the art songs of, for instance, Prokofiev or Mompou. The music is very complicated and requires exceptional technique from both the singer and the pianist.

Some pianists specialized as accompanists only, their main emphasis was to give a singer the best possible support, yet offer little of their own insight. Among them, Hubert Giesen, John Wustman, Malcolm Martineau, and Craig Sheppard can be sited as examples. Their own contribution can not be called particularly revolutionary or innovative. However, they give a singer much appreciated artistic freedom and focus on following him wherever he goes. Optional high notes, unusual tempi, or, conversely, stops or uneven phrases are freely tolerated here. The role of a pianist becomes clearly secondary, placing all the spotlight on the singer, who is glad to demonstrate his/her vocal abilities, sometimes at the expense of the composer's intentions. Many listeners actually prefer just this kind of accompaniment. They want to hear their singer at his/her best and don't necessarily care all that much about being 100% true to the score. And, of course, this style suits many Neapolitan songs, romances and light opera arias perfectly.

Lorenzo Bavaj is one of the select few who manage at the same time to offer great, impeccably timed support to a singer, and yet adorn the work with tasteful interpretative additions without towering over it - unlike the conductors and instrumentalists mentioned above. This double task can be extraordinarily difficult, often requiring last-second (or rather tenth of second) decision making. Not always can the harmony achieved at rehearsals be repeated during live performances when thousands of unexpected complications arise.

Yet Maestro Bavaj seems always ready for the challenge. Whether mourning with slow legato passages on Bellini's "Fenesta che lucive" or reflecting on the changing moods of nature in Puccini's "Terra e mare" with expertly executed rubato, he is fully at the command of the instrument and its dialogue with Carreras. Never have I heard him "banging" the keys for extra effect or forcing his tempo.... He plays as if voice and piano are inseparable.