June 27, 2025 • 43 mins
In this episode, ArtsAbly is in conversation with Riccardo Baldini, a pianist, innovator, and entrepreneur living in Edmonton in Canada.
During the interview, Riccardo Baldini mentions a certain number of resources that are listed on ArtsAbly’s website, in the Blog section.Access Riccardo Baldini’s resources
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:01):
♪ Opening theme music ♪
[Diane:] Hello, and welcome to this episodeof ArtsAbly in Conversation.
My name is Diane Kolin.
This series presents artists, academics,and project leaders who dedicate their
(00:24):
time and energy to a better accessibilityfor people with disabilities in the arts.
You can find more of these conversationson our website, artsably.com,
which is spelled A-R-T-S-A-B-L-Y dot com.
♪ Theme music ♪
(00:53):
[Diane:] Today, ArtsAbly is in conversationwith Riccardo Baldini,
a pianist, innovator, and entrepreneurliving in Edmonton in Canada.
You can find the resources mentionedby Riccardo Baldini during this episode
on ArtsAbly's website in the blog section.
♪ Piano music ♪
(03:55):
♪ End of the excerpt ♪
[Diane:] Welcome to ArtsAbly in Conversation.
Today, I am with Riccardo Baldini,who is a pianist, an innovator, and an
entrepreneur living in Edmonton in Canada.
Welcome, Riccardo.
[Riccardo:] Thank you for having me, Diane.
(04:16):
Diane? Sorry.
[Diane:] Diane, yes.
[Riccardo:] Diane, thanks for having me.It's a pleasure.
[Diane:] Thank you.
I've followed you for some time nowbecause you've been
famously shown in some amazing shows on TV,
on CBC and on AMI TV and on other things,
(04:40):
but that's how I discovered you.
And I've discovered that you have
a great path in music, but also in your own career.
So would you mind presenting yourself
and also telling us a little bit of what you're doing today?
[Riccardo:] Yeah, thank you.First of all, I'm not sure about
the word famous, but I'll take it.
(05:03):
I mean, I didn't...
I don't feel by the way, but good to knowyou found me and that we are here today.
What can I tell you about myself?
I mean, I come from Italy, and I was bornand raised in Fano, as you've seen PUSH.
And I grew up there.
And about eight years ago, when I was 23years old, I moved to Canada in Edmonton.
(05:29):
You know, the reason why Canada is because...
A lot of people ask me that question,
especially more peopleask me why Edmonton.
But my dad was born in Toronto.
My grandpa moved herein the '50s and had three kids.
And then they all moved back to Italy, moved back home,
when my dad was 10 years old.
(05:51):
So he grew up there and I wasborn there and raised there.
But I always heard about Canadagrowing up from family stories.
My grandpa had many storiesto tell about his time here.
He spent about 15 years,I think, in Toronto.
So because my dad was born here,he had dual citizenship
and I acquired it as well.
(06:11):
So the choice of let's go to Canada wasa relatively easy one on where to go
because I already had my documents.
I never came here in Canadabefore, you know, when I was 23.
But at the time, my dadwas here already for work.
(06:31):
So I decided to come to Edmontonwhere my dad was at the beginning.
They all moved back homein Fano, Italy, but I stayed.
And I'm happy now to callEdmonton home as well.
So I had a lot of projects coming up hereand that, really, stuff I've done,
and I find it very, very fulfillingfor my life and it gives me a lot of meaning.
(06:56):
I don't know, we can take many angles,but I guess, I've studied music back home
at the Gioacchino Rossini Conservatory in Italy,
and I earned a master's degreein piano performance.
I also studied environmental sciencesback home.
I got a bachelor before moving to Canada.
(07:17):
And we're here then I completed a master's in forestry at the U of A(lberta),
amazing program.
It was very nice to learn from Canadians
through, like, scientists
and researchers from Canada.
They're top-notch.
I really had a goodmy experience at the U of A.
I learned a lot.
Didn't do much with the degree itselfbecause then I started doing ventures with
(07:43):
my microgreens and other stuff.
So this is a quick overrun of my life.
But I suffered a spinal cord injury.
That's also a part.
But I don't know if you want, how much you want to know.
I can go on for 20 minutes.
[Diane:] Sure. Let's go on for 20 minutes.
So what happened when you had this...
you had a car accident?
(08:05):
[Riccardo:] Yeah. So I didn't have any accident.
My spinal cord injury, which Isuffered about, just over six years ago.
So you can picture,I arrived to Canada, 2017.
I'm 23-year-old.
I'm starting to settle here,trying to figure out a life, what to do,
because I moved here with noproject, particularly in mind.
I just came here, I had my passport.
(08:26):
Let's go check it out.I don't know.
So I just came here and I started to bug people around,
try to find something to do.
I need to find a job.
I started teaching piano before my injury.
And just about two years in Canada,I woke up paralyzed one day.
I had spinal cavernoma, it's called,
(08:47):
burst in my spinal cord and blood.
So overnight, this bleeding caused aspinal cord injury, a permanent paralysis.
So you can imagine.
And the day before, I was just healthy,never been to the hospital, 25 years old.
And the following day,in the morning, I woke up paralyzed.
So that was quite the shift, and
(09:14):
you know, reorganizing my life
around my new condition,which is now affecting every single aspect
of your life, not only using a wheelchair,but many, many other things.
And so I was doing my master'sin forestry at the time.
I was already about to completemy first year of my master.
(09:35):
And at that time, I was picturing myselfmyself going out, being in the outdoors,
pursuing something like forest management, Jasper,
whatever I was in that doing after my master.
So I was picturing my outdoors.
I had my piano, which I started performinghere in Edmonton in a few occasions
(09:58):
before my injury and was teaching piano.
So I was doing a fewthings before my injury.
But then once that happened,I had to reshape and rethink a little bit
how to approach life in general.
And because now the outdoors were not longer accessible,
particularly if you want to go in the woods, you know.
(10:21):
Big fan of hiking and going overnightwith a tent and sleep in the wild.
The wheelchair is not reallysuited for that stuff.
You can find ways around it withmachines or, you know,
the Bowhead as you might have seen in PUSH.
I love that machine,but it's not really something that you
(10:41):
would do with ease as youwould be as walking around.
So from my master's in forestry,I guess that's where my business,
the microbeams business with indoorfarming that I do now here and I run
this business here in Edmonton.
And that's where it comes from,from my passion from plants.
(11:02):
And Resonate, which is the device I had to develop in order to go back and regain
my function at the piano,comes from my passion in music.
So we can dive a little more into whatthese are, but I had to basically
reshape a little bit and rethink whatto do and how to do it, especially.
(11:25):
[Diane:] So what happened then?
You have to change your career plans,you have to change your tools because now
it needs to be accessible,you have to change maybe your house.
What happened?
[Riccardo:] So...
those of you who know how to playthe piano, I'm going to start there.
(11:48):
You want to understand that, yes, I retained my hand function
because my spinal cord injury isat the thoracic level, so it didn't
really affect my hands function.
My paralysis is literallyfrom the chest down.
My legs are now paralyzed,but my hands work just fine.
(12:09):
So thank God I couldkeep using the keyboard.
But now the piano pedals are no longeraccessible to me because
my legs are paralyzed.
So I was right from the get-go, I can remember a couple of weeks in my injury,
trying to look tirelessly out therefor a solution for overcoming this problem
(12:30):
and I regained my abilityto play the piano.
Because about 80 % of music,especially if you do classical like I've
been trained for, really requires the useof the sustain pedal or dumper pedal or
resonance pedal, which isthe right pedal on the piano.
You really need that pedalto be able to play and perform.
And there was nothing outthere to my great surprise.
(12:51):
You might think, what doyou mean there's nothing?
Anything is just nowadays,you have everything.
And I found nothing.
There was a few things here and there,but really not commercially
available and also not that great.
I even flew to Germany to try one unitthat I found from this private guy,
but it was not really a functioning devicefor what I know about piano performing
(13:16):
and how to actuallyapproach music with a piano that was
not something that would have worked.
Not in the way I wanted to.
So I guess a year in,
I decided, well, I'm gonna...I guess I'm going
to have to do something about it.
(13:37):
So that's where the idea for Resonate,which is now the device I'm able to
use to perform again,it's allowed me to press the piano
pedal through a mouth splinter.
So basically, I bite on this device,on this bite switch,
and I'm able to action the right pedal ofthe piano, which is crucial for playing.
(14:05):
I'm happy to say that after years
of developing and designing,we went through several reiteration
of what now is the final prototype,which are moving to product and production
because we have gained interestfrom lots of people around the world.
So we are now trying to manufacturing.
We are moving towards the firstproduction run of Resonate.
(14:29):
It gave me back the ability to play,and I'm pleased to share that,
actually this weekend, a few days ago,I've performed
with the Edmonton Symphony Orchestrawith a full orchestra on stage
at the Winspear Center.
So, thank you to the whole organization
for the opportunity and for making reallygreat things happen.
(14:51):
And as I said, it's a big winfor music and accessibility in music.
So I was able to perform again in thisoccasion with a full symphony orchestra.
I've done other performances also before,not with a symphony orchestra, though,
which is, to me,has been like such a magical magical
moment and, you know, something that I will remember.
(15:15):
It's the first time ever in the world. I don't see anyone.
There's no footage or recording orany news article, anything,
of a person in a wheelchair being ableto perform as anyone else on stage
with a full symphony orchestra everbefore, which is, you know,
incredible that that happened.
(15:38):
So I'm really excited and happy for whatthis could bring into the future,
and especially for potential disabled kids,
disabled musicians that now can think, oh, then maybe it is possible.
Because until... when it's never done before, then it's not possible.
You don't think it is possible.
Then once somebody is doing it,then perhaps opens the gates
(16:02):
for many more, which is my goal.
I want to see kids with disabilitypursuing a music career like anyone else
with no distinguish me from whateveryou have a wheelchair or not.
You're just, you have this, you're gifted, musician, you're gifted.
You want to play the piano, you go for it.
You don't have these dreams brokenbecause there's no model out there.
(16:22):
Nobody has done it.You have a disability.
That's where really my 'why' comes from whenit comes to Resonate Adaptive, if that makes sense.
[Diane:] It makes sense. I will come back to the concert because it's a very interesting thing.
But I want to go backto before all that happened.
(16:43):
So at the moment where you were thinkingof the solution
and maybe partnering with peopleand saying, and explaining,
trying to sell your concept or tryingto collaborate with people.
This process of creationand of adapting and evolving,
making the project evolve,it took several years,
(17:06):
but how did you work with people on that?
[Riccardo:] Well, yes.Good question.
I'm not an engineer,so I have my musical background.
I understand with my lived experience whatit is to have wheelchair and all that,
but I'm not an engineer.
So somehow I managed to convince
(17:27):
Steve, which is a good friend of mine now
and also co founder of Resonate,to build this device.
I remember approaching him through
an association And we built the first
prototype with some fundings.
And then I convinced him that,why don't we just do it and we make
(17:48):
this available for anyone who needs it?
And somehow he was like,I think it's a good idea.
Somehow I convinced thiswas a good idea to do.
So I guess I'm a bit stubborn,and perseverance is
key, and believing in the project because until it's done,
(18:08):
you don't think it's possible and you needto really know that's going to happen.
So that's, I guess, a bit ofmy being stubborn and wanted to really
make it happen and not wanting to give up.
You know, I was thinking, even not too long ago, why nobody ever did it, right?
(18:28):
Because that's actually a fair question.
I was surprised and also heartbrokenthat nothing was out there.
I would have bought something.
But I guess then, thinking about it, like, well, you need that intersection between you know, background in music to,
you know, background in music to
somewhat at a professional level that you really know
how piano works, and how playing the piano works.
(18:49):
And, you know, at the same time, having a disability that under… makes you having that understanding as well.
And you want to have that happening somehow relatively soon in life,
so you have the motivation and the will
to do it. And, you know, then you have to have the resources and the entrepreneurship of wanting to do something.
So it's kind of a bit of an intersection of a few elements that, you know, makes it quite unique.
(19:12):
And is it quite of a niche product, at the end, quite of a niche need,
which then, you know, extended worldwide, it's actually quite a…
quite helpful for many people, also stemming into different use, not just for piano, for example.
And then you have to find somebody who is doing it with you,
so connecting, finding resources in terms of, like,
(19:34):
literally money. So, you know, it's a whole bunch of things, and…
You know, I was lucky enough to find his engineer,
that great guy, that is a literally rocket scientist, because
he's working for a company, he's a manager there, a mechanical design engineer manager.
(19:56):
And they have clients like NASA, SpaceX, so it's actually literally build stuff for rockets, so,
they had the right equipment and right stuff to really make this happen, and they were happy to
do this with me. So, I guess, you know,
it's a bit of combination, and luck goes to, you know, where you put hard work, I guess,
(20:20):
and also like itself, you need to find the right people to collaborate with.
[Diane:] Yeah, and also, I mean, for those who have seen PUSH,
the first steps of it, and when you tried it, and
it didn't start, and it didn't work the way you wanted, and it clicked too much.
So it's a lot of research and development, and it's a lot of
(20:42):
working together again on a new version and things like that.
How long did it take from the moment you had one
first version of your draft version, actually, the moment you had one version
to the one that is ready to go today?
[Riccardo:] So, I would say, probably between four years, close to four years.
(21:06):
Three, four years. By the time the idea popped and said, like, I'm gonna do this now,
to having the last device that actually is as it should be, and
as I know pianos, I know it works perfectly. I remember how he's using my foot.
I know how it should sound, I know how it should work, I know this is exactly how it should work.
So, we haven't stopped until we achieved that
(21:29):
degree of quality for the device. And we have been going through several reiterations.
The first one was so loud that it was kind of like, you know, ugh.
I cannot play with this, it was a completely different design, a completely different type of device,
that was not really functional. It was not really…
(21:49):
You've seen it on PUSH, how frustrated I was. I remember even from the guy who got the beginning.
I said, well, this is very good proof of concept. But it's not good… I'm not… in fact, I was not using it.
I was not really using it as much,
or enjoying playing, because that's what was the first, you know,
real reaction when I got this last one.
(22:13):
I like to say it made me walk again with music, you know?
Like, it really did give me back, and from the very first time I tried, I said, yes. That's it.
This is good. This is now how it's supposed to be. And I didn't have that feeling, that reaction
manifesting as well.
The first device was not really… functioning was more of a proof of concept. And going from there,
(22:37):
doing all that work and having this thing eventually in my living room, and it's like, ugh, but this is not good.
And then trying to keep going, and, you know, keep working with more people, I started collaborating, I reached out to
a couple of universities which took on the projects, you know, with a few things to develop different type of, you know,
(22:59):
action to it, and eventually, going back with Steve, we actually made the final one, which
is now, it's how it's supposed to be. You know, it seems like a simple thing.
At the end, it's trying to press one pedal, but there are so many nuances on how that pedal should be pressed that
(23:20):
makes it quite complicated, because, A, you want to be extremely quiet.
It can't be loud because you're playing music, it has to be silent.
Second thing, you want to make sure that it's portable.
Because we don't have the luxury as a pianist like, you know, some other instrument players like violin, to carry around our own instrument.
(23:44):
I can't really carry my piano on my shoulders and go around with it,
so I need to be able to move my device from my home setting to any other setting or stage I'm going to perform.
Like what I did this weekend, if I didn't have that type of design,
how am I supposed to then play on stage at the Winspear?
I cannot just, A, can we custom make something for that piano when I come for performing?
(24:08):
Obviously, it's not, you know, feasible. So you need to make it portable.
You need to make it adjustable, because every single piano has a different pedal system,
has a different setup, has a different, you know, so you need to make sure that when you arrive at stage, which normally...
What happens, you're doing one rehearsal, and that's it, and then your concert.
Right? When you're performing professionally with professionals, you're… you don't have, you know, a month
(24:32):
of trying stuff out, you have 15, 20 minutes. And that's it, and then you're on stage next day with the audience, right?
So you have to… it has to work right at the get-go, and you don't want to arrive there, Oh!
I don't think I can do it. Because then they're relying on you, you sign a contract, or whatever it is, right? So,
there are a few details, and many more that I could list, but, that are going into the design of these, of Resonate, right?
(24:59):
[Diane:] Mm. So let's go back to the concert.
You... I remember, on "Mind Your Own Business,"
that they were telling you at this… at the point where you were presenting the project,
find an orchestra to partner with. And try to show… to showcase your product.
(25:21):
And so, this concert… did this concert with the Edmonton Philharmony Orchestra, uh, Edmonton Symphony Orchestra, sorry.
Was it part of that, that idea that let's showcase it?
Or did they come to you and say, we want this concept to happen? How did it… how did it go to preparation?
(25:44):
[Riccardo:] Yeah, I had an initial contact with them, I believe… I don't know how long ago.
Perhaps it was November last year, or December. I had initial contact. I had
a common person that knew somebody there, so they organized, you know, an introduction
over email, and then, I just said, hey, can I come, you know,
(26:04):
meet with you? And I brought the device, and, you know, we chatted a bit. I just played a few things on stage.
They made me try their stage, and they saw what it is, and then goodbye.
That's it. A few months later, they sent me an email, like, Hey,
do you want to perform? So that's how it happened.
It's not that I had to, you know… it was like that. It's just an introduction, and now I got to meet
(26:31):
the right people there, and then from there, they invited me to play.
And it seems like the concert has been a pretty good
success in the sense that, like, you know, they have been sold out for the whole three performances.
It was beautiful music, you know, like, more, like, anime music, so
(26:51):
not strictly classical, but very, very good music that I really enjoyed
practicing and performing. And the audience was, like, wild,
because also, you know, they're not… it was not an audience accustomed to maybe a theater,
and it was not, you know, a classical music… a classical music type of audience, so
(27:12):
it was very participant, very expressing our depreciation, so it was
a good outcome of the concert, and I don't see why it would not happen again in the future.
So that would be very exciting to know that that's a possibility.
So hopefully many more to come. I really enjoy,
(27:33):
and I want to show that it's possible to do it, maybe touring as well.
That would be a good goal.
And yes, at the time of Mind Your Own Business, we were… I was thinking that that's something I want to do.
Um, I think it would be great for many reasons. Music at first, you know.
Accessibility, but also, you know, for Resonate itself to have that
(27:57):
happening, so I'm extremely grateful that I had the opportunity, and everything went great, so…
[Diane:] What was your repertoire? What did you play?
[Riccardo:] I played… so, music from anime. One is called… I don't know if you know anime, but one is called "One Summer's Day,"
(28:18):
from… Joe... what's his pronunciation?
Something, Hisaishi? It's a Japanese name. So, "One Summer’s Day"
is a piece for piano and orchestra for, you know, one of the anime.
"Spirited Away," I don't know if you've seen that anime.
(28:42):
And then we played together, also, with a singer, she was a guest as well,
"In this corner of the world," which is a very beautiful song with a choir.
It was a full set, where, like, 70 elements in the orchestra, full orchestra,
choir, piano, and a solo singer, it was wonderful.
(29:03):
Then we play music from a bunch of other anime, like
"Attack of Titans," "Dragon Ball Z," "Pokemon," some music from more mainstream, and
we played… "Howl's Moving Castle," beautiful song.
So, you know, there's a… it was quite, quite diverse program and, you know,
(29:28):
with a full orchestra and the choirs itself was quite powerful, quite powerful music, which I enjoyed
playing with the orchestra and the choir.
[Diane:] That's great. I want to go back to your career.
I know that you studied both the music and the forestry parts,
and I know that in your life, you have the music, and you have something else.
(29:50):
Can you talk about something else?
[Riccardo:] So, that something else, you're meaning, like, my microgreens business?
[Diane:] Yeah.
[Riccardo:] Yeah, well, again. From my… I always have this passion for nature.
I enjoy the outdoors. I loved plants. That's why I did forestry and environmental sciences. I had the goal
(30:13):
early on when I enrolled in university to make an impact in, you know, sustainability, sustainable practices.
Really take care of, you know, "the world," if you want, in a very
early age when I decided to get into environmental sciences, I wanted to really
make the world a better place, you know? You are young and all these, like,
(30:33):
ideals of, you know, what you're gonna do with your life, and…
So that's what I wanted to do, and when I got injured, I was no longer able to pursue certain stuff, and
I saw what… I saw online one day, this cool thing, indoor farming,
which I was not that familiar with. I knew was something, vertical farming, indoor farming, you kind of heard.
(30:55):
But I didn't know… I never thought about doing anything with that. And
one day I saw microgreens, microherbs, and I said, that's what I want to do.
So, this is probably a year and a half after my injury, about a year and a half.
I decided to start this company, which is called Strathcona Microgreens, and we are able to
(31:15):
now supply many, many restaurants, I like to work closely with chefs
and grocers and home chefs, all throughout Alberta. So, we have, you know,
many chef clients, and we grow to order. We have over 40 varieties.
I'm here right now, and all the production is downstairs.
(31:37):
I have some of my guys that are, you know, taking care of a few of the tasks, and
Um, yeah, it's been a very, very, you know, "growing" enterprise.
No pun intended. But, basically, I started with one rack
(31:57):
in the closet of my spare bedroom in my apartment.
I really set up one of these racks and started experimenting with the product, the crops, you know, all my…
Most of what we grow is a very fast turnover. It's about an 11-day cycle.
We go up to 5 or 6 weeks for some crops, but most of them, the bulk of the production is
(32:17):
on 11 days turnover. So I started experimenting in my closet.
Inside the closet. And from there, we grow very quickly. We filled the room.
I filled the room very quickly, and then moved within, about a year into a commercial space, and
we filled that up now. So I'm looking to expanding the commercial space here,
(32:38):
because we need more space, so it's a good problem to have, but still a problem to solve.
And, yeah, so it's something I love doing that regained, you know, my… me having
contact and connection with plants, and, you know, it's…
I really love doing what I do, so… I guess that's been clear when I roll into these restaurants and meet with chefs.
(33:02):
In the middle of the winter, with the snow, with my wheelchair stuck, and tried to jump around, and
rolling into these restaurants with the set of samples, at least.
These people that I'm meeting with, they think, oh, this dude really wants to do this, because…
You know, it's just quite the struggle to get into the places in the winter in Edmonton
when the snow is, like, you know, a foot
(33:23):
or more. So, yeah, now it's a bit easier because I was able to hire and, you know,
I am not doing some of the more practical tasks that also in a wheelchair would...
As I said, it was a struggle at first. I was doing everything, so, yeah.
(33:43):
[Diane:] Are you playing the piano to your plants so that they grow better?
[Riccardo:] I thought about putting some Mozart,
so with the speakers, and see if something happens, but, you know, it's quite a… it's quite the… I'll try one day.
I've been saying this for a year now, or more. I was like, I'm gonna do it one day, I put these speakers on, that, you know,
blast Mozart 24-7.
(34:04):
It's gonna be, you know, maybe it changes something in the growth, you never know.
[Diane:] Okay, I have a question about the way…
I love this question because everybody has a different concept about it.
It's about accessibility in the arts, or about what we call disability culture sometimes.
(34:24):
So, what's… what is it to you to improve this world
and make it more accessible to people who have been in your situation for years,
and, you know, bringing more accessibility in that?
[Riccardo:] So, in short, because I think you know,
(34:45):
the disability topic is an important one, but it has to become a not topic.
A non-topic. So that's the core of what I think. Like, at the end,
you want to provide equality of opportunities for whoever.
And then base your, you know, work on competence.
(35:07):
So, you know, there is that quote, which I really like, which says, you know, the…
Accessibility, or… it's not…
the person who is giving you the towel, or, you know, the paper towel,
it's the person who is changing the location of it.
(35:28):
You know what I mean? Like, you want to be able to do stuff for yourself,
within reasonable, you know, within reasonable common sense that,
you know, a space, or workplace, or whatever you're approaching, requires.
And you then have to, as a disabled person, provide value like anyone else.
(35:50):
And at the end, disability should not be even a topic.
If you're… if you're, you know, good enough, and you make yourself
unvaluable for whatever company you're working with, or for whatever job you're doing,
and then it doesn't matter if you're disabled or not.
We don't remember Stephen Hawkins for… necessarily for his wheelchair. We remember Stephen Hawkins because he did great things
(36:15):
with his mind. With the tools he had. I'm sure he complained.
He was grumpy. But he still yet did whatever he had to do, and we read these books.
We… the, you know, greatest people nowadays that works on avant-garde, they're still,
you know, referring to Stephen Hawkins, not because he was disabled, but because of what he brought to the world.
(36:39):
So, that's where we should aim to go, and, you know,
eventually, we should not even think about disability, yes or no, it's just a person.
I'm just a dude sitting down doing my things.
And, you know, if it's valuable to you, good.
If it's not, maybe I should try another person.
If 100 people, 1,000 people don't find me valuable, maybe I'm wrong.
(37:01):
And then maybe I should step up. No pun intended.
But, you know, that's the bottom line at the end.
And you want to make the world, of course,
with equality of opportunities, because sometimes,
if you don't do that, and you have an environment where you're discriminating for whatever reason, which is stupid to do.
(37:22):
[Diane:] Okay, so I… I have a last question, which is about,
people who have, who might have, like,
motivated you, inspired you, counted in your career, in your path as a pianist.
If you could think of one or two people, who would it be and why?
(37:44):
[Riccardo:] Yeah, so I would say that I really go to my family.
My mom, my dad, so my family, my professor, my music teacher
that thought of me music and discipline.
So those are the, you know, figure that you know, I would say resonate with me and gave me lots, obviously.
(38:10):
Then, musically speaking, I have some of, you know, this reference for great musicians and pianists.
Like, you know, Krystian Zimerman was, like, I was a fan of the guy growing up, or
Martha Argerich, you know. You can name Michelangeli, Italian, I love this, Debussy playing.
Pollini, you know, in many, many of his performances.
(38:34):
So, you know…
And that's something also that keeps me going with Resonate, because
I was 11, 12, I was in a conservatory practicing. It's hard as hell to learn how to play the piano.
It takes a lot of practice. And then, you know, you look up to these great musicians, like Krystian Zimerman. They motivate you
(38:54):
to keep going, because you want to be one of them one day, right? As a young teenager.
And I'm imagining these kids with disabilities that may be gifted and want to pursue a music career.
And then their dreams are broken. So,
really, Resonate, the core, you know, why of Resonate is to give back these dreams and make sure that
(39:14):
kids with disability are able to express themselves with music, and perhaps coming up, like, the next, you know,
prodigy, and not, you know, being broken by… just the disability, right?
So, yeah, I would say mainly my family, my teacher,
that gave me a lot over my lifetime.
(39:37):
[Diane:] Well, I know your teacher was very important since, for those who have seen PUSH,
we actually meet your teacher.
And it was very emotional for you to come back and to…
So, can you briefly talk about this meeting?
[Riccardo:] Yes, they… these guys at CBC, they got me crying, which I hate.
(40:00):
They wanted me to cry for the whole season one, they couldn't do it.
And Sean, the producer, the executive producer, goes like, ah, you never crack, eh? We were making fun,
and they got me in season two, these bastards, they got it.
But, like, you know, it was definitely very emotional. They flew all the way with me to Italy.
And Brian, as you've seen in PUSH, we went to Italy, and it was one of the
(40:24):
craziest, most intensive weeks, I would say. It was very real.
Always have these two cameras around, the sound guy, the producer, following everywhere, me and Brian.
And I had to… I went and see, again, my music teacher for the first time in, really, since my injury.
So… and I avoided that.
(40:44):
I've been avoiding it for a while, I didn't want to see him, because I was still dealing with my stuff.
So I didn't… I was really, you know, respectful and kind of a bit scared of the interaction.
And so that week, I went and met with him, and it's been a build-up of emotions, and when...
(41:05):
It was definitely, you know, special to be able to see him again. And they captured it with cameras.
Ah! They did it. They did it. I didn't want to, but they did it.
That's okay. Actually, it's pretty good. I'm grateful that that's captured, and, you know, that moment is, like, recorded, and it's there, I can see it.
(41:28):
So it was a pretty special moment to share. So, yeah.
And now I'm going to see him in a couple of weeks.
I just had a baby girl, I don't know if you know, I just had a daughter. She's 3 months old.
[Diane:] Oh! Congratulations!
[Riccardo:] Thank you. So, we're going back home for a couple of weeks, so that we can baptize her,
(41:49):
and, you know, he's going to meet my daughter, and, you know, my whole family, because they haven't met her yet.
And, yeah... So life is busy, I guess. You know, but that is full of purpose, which is great.
[Riccardo:] Well, thank you so much for sharing your story and sharing your amazing product.
(42:09):
Actually, this episode will come with a resource page,
and we will publish all information about Resonate and about you.
So I hope you can… This project is amazing, and I know you sold
some of your products already in Australia and the US, and…
(42:31):
Scotland? Is that correct?
[Riccardo:] Yes! How do you know that? I said it somewhere, I think.
Yes, yes, yes, there's this girl from Scotland.
And every story is crazy. Like, I received this intake forms and people reaching out through the website, through the Resonate website.
And it's really heartbreaking. I'm so glad that I'm going to be able to give this to these people, because they need it,
(42:52):
and they want it. This lady, she's doing music school, she was considering quitting.
But then, her grandparents stepped in and said, you know what, we found this thing, we are gonna pay and buy it for you.
So she continued music, you know? That's just, like, that's why I'm doing it.
Literally, that's the reason why I'm doing it. And many, many people keep reaching out every week, so
(43:15):
hopefully we can get this out soon, sooner than later. We are almost there, so it should come anytime.
[Diane:] Well, have a great trip to Italy!
[Riccardo:] Thank you.
[Diane:] And maybe, talk next time!
[Riccardo:] Yes, yes, thank you so much.
[Diane:] Thank you, have a good day.
[Riccardo:] Thank you, Diane. Thank you.
♪ Closing theme music ♪
♪ Opening theme music ♪
[Diane:] Hello, and welcome to this episodeof ArtsAbly in Conversation.
My name is Diane Kolin.
This series presents artists, academics,and project leaders who dedicate their
(00:24):
time and energy to a better accessibilityfor people with disabilities in the arts.
You can find more of these conversationson our website, artsably.com,
which is spelled A-R-T-S-A-B-L-Y dot com.
♪ Theme music ♪
(00:53):
[Diane:] Today, ArtsAbly is in conversationwith Riccardo Baldini,
a pianist, innovator, and entrepreneurliving in Edmonton in Canada.
You can find the resources mentionedby Riccardo Baldini during this episode
on ArtsAbly's website in the blog section.
♪ Piano music ♪
(03:55):
♪ End of the excerpt ♪
[Diane:] Welcome to ArtsAbly in Conversation.
Today, I am with Riccardo Baldini,who is a pianist, an innovator, and an
entrepreneur living in Edmonton in Canada.
Welcome, Riccardo.
[Riccardo:] Thank you for having me, Diane.
(04:16):
Diane? Sorry.
[Diane:] Diane, yes.
[Riccardo:] Diane, thanks for having me.It's a pleasure.
[Diane:] Thank you.
I've followed you for some time nowbecause you've been
famously shown in some amazing shows on TV,
on CBC and on AMI TV and on other things,
(04:40):
but that's how I discovered you.
And I've discovered that you have
a great path in music, but also in your own career.
So would you mind presenting yourself
and also telling us a little bit of what you're doing today?
[Riccardo:] Yeah, thank you.First of all, I'm not sure about
the word famous, but I'll take it.
(05:03):
I mean, I didn't...
I don't feel by the way, but good to knowyou found me and that we are here today.
What can I tell you about myself?
I mean, I come from Italy, and I was bornand raised in Fano, as you've seen PUSH.
And I grew up there.
And about eight years ago, when I was 23years old, I moved to Canada in Edmonton.
(05:29):
You know, the reason why Canada is because...
A lot of people ask me that question,
especially more peopleask me why Edmonton.
But my dad was born in Toronto.
My grandpa moved herein the '50s and had three kids.
And then they all moved back to Italy, moved back home,
when my dad was 10 years old.
(05:51):
So he grew up there and I wasborn there and raised there.
But I always heard about Canadagrowing up from family stories.
My grandpa had many storiesto tell about his time here.
He spent about 15 years,I think, in Toronto.
So because my dad was born here,he had dual citizenship
and I acquired it as well.
(06:11):
So the choice of let's go to Canada wasa relatively easy one on where to go
because I already had my documents.
I never came here in Canadabefore, you know, when I was 23.
But at the time, my dadwas here already for work.
(06:31):
So I decided to come to Edmontonwhere my dad was at the beginning.
They all moved back homein Fano, Italy, but I stayed.
And I'm happy now to callEdmonton home as well.
So I had a lot of projects coming up hereand that, really, stuff I've done,
and I find it very, very fulfillingfor my life and it gives me a lot of meaning.
(06:56):
I don't know, we can take many angles,but I guess, I've studied music back home
at the Gioacchino Rossini Conservatory in Italy,
and I earned a master's degreein piano performance.
I also studied environmental sciencesback home.
I got a bachelor before moving to Canada.
(07:17):
And we're here then I completed a master's in forestry at the U of A(lberta),
amazing program.
It was very nice to learn from Canadians
through, like, scientists
and researchers from Canada.
They're top-notch.
I really had a goodmy experience at the U of A.
I learned a lot.
Didn't do much with the degree itselfbecause then I started doing ventures with
(07:43):
my microgreens and other stuff.
So this is a quick overrun of my life.
But I suffered a spinal cord injury.
That's also a part.
But I don't know if you want, how much you want to know.
I can go on for 20 minutes.
[Diane:] Sure. Let's go on for 20 minutes.
So what happened when you had this...
you had a car accident?
(08:05):
[Riccardo:] Yeah. So I didn't have any accident.
My spinal cord injury, which Isuffered about, just over six years ago.
So you can picture,I arrived to Canada, 2017.
I'm 23-year-old.
I'm starting to settle here,trying to figure out a life, what to do,
because I moved here with noproject, particularly in mind.
I just came here, I had my passport.
(08:26):
Let's go check it out.I don't know.
So I just came here and I started to bug people around,
try to find something to do.
I need to find a job.
I started teaching piano before my injury.
And just about two years in Canada,I woke up paralyzed one day.
I had spinal cavernoma, it's called,
(08:47):
burst in my spinal cord and blood.
So overnight, this bleeding caused aspinal cord injury, a permanent paralysis.
So you can imagine.
And the day before, I was just healthy,never been to the hospital, 25 years old.
And the following day,in the morning, I woke up paralyzed.
So that was quite the shift, and
(09:14):
you know, reorganizing my life
around my new condition,which is now affecting every single aspect
of your life, not only using a wheelchair,but many, many other things.
And so I was doing my master'sin forestry at the time.
I was already about to completemy first year of my master.
(09:35):
And at that time, I was picturing myselfmyself going out, being in the outdoors,
pursuing something like forest management, Jasper,
whatever I was in that doing after my master.
So I was picturing my outdoors.
I had my piano, which I started performinghere in Edmonton in a few occasions
(09:58):
before my injury and was teaching piano.
So I was doing a fewthings before my injury.
But then once that happened,I had to reshape and rethink a little bit
how to approach life in general.
And because now the outdoors were not longer accessible,
particularly if you want to go in the woods, you know.
(10:21):
Big fan of hiking and going overnightwith a tent and sleep in the wild.
The wheelchair is not reallysuited for that stuff.
You can find ways around it withmachines or, you know,
the Bowhead as you might have seen in PUSH.
I love that machine,but it's not really something that you
(10:41):
would do with ease as youwould be as walking around.
So from my master's in forestry,I guess that's where my business,
the microbeams business with indoorfarming that I do now here and I run
this business here in Edmonton.
And that's where it comes from,from my passion from plants.
(11:02):
And Resonate, which is the device I had to develop in order to go back and regain
my function at the piano,comes from my passion in music.
So we can dive a little more into whatthese are, but I had to basically
reshape a little bit and rethink whatto do and how to do it, especially.
(11:25):
[Diane:] So what happened then?
You have to change your career plans,you have to change your tools because now
it needs to be accessible,you have to change maybe your house.
What happened?
[Riccardo:] So...
those of you who know how to playthe piano, I'm going to start there.
(11:48):
You want to understand that, yes, I retained my hand function
because my spinal cord injury isat the thoracic level, so it didn't
really affect my hands function.
My paralysis is literallyfrom the chest down.
My legs are now paralyzed,but my hands work just fine.
(12:09):
So thank God I couldkeep using the keyboard.
But now the piano pedals are no longeraccessible to me because
my legs are paralyzed.
So I was right from the get-go, I can remember a couple of weeks in my injury,
trying to look tirelessly out therefor a solution for overcoming this problem
(12:30):
and I regained my abilityto play the piano.
Because about 80 % of music,especially if you do classical like I've
been trained for, really requires the useof the sustain pedal or dumper pedal or
resonance pedal, which isthe right pedal on the piano.
You really need that pedalto be able to play and perform.
And there was nothing outthere to my great surprise.
(12:51):
You might think, what doyou mean there's nothing?
Anything is just nowadays,you have everything.
And I found nothing.
There was a few things here and there,but really not commercially
available and also not that great.
I even flew to Germany to try one unitthat I found from this private guy,
but it was not really a functioning devicefor what I know about piano performing
(13:16):
and how to actuallyapproach music with a piano that was
not something that would have worked.
Not in the way I wanted to.
So I guess a year in,
I decided, well, I'm gonna...I guess I'm going
to have to do something about it.
(13:37):
So that's where the idea for Resonate,which is now the device I'm able to
use to perform again,it's allowed me to press the piano
pedal through a mouth splinter.
So basically, I bite on this device,on this bite switch,
and I'm able to action the right pedal ofthe piano, which is crucial for playing.
(14:05):
I'm happy to say that after years
of developing and designing,we went through several reiteration
of what now is the final prototype,which are moving to product and production
because we have gained interestfrom lots of people around the world.
So we are now trying to manufacturing.
We are moving towards the firstproduction run of Resonate.
(14:29):
It gave me back the ability to play,and I'm pleased to share that,
actually this weekend, a few days ago,I've performed
with the Edmonton Symphony Orchestrawith a full orchestra on stage
at the Winspear Center.
So, thank you to the whole organization
for the opportunity and for making reallygreat things happen.
(14:51):
And as I said, it's a big winfor music and accessibility in music.
So I was able to perform again in thisoccasion with a full symphony orchestra.
I've done other performances also before,not with a symphony orchestra, though,
which is, to me,has been like such a magical magical
moment and, you know, something that I will remember.
(15:15):
It's the first time ever in the world. I don't see anyone.
There's no footage or recording orany news article, anything,
of a person in a wheelchair being ableto perform as anyone else on stage
with a full symphony orchestra everbefore, which is, you know,
incredible that that happened.
(15:38):
So I'm really excited and happy for whatthis could bring into the future,
and especially for potential disabled kids,
disabled musicians that now can think, oh, then maybe it is possible.
Because until... when it's never done before, then it's not possible.
You don't think it is possible.
Then once somebody is doing it,then perhaps opens the gates
(16:02):
for many more, which is my goal.
I want to see kids with disabilitypursuing a music career like anyone else
with no distinguish me from whateveryou have a wheelchair or not.
You're just, you have this, you're gifted, musician, you're gifted.
You want to play the piano, you go for it.
You don't have these dreams brokenbecause there's no model out there.
(16:22):
Nobody has done it.You have a disability.
That's where really my 'why' comes from whenit comes to Resonate Adaptive, if that makes sense.
[Diane:] It makes sense. I will come back to the concert because it's a very interesting thing.
But I want to go backto before all that happened.
(16:43):
So at the moment where you were thinkingof the solution
and maybe partnering with peopleand saying, and explaining,
trying to sell your concept or tryingto collaborate with people.
This process of creationand of adapting and evolving,
making the project evolve,it took several years,
(17:06):
but how did you work with people on that?
[Riccardo:] Well, yes.Good question.
I'm not an engineer,so I have my musical background.
I understand with my lived experience whatit is to have wheelchair and all that,
but I'm not an engineer.
So somehow I managed to convince
(17:27):
Steve, which is a good friend of mine now
and also co founder of Resonate,to build this device.
I remember approaching him through
an association And we built the first
prototype with some fundings.
And then I convinced him that,why don't we just do it and we make
(17:48):
this available for anyone who needs it?
And somehow he was like,I think it's a good idea.
Somehow I convinced thiswas a good idea to do.
So I guess I'm a bit stubborn,and perseverance is
key, and believing in the project because until it's done,
(18:08):
you don't think it's possible and you needto really know that's going to happen.
So that's, I guess, a bit ofmy being stubborn and wanted to really
make it happen and not wanting to give up.
You know, I was thinking, even not too long ago, why nobody ever did it, right?
(18:28):
Because that's actually a fair question.
I was surprised and also heartbrokenthat nothing was out there.
I would have bought something.
But I guess then, thinking about it, like, well, you need that intersection between you know, background in music to,
you know, background in music to
somewhat at a professional level that you really know
how piano works, and how playing the piano works.
(18:49):
And, you know, at the same time, having a disability that under… makes you having that understanding as well.
And you want to have that happening somehow relatively soon in life,
so you have the motivation and the will
to do it. And, you know, then you have to have the resources and the entrepreneurship of wanting to do something.
So it's kind of a bit of an intersection of a few elements that, you know, makes it quite unique.
(19:12):
And is it quite of a niche product, at the end, quite of a niche need,
which then, you know, extended worldwide, it's actually quite a…
quite helpful for many people, also stemming into different use, not just for piano, for example.
And then you have to find somebody who is doing it with you,
so connecting, finding resources in terms of, like,
(19:34):
literally money. So, you know, it's a whole bunch of things, and…
You know, I was lucky enough to find his engineer,
that great guy, that is a literally rocket scientist, because
he's working for a company, he's a manager there, a mechanical design engineer manager.
(19:56):
And they have clients like NASA, SpaceX, so it's actually literally build stuff for rockets, so,
they had the right equipment and right stuff to really make this happen, and they were happy to
do this with me. So, I guess, you know,
it's a bit of combination, and luck goes to, you know, where you put hard work, I guess,
(20:20):
and also like itself, you need to find the right people to collaborate with.
[Diane:] Yeah, and also, I mean, for those who have seen PUSH,
the first steps of it, and when you tried it, and
it didn't start, and it didn't work the way you wanted, and it clicked too much.
So it's a lot of research and development, and it's a lot of
(20:42):
working together again on a new version and things like that.
How long did it take from the moment you had one
first version of your draft version, actually, the moment you had one version
to the one that is ready to go today?
[Riccardo:] So, I would say, probably between four years, close to four years.
(21:06):
Three, four years. By the time the idea popped and said, like, I'm gonna do this now,
to having the last device that actually is as it should be, and
as I know pianos, I know it works perfectly. I remember how he's using my foot.
I know how it should sound, I know how it should work, I know this is exactly how it should work.
So, we haven't stopped until we achieved that
(21:29):
degree of quality for the device. And we have been going through several reiterations.
The first one was so loud that it was kind of like, you know, ugh.
I cannot play with this, it was a completely different design, a completely different type of device,
that was not really functional. It was not really…
(21:49):
You've seen it on PUSH, how frustrated I was. I remember even from the guy who got the beginning.
I said, well, this is very good proof of concept. But it's not good… I'm not… in fact, I was not using it.
I was not really using it as much,
or enjoying playing, because that's what was the first, you know,
real reaction when I got this last one.
(22:13):
I like to say it made me walk again with music, you know?
Like, it really did give me back, and from the very first time I tried, I said, yes. That's it.
This is good. This is now how it's supposed to be. And I didn't have that feeling, that reaction
manifesting as well.
The first device was not really… functioning was more of a proof of concept. And going from there,
(22:37):
doing all that work and having this thing eventually in my living room, and it's like, ugh, but this is not good.
And then trying to keep going, and, you know, keep working with more people, I started collaborating, I reached out to
a couple of universities which took on the projects, you know, with a few things to develop different type of, you know,
(22:59):
action to it, and eventually, going back with Steve, we actually made the final one, which
is now, it's how it's supposed to be. You know, it seems like a simple thing.
At the end, it's trying to press one pedal, but there are so many nuances on how that pedal should be pressed that
(23:20):
makes it quite complicated, because, A, you want to be extremely quiet.
It can't be loud because you're playing music, it has to be silent.
Second thing, you want to make sure that it's portable.
Because we don't have the luxury as a pianist like, you know, some other instrument players like violin, to carry around our own instrument.
(23:44):
I can't really carry my piano on my shoulders and go around with it,
so I need to be able to move my device from my home setting to any other setting or stage I'm going to perform.
Like what I did this weekend, if I didn't have that type of design,
how am I supposed to then play on stage at the Winspear?
I cannot just, A, can we custom make something for that piano when I come for performing?
(24:08):
Obviously, it's not, you know, feasible. So you need to make it portable.
You need to make it adjustable, because every single piano has a different pedal system,
has a different setup, has a different, you know, so you need to make sure that when you arrive at stage, which normally...
What happens, you're doing one rehearsal, and that's it, and then your concert.
Right? When you're performing professionally with professionals, you're… you don't have, you know, a month
(24:32):
of trying stuff out, you have 15, 20 minutes. And that's it, and then you're on stage next day with the audience, right?
So you have to… it has to work right at the get-go, and you don't want to arrive there, Oh!
I don't think I can do it. Because then they're relying on you, you sign a contract, or whatever it is, right? So,
there are a few details, and many more that I could list, but, that are going into the design of these, of Resonate, right?
(24:59):
[Diane:] Mm. So let's go back to the concert.
You... I remember, on "Mind Your Own Business,"
that they were telling you at this… at the point where you were presenting the project,
find an orchestra to partner with. And try to show… to showcase your product.
(25:21):
And so, this concert… did this concert with the Edmonton Philharmony Orchestra, uh, Edmonton Symphony Orchestra, sorry.
Was it part of that, that idea that let's showcase it?
Or did they come to you and say, we want this concept to happen? How did it… how did it go to preparation?
(25:44):
[Riccardo:] Yeah, I had an initial contact with them, I believe… I don't know how long ago.
Perhaps it was November last year, or December. I had initial contact. I had
a common person that knew somebody there, so they organized, you know, an introduction
over email, and then, I just said, hey, can I come, you know,
(26:04):
meet with you? And I brought the device, and, you know, we chatted a bit. I just played a few things on stage.
They made me try their stage, and they saw what it is, and then goodbye.
That's it. A few months later, they sent me an email, like, Hey,
do you want to perform? So that's how it happened.
It's not that I had to, you know… it was like that. It's just an introduction, and now I got to meet
(26:31):
the right people there, and then from there, they invited me to play.
And it seems like the concert has been a pretty good
success in the sense that, like, you know, they have been sold out for the whole three performances.
It was beautiful music, you know, like, more, like, anime music, so
(26:51):
not strictly classical, but very, very good music that I really enjoyed
practicing and performing. And the audience was, like, wild,
because also, you know, they're not… it was not an audience accustomed to maybe a theater,
and it was not, you know, a classical music… a classical music type of audience, so
(27:12):
it was very participant, very expressing our depreciation, so it was
a good outcome of the concert, and I don't see why it would not happen again in the future.
So that would be very exciting to know that that's a possibility.
So hopefully many more to come. I really enjoy,
(27:33):
and I want to show that it's possible to do it, maybe touring as well.
That would be a good goal.
And yes, at the time of Mind Your Own Business, we were… I was thinking that that's something I want to do.
Um, I think it would be great for many reasons. Music at first, you know.
Accessibility, but also, you know, for Resonate itself to have that
(27:57):
happening, so I'm extremely grateful that I had the opportunity, and everything went great, so…
[Diane:] What was your repertoire? What did you play?
[Riccardo:] I played… so, music from anime. One is called… I don't know if you know anime, but one is called "One Summer's Day,"
(28:18):
from… Joe... what's his pronunciation?
Something, Hisaishi? It's a Japanese name. So, "One Summer’s Day"
is a piece for piano and orchestra for, you know, one of the anime.
"Spirited Away," I don't know if you've seen that anime.
(28:42):
And then we played together, also, with a singer, she was a guest as well,
"In this corner of the world," which is a very beautiful song with a choir.
It was a full set, where, like, 70 elements in the orchestra, full orchestra,
choir, piano, and a solo singer, it was wonderful.
(29:03):
Then we play music from a bunch of other anime, like
"Attack of Titans," "Dragon Ball Z," "Pokemon," some music from more mainstream, and
we played… "Howl's Moving Castle," beautiful song.
So, you know, there's a… it was quite, quite diverse program and, you know,
(29:28):
with a full orchestra and the choirs itself was quite powerful, quite powerful music, which I enjoyed
playing with the orchestra and the choir.
[Diane:] That's great. I want to go back to your career.
I know that you studied both the music and the forestry parts,
and I know that in your life, you have the music, and you have something else.
(29:50):
Can you talk about something else?
[Riccardo:] So, that something else, you're meaning, like, my microgreens business?
[Diane:] Yeah.
[Riccardo:] Yeah, well, again. From my… I always have this passion for nature.
I enjoy the outdoors. I loved plants. That's why I did forestry and environmental sciences. I had the goal
(30:13):
early on when I enrolled in university to make an impact in, you know, sustainability, sustainable practices.
Really take care of, you know, "the world," if you want, in a very
early age when I decided to get into environmental sciences, I wanted to really
make the world a better place, you know? You are young and all these, like,
(30:33):
ideals of, you know, what you're gonna do with your life, and…
So that's what I wanted to do, and when I got injured, I was no longer able to pursue certain stuff, and
I saw what… I saw online one day, this cool thing, indoor farming,
which I was not that familiar with. I knew was something, vertical farming, indoor farming, you kind of heard.
(30:55):
But I didn't know… I never thought about doing anything with that. And
one day I saw microgreens, microherbs, and I said, that's what I want to do.
So, this is probably a year and a half after my injury, about a year and a half.
I decided to start this company, which is called Strathcona Microgreens, and we are able to
(31:15):
now supply many, many restaurants, I like to work closely with chefs
and grocers and home chefs, all throughout Alberta. So, we have, you know,
many chef clients, and we grow to order. We have over 40 varieties.
I'm here right now, and all the production is downstairs.
(31:37):
I have some of my guys that are, you know, taking care of a few of the tasks, and
Um, yeah, it's been a very, very, you know, "growing" enterprise.
No pun intended. But, basically, I started with one rack
(31:57):
in the closet of my spare bedroom in my apartment.
I really set up one of these racks and started experimenting with the product, the crops, you know, all my…
Most of what we grow is a very fast turnover. It's about an 11-day cycle.
We go up to 5 or 6 weeks for some crops, but most of them, the bulk of the production is
(32:17):
on 11 days turnover. So I started experimenting in my closet.
Inside the closet. And from there, we grow very quickly. We filled the room.
I filled the room very quickly, and then moved within, about a year into a commercial space, and
we filled that up now. So I'm looking to expanding the commercial space here,
(32:38):
because we need more space, so it's a good problem to have, but still a problem to solve.
And, yeah, so it's something I love doing that regained, you know, my… me having
contact and connection with plants, and, you know, it's…
I really love doing what I do, so… I guess that's been clear when I roll into these restaurants and meet with chefs.
(33:02):
In the middle of the winter, with the snow, with my wheelchair stuck, and tried to jump around, and
rolling into these restaurants with the set of samples, at least.
These people that I'm meeting with, they think, oh, this dude really wants to do this, because…
You know, it's just quite the struggle to get into the places in the winter in Edmonton
when the snow is, like, you know, a foot
(33:23):
or more. So, yeah, now it's a bit easier because I was able to hire and, you know,
I am not doing some of the more practical tasks that also in a wheelchair would...
As I said, it was a struggle at first. I was doing everything, so, yeah.
(33:43):
[Diane:] Are you playing the piano to your plants so that they grow better?
[Riccardo:] I thought about putting some Mozart,
so with the speakers, and see if something happens, but, you know, it's quite a… it's quite the… I'll try one day.
I've been saying this for a year now, or more. I was like, I'm gonna do it one day, I put these speakers on, that, you know,
blast Mozart 24-7.
(34:04):
It's gonna be, you know, maybe it changes something in the growth, you never know.
[Diane:] Okay, I have a question about the way…
I love this question because everybody has a different concept about it.
It's about accessibility in the arts, or about what we call disability culture sometimes.
(34:24):
So, what's… what is it to you to improve this world
and make it more accessible to people who have been in your situation for years,
and, you know, bringing more accessibility in that?
[Riccardo:] So, in short, because I think you know,
(34:45):
the disability topic is an important one, but it has to become a not topic.
A non-topic. So that's the core of what I think. Like, at the end,
you want to provide equality of opportunities for whoever.
And then base your, you know, work on competence.
(35:07):
So, you know, there is that quote, which I really like, which says, you know, the…
Accessibility, or… it's not…
the person who is giving you the towel, or, you know, the paper towel,
it's the person who is changing the location of it.
(35:28):
You know what I mean? Like, you want to be able to do stuff for yourself,
within reasonable, you know, within reasonable common sense that,
you know, a space, or workplace, or whatever you're approaching, requires.
And you then have to, as a disabled person, provide value like anyone else.
(35:50):
And at the end, disability should not be even a topic.
If you're… if you're, you know, good enough, and you make yourself
unvaluable for whatever company you're working with, or for whatever job you're doing,
and then it doesn't matter if you're disabled or not.
We don't remember Stephen Hawkins for… necessarily for his wheelchair. We remember Stephen Hawkins because he did great things
(36:15):
with his mind. With the tools he had. I'm sure he complained.
He was grumpy. But he still yet did whatever he had to do, and we read these books.
We… the, you know, greatest people nowadays that works on avant-garde, they're still,
you know, referring to Stephen Hawkins, not because he was disabled, but because of what he brought to the world.
(36:39):
So, that's where we should aim to go, and, you know,
eventually, we should not even think about disability, yes or no, it's just a person.
I'm just a dude sitting down doing my things.
And, you know, if it's valuable to you, good.
If it's not, maybe I should try another person.
If 100 people, 1,000 people don't find me valuable, maybe I'm wrong.
(37:01):
And then maybe I should step up. No pun intended.
But, you know, that's the bottom line at the end.
And you want to make the world, of course,
with equality of opportunities, because sometimes,
if you don't do that, and you have an environment where you're discriminating for whatever reason, which is stupid to do.
(37:22):
[Diane:] Okay, so I… I have a last question, which is about,
people who have, who might have, like,
motivated you, inspired you, counted in your career, in your path as a pianist.
If you could think of one or two people, who would it be and why?
(37:44):
[Riccardo:] Yeah, so I would say that I really go to my family.
My mom, my dad, so my family, my professor, my music teacher
that thought of me music and discipline.
So those are the, you know, figure that you know, I would say resonate with me and gave me lots, obviously.
(38:10):
Then, musically speaking, I have some of, you know, this reference for great musicians and pianists.
Like, you know, Krystian Zimerman was, like, I was a fan of the guy growing up, or
Martha Argerich, you know. You can name Michelangeli, Italian, I love this, Debussy playing.
Pollini, you know, in many, many of his performances.
(38:34):
So, you know…
And that's something also that keeps me going with Resonate, because
I was 11, 12, I was in a conservatory practicing. It's hard as hell to learn how to play the piano.
It takes a lot of practice. And then, you know, you look up to these great musicians, like Krystian Zimerman. They motivate you
(38:54):
to keep going, because you want to be one of them one day, right? As a young teenager.
And I'm imagining these kids with disabilities that may be gifted and want to pursue a music career.
And then their dreams are broken. So,
really, Resonate, the core, you know, why of Resonate is to give back these dreams and make sure that
(39:14):
kids with disability are able to express themselves with music, and perhaps coming up, like, the next, you know,
prodigy, and not, you know, being broken by… just the disability, right?
So, yeah, I would say mainly my family, my teacher,
that gave me a lot over my lifetime.
(39:37):
[Diane:] Well, I know your teacher was very important since, for those who have seen PUSH,
we actually meet your teacher.
And it was very emotional for you to come back and to…
So, can you briefly talk about this meeting?
[Riccardo:] Yes, they… these guys at CBC, they got me crying, which I hate.
(40:00):
They wanted me to cry for the whole season one, they couldn't do it.
And Sean, the producer, the executive producer, goes like, ah, you never crack, eh? We were making fun,
and they got me in season two, these bastards, they got it.
But, like, you know, it was definitely very emotional. They flew all the way with me to Italy.
And Brian, as you've seen in PUSH, we went to Italy, and it was one of the
(40:24):
craziest, most intensive weeks, I would say. It was very real.
Always have these two cameras around, the sound guy, the producer, following everywhere, me and Brian.
And I had to… I went and see, again, my music teacher for the first time in, really, since my injury.
So… and I avoided that.
(40:44):
I've been avoiding it for a while, I didn't want to see him, because I was still dealing with my stuff.
So I didn't… I was really, you know, respectful and kind of a bit scared of the interaction.
And so that week, I went and met with him, and it's been a build-up of emotions, and when...
(41:05):
It was definitely, you know, special to be able to see him again. And they captured it with cameras.
Ah! They did it. They did it. I didn't want to, but they did it.
That's okay. Actually, it's pretty good. I'm grateful that that's captured, and, you know, that moment is, like, recorded, and it's there, I can see it.
(41:28):
So it was a pretty special moment to share. So, yeah.
And now I'm going to see him in a couple of weeks.
I just had a baby girl, I don't know if you know, I just had a daughter. She's 3 months old.
[Diane:] Oh! Congratulations!
[Riccardo:] Thank you. So, we're going back home for a couple of weeks, so that we can baptize her,
(41:49):
and, you know, he's going to meet my daughter, and, you know, my whole family, because they haven't met her yet.
And, yeah... So life is busy, I guess. You know, but that is full of purpose, which is great.
[Riccardo:] Well, thank you so much for sharing your story and sharing your amazing product.
(42:09):
Actually, this episode will come with a resource page,
and we will publish all information about Resonate and about you.
So I hope you can… This project is amazing, and I know you sold
some of your products already in Australia and the US, and…
(42:31):
Scotland? Is that correct?
[Riccardo:] Yes! How do you know that? I said it somewhere, I think.
Yes, yes, yes, there's this girl from Scotland.
And every story is crazy. Like, I received this intake forms and people reaching out through the website, through the Resonate website.
And it's really heartbreaking. I'm so glad that I'm going to be able to give this to these people, because they need it,
(42:52):
and they want it. This lady, she's doing music school, she was considering quitting.
But then, her grandparents stepped in and said, you know what, we found this thing, we are gonna pay and buy it for you.
So she continued music, you know? That's just, like, that's why I'm doing it.
Literally, that's the reason why I'm doing it. And many, many people keep reaching out every week, so
(43:15):
hopefully we can get this out soon, sooner than later. We are almost there, so it should come anytime.
[Diane:] Well, have a great trip to Italy!
[Riccardo:] Thank you.
[Diane:] And maybe, talk next time!
[Riccardo:] Yes, yes, thank you so much.
[Diane:] Thank you, have a good day.
[Riccardo:] Thank you, Diane. Thank you.
♪ Closing theme music ♪
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