Makalisa returns home

THE Robert Sibson Hall, an architectural and acoustic sanctuary nestled within the Zimbabwe Academy of Music, has long been the heartbeat of the country’s classical traditions. This May, however, its walls will resonate with something far more expansive than a standard recital.

On the 22nd and 23rd of May, the hall will host the “Soundscapes” 30th Anniversary Concert Tour of the Morningside Music Bridge (MMB) — a landmark event that brings one of Harare’s most versatile musical sons, Tich Makalisa, back to the roots that first shaped his craft.

For Makalisa, a pianist, composer, and producer whose career has consistently defied the confines of single genres, this tour is not merely a performance; it is both a homecoming and a masterclass in cultural diplomacy.

To appreciate the significance of the “Soundscapes” tour, one must first understand the pedigree of Morningside Music Bridge. Founded in 1997 in Calgary, Canada, MMB began as a visionary international summer programme aimed at exceptionally talented young classical musicians aged 12–18. Now operating in partnership with the prestigious New England Conservatory in Boston, the programme has become a gold standard in musical development.

The MMB model is a rarity in the arts world: it is fully funded. For the select few drawn from more than 30 countries, full scholarships cover tuition, travel, accommodation, and meals. Yet its true value lies in mentorship. Students benefit from guidance provided by faculty connected to the world’s leading institutions — Juilliard, Curtis, and major global orchestras. It is, in many ways, a factory for stars, with alumni including internationally renowned pianist Yuja Wang.

As MMB marks three decades of excellence, its arrival in Zimbabwe reflects a deliberate shift in focus. The anniversary year is dedicated not only to celebrating past achievements but also to expanding access to elite music education and fostering international collaboration in regions often overlooked by the classical establishment.

At the centre of the Zimbabwean leg of this tour is Tich Makalisa (born Sifiso Makalisa). A graduate of the University of Cape Town with a Bachelor of Music in Jazz Composition & Arrangement, Makalisa is a true “chameleon”. His résumé reads like a map of the contemporary musical landscape: he has shared stages with luminaries such as Judith Sephuma, Jimmy Dludlu, and Winston Mankunku, while his compositions span everything from wildlife documentaries to the high-energy realm of Electronic Dance Music (EDM) through his project ‘Origami Live’.

Despite this global and multi-genre footprint, Makalisa’s journey began with the disciplined study of classical piano in Harare at the age of seven.

“I did start piano at seven and the path into piano was through classical music. I always had an interest in other genres, mainly jazz. My particular part in the Friday evening concert is not particularly Classical but does tap into classical roots. I do occasionally pick a classical piece to practice now and then,” Makalisa reflects.

For the “Soundscapes” tour, Makalisa will perform two pieces with the MMB strings: an arrangement of the jazz standard My One and Only Love and an original composition titled Time to Go Home. The repertoire captures the essence of the tour — bridging the structured discipline of classical training with the fluid expressiveness of contemporary African and jazz identities.

The “Soundscapes” tour represents a significant logistical and artistic undertaking. Makalisa will be joined by a distinguished line-up of international MMB alumni and faculty, including Mohammed Alshaikh, Amarlyn Olmeda, Emad Zolfaghari, and Emma Price.

The collaboration extends deep into the local fabric of Zimbabwean music. The concerts will feature guest appearances from Akin Chariga, Pardon Gwiriri, Vusi Ndebele, Misheck Ngorima, and the soulful Vuyi Sax. Adding choral depth to the evenings will be the Whitestone Choir (under Christiane Price) and the Girls’ College Choir (under Jeanette Delport).

This fusion of international virtuosity and local talent reflects precisely what MMB seeks to achieve in its anniversary year — a cultural exchange aimed at redefining Zimbabwe’s place on the map of advanced music education.

The inclusion of Zimbabwe in the MMB itinerary is a clear statement of intent. For Makalisa, who has navigated the music industry from the vibrant venues of Cape Town to the luxury circuits of Dubai and London, the presence of such a programme in Bulawayo is “hugely significant.”

“It sends a powerful message to young musicians here that world-class musical training and international artistic pathways are not reserved for students in Europe, North America, or major global conservatory cities. When students witness musicians from institutions like Morningside Music Bridge performing and teaching in Zimbabwe, they begin to understand what international-level discipline, preparation, and artistry actually look and sound like,” Makalisa says.

He emphasises that while technical excellence is essential, proximity to mentorship is what truly accelerates a young artist’s development. By bringing the “Soundscapes” tour to the Robert Sibson Hall, MMB effectively narrows the distance between a talented 14-year-old in Bulawayo and the great stages of Boston or London.

Beyond the spectacle of the evening concerts, the tour places strong emphasis on educational outreach through workshops and masterclasses. Drawing on his experience as a Musical Director on international cruise lines, Makalisa understands the “global standards” required to succeed in the professional arena.

He said that these workshops aim to reveal the often unseen demands of a musician’s life: meticulous attention to detail, rigorous practice, and the discipline required to deliver flawless performances. When asked what “X-factor” he seeks in young performers aspiring to secure international scholarships, Makalisa is unequivocal:

“Firstly, young performers must have the aptitude for music and show discipline in regular practice and a hunger to learn. Basically, driven individuals who are not easily distracted by premature praise that is too often given.”

With the arrival of the 30th-anniversary tour comes a renewed sense of energy within a music education sector that Makalisa believes has “taken a bit of a backseat” in Zimbabwe in recent years. He hopes this visit will serve as a catalyst for a “realistic change in perception.”

The “Soundscapes” tour is more than a series of concerts; it is a compelling proof of concept. It demonstrates that a pianist from Harare can master classical traditions, pivot into jazz, experiment with EDM, and return to lead an international chamber ensemble. It shows that the Robert Sibson Hall is not merely a relic of the past, but a gateway to the future. – Follow on X @MbuleloMpofu