Testimonials on Clara Rodriguez’s concerts and recordings

TESTIMONIALS

The very talented pianist Clara Rodriguez is a worthy interpreter of the great Teresa Carreño Paul Badura-Skoda

A poet of the piano” Antonio Estevez.Clarines_blue_wednesday

“Clara Rodriguez’s vibrant temperament and her rhythmic èlan mark her out as a leading exponent of Latin American music. She is a very special artist.” Niel Immelman.

“Clara Rodriguez has great pianistic ability and also a very special, wonderful musicality”Murray Perahia. Marlboro Music. USA

 

“A memorable, truly lovely and varied recital. The range of colours Clara managed to secure from the Wigmore’s Steinway from the first notes of Evocation to the last in her programme was amazing”
John Barstow.

“Clara is a lovely pianist, with an impressive technique. She plays with real involvement and is capable of moving her audience. I am her number one fan” Phyllis Sellick

“Clara Rodriguez plays with obvious involvement and produces lovely lush sounds. Her Rachmaninoff had quite a refinement of tone control.” Christopher Elton.

“This performance showed that this young pianist is rapidly developing into an exciting and mature artist. Temperament, sensitivity and beauty of tone were all in evidence in this programme.”  Alexander Kelly.

 “What an unusual, absorbing concert. What power and originality plus superb style you have both as a human being and as An Artist. Years and years of study, application and practice went into last night’s performance. It was an example of your life, of slick dedication and execution. You have an exceptional talent and God given gift” Trader Faulkner. Actor.

 “Sensually effective playing. The sounds were very good, the transitory rits and agogic accents relished. In general, the beauty of detail in Clara Rodriguez’s playing is very real.”  David Owen Norris.110818129m

“What a wonderful evening it was last night. Beautiful music, excellent performances and lovely atmosphere. You
played with great elegance, vivacity and charm.”
Stephen Montague.

“…I greatly enjoyed your pieces at lunchtime, and thought the players all did you proud –especially Clara Rodriguez, who produced an enviable range of tone and colour within a few eloquent minutes. She was wonderful!” Francis Pott, Head of Composition at LCMM

 “The concert of Venezuelan music played by Clara Rodriguez and El Cuarteto was a wonderful revelation of colour and emotion. It was just amazing to hear and see the group’s handling of polyrhythms. The atmosphere was quite unique, and the public responded with practically deafening applause. It really was a unique and very powerful experience.”Roberto Filoseta. Hertfordshire Universityconcierto-2

“After your St. John’s Smith Square recital, I left on a complete high , what a glorious Liszt! And can I just say that the Scarlatti in particular was absolutely ravishing. You did it with just EXACTLY the right combination of grace, verve, balance, beauty, heft, sensitivity, attention to detail, chutzpah; it was really beautiful.” Pianist Nicola Bibby.

“We are already looking forward to the next performance with great anticipation – please keep us posted!” Arundells/ SalisburyDSCF2327

“Clara’s programme was supremely demanding in variety and technical contrast and I felt truly humbled by her scholarly virtuosity and completely mesmerised by her absolute mastery of every aspect of the music as I watched her hands fly over the keyboard.” Arundells recital

“I have heard Clara Rodriguez’s CD Americas Without Frontiers: PURE POETRY!” Beatriz Carnevali

“Great CD. Colour, rhythm, sun & also poetry, sweetness, nostalgia. Thanks for this very nice Latin American trip by a poet of the piano” Brigitte Dussard51wVKNRsVIL._SL500_AA300_

“I am much enjoying listening to your latest CD AMERICAS WITHOUT FRONTIERS; especially Perez’s Ancestro and Núñez’s piece about Aldemaro Romero – intensely moving.” Dominic Seligman

 

CLARA_A5_Flyer_2016echoes-flyer-postera13d641fe46780b3ecb44453c3e3ad708SouthBank-RGBCR-programa-post1From pianist Adrien Schmitt:
“I really enjoyed listening to your latest CD Americas Without Frontiers”. It is so refreshing to hear the evocative rhythms and the many faces of the American music, I really feel you are truly one with the music!”

From mezzo-soprano Inés Feo-La Cruz on the CD “Americas Without Frontiers”
“I’ve listened to your CD many times. That the music is very good and the whole performance is very high level both technically and artistically, I do not need to say it because you surely know that very well.
What I want to share with you, because it was something that took me by surprise, is that the most remarkable impression produced by the series of pieces is a feeling of being in very good company. It’s like having a conversation with the best of people. It is a beautiful work, excellent bill and, above all, warm and communicative. Congratulations!”

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Recital and Launch of “Americas Without Frontiers”, evening dedicated to Phyllis Sellick

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Clara Rodriguez, pianist

“Electrifiying! the place was packed!” Barbara Duncan
“Many congratulations on yesterday evening, dear Clara.  Cannot begin to
say how impressed I am with all your marvellous achievements.  And your
general brio is  so very  welcome!   I was delighted to be involved.
My friends loved it, including Nick, who doesnt go to concerts usually.” Karin Fernald
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“So beautiful….@VENPIANISTA you made the piano talk, sing and play…..what a wonderful sound. Thank you” Antoinette Urwin
“Bravo for your concert, I was really glad I could come” Arthur
“Wonderful Concert Clara yesterday! ” Adrien Schmitt
“Excellent concert – it fitted nicely together and Leo stood in well, in fact all readers were fine. And you – well you’re always fine !” Tony Barlow
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Pianist Clara Rodriguez with actor Karin Fernald and Readers Dominic Seligman, Timothy Adès and Leonardo Muller-Rodriguez

“Your concert was so lovely;  I was really tired at the beginning (cause I hadn’t slept well the night before) – but by the end of it I was energised, it was great.   Everyone did the readings so well, especially Leonardo :)!
And I loved the Ravel (haven’t heard the Tombeau for ages) – the last two pieces by Lecuona were so beautiful.   It was all nice, and a good atmosphere too, with all the readers and variety.” Helen Moore
Was great to see you playing last night – we really enjoyed the concert!” Yaz
“Gracias Clara Rodriguez por un concierto entrañable, conmovedor-tanto talento, energía y luces en tu manera de interpretar y tocar, bravisimo!!”
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“Thank you Clara Rodriguez for an endearing, moving concert-so much talent, energy, enlightment in your interpretations and way of playing. bravissimo!” Sandra Menant
“Dear Clara
Many congratulations on yesterday’s concert. We really enjoyed the programme and your wonderful playing” Tony and Sue
“Clara Rodriguez played brilliantly and chose the texts very well for us to read. I enjoyed it very much. The audience enjoyed it too.” Timothy Adès
“Clara, Thanks so much for a wonderful evening. I was so moved to see how you have grown into an artist with so much to say and such a command of the music you play. Loved the readings. Phyllis would have been proud of you and the person you have become. I guess she taught us much more than how to play the piano!” Adrian Sims
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Clara Rodríguez  “Americas Without Frontiers

      Piano Recital and CD launch. St. James’s Church Piccadilly

 Wednesday 29th November 2017 at 7.30 pm

 

Programme

Readings  on the life of Phyllis Sellick (1911-2007)

Four Venezuelan Waltzes:

Evencio Castellanos (1915 -1984):

Mañanita Caraqueña

Ramón Delgado Palacios (1867-1902):

La Dulzura de tu Rostro

Maria Luisa Escobar (1898 -1985):

Noche de Luna en Altamira

Teresa Carreño (1853 -1917):

 Mi Teresita

 Frédéric Chopin (1810-1849):

Ballade Op. 23 No 1 in G minor

 Sergei Rachmaninoff (1873-1943):

Three Preludes Op. 23:

-E flat Major No 6

-G Minor No 5

-D Major No 4 24271582_10210899164543816_1043933972_o[1]

Alejo Carpentier (1904 -1980):

Short excerpt from El Siglo de las Luces (Translated by John Sturrock)

Ludovic Lamothe (1882-1953):

La Dangereuse (Merengue from Haiti)

Maurice Ravel (1875 -1937):

Pavane pour une Infante Défunte

Maurice Ravel:

Three pieces from Le Tombeau de Couperin:
Prelude – Menuet – Toccata

Atahualpa Yupanqui (1908-1992):

 Time of Man (Translated by Timothy Adès)

 Germán Darío Pérez (1964 -):

Ancestro (Colombian Bambuco)

 Alfonsina Storni (1892-1938):

Voy a Dormir (I am going to sleep)

 Ariel Ramírez (1921-2010):

Alfonsina y el Mar (Argentinean Zamba)

Federico García Lorca (1898-1936):

First impressions (Translated by Timothy Adès)

Ernesto Lecuona (1985-1963):

 La Comparsa and Malagueña

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Readers:

Timothy Adès

Karin Fernald

Leonardo Muller Rodriguez

Dominic Seligman

 

 

 

 
 

Clara Rodriguez, concert pianist and educator

“The Venezuelan virtuoso pianist Clara Rodriguez”
The Daily Telegraph
Education and Concert career

Clara Rodriguez has built up an enviable international reputation
for her innovative programme planning, juxtaposing standard
repertoire and works by South American composers.
Her playing has been described as being highly expressive,
sensitive with considerable digital clarity and stylistic acumen.
At sixteen she was in her eighth year at the Conservatorio Juan
José Landaeta of Caracas when she took part in a national
competition judged by Michael Gough Matthews and
Barbara Boissard, the then directors of The Royal College of
Music’s Senior and Junior Departments. She was awarded
the Teresa Carreño Scholarship that enabled her to come to
London to study at the Royal College of Music with Phyllis Sellick.
There she studied for a year at the JD and at Senior College
graduated from the Performers’ Course and a two year Post-
Graduate. She was the recipient of many prizes and awards such
as the Scarlatti Prize, the Mozart Prize and the Percy Buck Award,
as finalist in the Chappell Prize; with the RCM orchestras she
performed concertos by Mozart, De Falla, Ravel and Gershwin.
Clara Rodriguez has also studied with Guiomar Narváez
(Venezuela), Regina Smendzianka (Poland), Niel Immelman
(U.K.) Paul Badura-Skoda (Austria) and Irina Zaritskaya (Russia).
In Caracas, aged sixteen she made her debut playing Mozart
Piano Concerto K595 with the Simón Bolívar Orchestra under the
baton of José Antonio Abreu; from then on Clara Rodriguez’s
career as a solo pianist has taken her to Belgium, Denmark, Egypt,
Finland, France, India, Italy, Spain, Syria, Tunisia, The USA and
Venezuela.
In London she is a hugely popular performer who plays to great
acclaim at the Southbank Centre, Wigmore Hall, Barbican Centre,
Saint Martin-in-the-Fields, Leighton House, Bolívar Hall, St.
James’s Piccadilly and St John’s Smith Square.
Recently she has been invited to play a series of celebratory
concertos with the Simón Bolívar Orchestra as well as with other
El Sistema Orchestras for their 40th Anniversary. Clara Rodríguez
also played in the celebrations of the 35th Orquesta Municipal de
Caracas Anniversary Concert Series and the Fitzrovia Festival
(Fitzfest) alongside clarinettist Michael Collins.
Recordings

Her commercial recordings on labels such as ASV, Meridian and
Universal have received outstanding critical acclaim. At present
she has five albums on Nimbus Records of the piano music by:
Teresa Carreño, Ernesto Lecuona, Moises Moleiro and Federico
Ruiz.
Her latest CD, “Venezuela”, contains a collection of dances by 18
different composers and “Americas” her newly recorded album will
be released in the autumn of 2016; it will present a mixture of
music from countries such as Haiti, Cuba, Colombia, Brazil, The
USA, Argentina and Venezuela.
Other titles on her discography are:
Chopin Late Works – Classical Recording Company
El Cuarteto & Clara Rodríguez – Live in Concert in Caracas.
These CDs are broadcast by networks worldwide.
New works

Clara Rodriguez has commissioned and premièred many works
including Federico Ruiz’s Second Piano Concerto which she
recorded with the Orquesta Municipal de Caracas.
Federico Ruiz has also written for her:
• Zumba que zumba
• Tropical Triptych – Sonata in three movements
• Nocturno
• Merengue
• Carnaval
Clara Rodriguez is the dedicatee of a number of other piano
pieces:
• Creciente Waltz by Miguel Astor
• Vista Clara by Lawrence Casserley (piano and ring modulator)
• Three Preludes by Mirtru Escalona Mijares
• Anthology of Venezuelan Waltzes for piano and string orchestra
by Juan Carlos Núñez
• Sin manija by Michael Rosas-Cobian (piano and electronic
sounds on tape)
• Clarissima visione by Diego Silva (for piano and orchestra) and
Africa Mia (for two percussionists and piano)
• Cuaderno de piezas by Adrián Suárez (for piano and indigenous
instruments).
Words and music

Clara Rodriguez has successfully devised, produced and
performed programmes that combine words, visual effects and
piano music:
• Gypsy Ballade – homage to Federico Garcia Lorca
• Liszt in petticoats – dedicated to Teresa Carreño
• Franz Liszt – his poets and demons

Festivals
Clara Rodriguez has founded and directed three music festivals:
• San Martin Theatre of Caracas Festival (1993-1998) for which
she obtained support from the Venezuelan Arts Council and in
1998 from the British Council to present performances by
clarinettist Ian Stuart who played recitals of music by British
composers and Luciano Berio and pianist Niel Immelmann who
gave a recital, masterclasses for the local students and played
Grieg Piano Concerto with the Orquesta Sinfónica Venezuela.
• A Legendary Piano Festival of Caracas (2013) was an event
created by Clara Rodriguez to celebrate the purchase of the
Steinway Concert Grand model D bought to the Southbank
Centre by Venezuela. She invited 16 local pianists to participate
and interviewed each of them in public before each concert; she
gave two dozen interviews herself to the radio, TV and the
national press. Norman Lebrecht published a chronicle of the
procedure undertaken by Clara Rodriguez to successfully
achieve this enterprise, “Brendel’s piano in Caracas”.
• Clara Rodriguez Bolívar Hall Concert Series (2013) Clara
Rodríguez invited musicians from The USA, Spain, Germany and
France to perform in London.
Pedagogy

With an experience of over 25 years, Clara Rodriguez has been an
active, sought after private teacher of students that travel from as
far afield as India, France, different corners of the UK and
Venezuela to receive tuition from her.
Her knowledge of Latin American repertoire has caught the interest
of the Associated Board of the Royal Schools of Music that has
included in its syllabus works suggested by her of composers such
as Federico Ruiz, Antonio Estévez and Miguel Astor.
Her edition of “Pieces for children under 100 years of age” by Ruiz
was launched by Spartan Press Publishers in 2012 and is being
enjoyed by students all over the world.

Her students have won many competitions and scholarships to
different schools in their countries. Some have entered the main
music colleges of the UK such as the Royal Welsh, the Guildhall, The Royal
College of Music and Trinity College as well as Oxford and Cambridge universities and are now pursuing successful performing careers.
As a member of the of the RCM Junior staff since 2006 her
students have played at the Wigmore Hall, the Albert Hall (Elgar
Room) and have been successful in the Royal Philharmonic
Society Duet Competition as well as international competitions.
She is in demand as an adjudicator in several countries and has
given masterclasses in Switzerland, the U.K. and Venezuela.
Articles by Clara Rodriguez have been published on International
Piano Magazine and on Pianist Magazine.
Awards and media
Clara Rodriguez was awarded the 2015 LUKAS prize as Classical
Music Personality of the Year. The Latin-UK Awards (LUKAS) is
the only award to recognize the contribution of Britain’s one million
Latin American, Spanish and Portuguese residents. It is the most
media covered Latin event in the UK’s history, reaching an
estimated 20 million people in the UK, North and South America.
She has also been named Woman of the Year a number of times
by Venezuelan newspapers such as El Nacional, El Universal and
Panorama.
BBC Radio and TV Networks
Clara Rodriguez appears once a year on the BBC Radio 3
programme “In Tune” since its beginnings in 1998. She has also
been invited several times to talk about women composers and to
play their pieces on “Woman’s Hour”. In April this year she was a
guest on the “Music Matters” programme dedicated to the
celebration of Alberto Ginastera’s centenary where she talked to
Tom Service and played two pieces by the Argentinean composer.
Her CDs have featured on “CD Review” and on the “Breakfast
Show”.
She has had interviews on many of the BBC World Service and
France Internationale programmes.
Since her childhood, Clara Rodriguez has appeared playing live on
TV channels in different countries including on Sky television and
France 3.
Further information
For more detailed information about Clara Rodriguez you can visit:
Facebook: https://www.facebook.com/pianoclararodriguez/
Blog: http://pianoclararodriguez.blogspot.co.uk/
Wordpress: https://pianistclararodriguez.wordpress.com/
Twitter: https://twitter.com/VENPIANISTA
Youtube channel: https://www.youtube.com/user/Venpianista
Web: http://www.clararodriguez.com http://www.wordpress.uk.com/
Contact details:
Clara Rodriguez
Clara-0407847263843
clara.rodriguez@rcm.ac.uk

Clara Rodríguez, pianista y pedagoga

 

 

“La virtuosa pianista venezolana Clara Rodríguez.” The Daily Telegraph

Estudios y carrera de concertista

Clara Rodríguez ha adquirido una envidiable reputación internacional por su innovadora manera de programar sus conciertos y recitales, yuxtaponiendo el repertorio académico tradicional con obras de compositores sudamericanos.
Su manera de tocar ha sido descrita como altamente expresiva, de gran sensibilidad, mostrando considerable claridad digital y perspicacia estilística.
A los dieciséis años, cuando cursaba su octavo año en el Conservatorio Juan José Landaeta de Caracas, participó en un concurso juzgado por Michael Gough Matthews y Barbara Boissard, entonces directores de los Departamentos Senior y Junior del Royal College of Music ganando por unanimidad la beca “Teresa Carreño” que le permitió viajar a Londres para estudiar en el Royal College of Music de Londres con la gran pianista inglesa Phyllis Sellick.
En el Senior College, luego de cuatro años se graduó de Concertista, Clara Rodriguez también completó un curso de postgrado de dos años. En el Royal College of Music se distinguió recibiendo numerosos premios entre ellos el Premio Scarlatti, el Premio Mozart y el Premio Percy Buck -Premio Chappell-. Con las orquestas del Royal College of Music se distinguió tocando conciertos de Mozart, De Falla, Ravel y Gershwin.
La primera profesora de piano de Clara Rodríguez fue Guiomar Narváez (Venezuela) en el Conservatorio Juan José Landaeta de Caracas. Clara también ha estudiado con Regina Smendzianka (Polonia), Niel Immelman (Reino Unido) Paul Badura-Skoda (Austria) e Irina

16122932

Pianista Clara Rodríguez. Fotografía por Antolín Sánchez

Zaritskaya (Rusia).
En Caracas, de diecisiete años, hizo su debut con la Orquesta Simón Bolívar bajo la batuta de José Antonio Abreu interpretando el último Concierto para Piano de Mozart K595.
La carrera de Clara Rodríguez como pianista solista la ha llevado en giras de conciertos a Bélgica, Dinamarca, Egipto, Finlandia, Francia, India, Italia, España, Siria, Túnez, Estados Unidos y Venezuela.
En Londres se presenta regularmente obteniendo la aclamación del público y de la crítica en las salas más importantes de la ciudad como el Southbank Centre, el Wigmore Hall, Barbican Centre, San Martin-In-The-Fields, Leighton House, Bolívar Hall, St. James’s Piccadilly y St John’s Smith Square.
Recientemente ha sido invitada a tocar una serie de conciertos de celebración de la fundación de El Sistema con la Orquesta Simón Bolívar y la Orquesta Francisco de Miranda. Clara Rodríguez también participó en las celebraciones de la 35ª Serie de Conciertos de la Orquesta Municipal de Caracas y del Festival Londinense “Fitzrovia” tocando con el afamado clarinetista Michael Collins.
Clara Rodríguez ha actuado como solista bajo la dirección de, entre muchos otros, Jordi Mora, Rodolfo Saglimbeni, Carlos Riazuelo, Marc Dooley, Alfredo Rugeles, Michael Collins, Christopher Adey, Levon Parikian y Luis Miguel González.

Discografía
Sus grabaciones comerciales en sellos como ASV, Meridian y Universal han obtenido las mejores críticas. En la actualidad el catálogo de Clara Rodríguez comprende seis discos en Nimbus Records de la música para piano de Ernesto Lecuona, Federico Ruiz, Teresa Carreño y Moisés Moleiro. Su CD, “Venezuela”, contiene una colección de danzas de 18 compositores y “Américas Without Frontiers”, su nuevo álbum incluye obras de autores de Venezuela, Argentina, Cuba, Brasil, Colombia, Haiti
y Estados Unidos de Norte América.

Otros títulos de su discografía son: Chopin Late Works, Classical Recording Company
Y El Cuarteto y Clara Rodríguez en Vivo.
Estos CD se transmiten por radios y redes del mundo entero.

Nuevas piezas
Clara Rodríguez ha comisionado y estrenado un gran número de obras incluyendo el Segundo Concierto para Piano y Orquesta de Federico Ruiz. Dicho compositor también ha escrito especialmente para ella las siguientes piezas:
 Zumba que zumba
 Tropical Triptych (Sonata en tres movimientos)
 Nocturno
 Merengue
 Carnaval
Entre las obras que han sido dedicadas a Clara Rodríguez se encuentran:
 Creciente (Vals venezolano No 10) de Miguel Astor
 Vista Clara de Lawrence Casserley (piano y ring modulator)
 Three Preludes de Mirtru Escalona Mijares
 Anthología de Valses Venezolanos piano y orquesta de Juan Carlos Núñez
 Sin manija de Michael Rosas-Cobián (piano y sonidos electrónicos)
 Clarissima visione (para piano y orquesta) y África Mia (para dos percusionistas y piano) de Diego Silva
 Cuaderno de piezas (para piano e instrumentos indígenas) de Adrián Suárez.

Pedagogía


Con una experiencia de más de 25 años, Clara Rodríguez ha sido muy solicitada por estudiantes que viajan desde lugares tan lejanos como la India, Francia, diferentes rincones del Reino Unido y de Venezuela para recibir clases con ella.

Su conocimiento del repertorio latinoamericano ha atraído el interés del Associated Board of the Royal Schools of Music (Asociación de las Escuelas Reales de Música), la cual ha incluido en su plan de estudios obras sugeridas por ella de compositores tales como Federico Ruiz, Antonio Estévez y Miguel Astor.

Su edición de “Pieces for children under 100 years of age” de Federico Ruiz fue lanzada por Spartan Press Publishers en 2012 y es disfrutada por estudiantes de todo el mundo.

Sus estudiantes han ganado muchas concursos y becas a diferentes escuelas en sus países. Algunos han entrado en los principales colegios de música del Reino Unido como el Royal Welsh, el Guildhall, el Royal College of Music, la Royal Academy of Music y el Trinity College, así como las universidades de Oxford y Cambridge.

Es profesora de piano en el Royal College of Music (Junior Department) desde 2006. Allí sus estudiantes se han destacado tocado en el Wigmore Hall, el Albert Hall (Salón Elgar) y han tenido éxito en la Royal Philharmonic Society Duet Competition, el BBC Young Musician of the Year y en concursos internacionales.

Clara Rodríguez ha sido jurado de concursos en varios países y ha dado clases magistrales en Suiza, la U.K. y Venezuela. Artículos de Clara Rodríguez han sido publicados en International Piano Magazine, Musical Opinion y en Pianist Magazine.

Reconocimientos y medios de comunicación

Clara Rodríguez fue galardonada con el premio LUKAS 2015 como Personalidad de la Música Clásica del Año. Los premios latino-británicos (LUKAS) son el único premio que reconoce la contribución de un millón de latinos, españoles y portugueses residentes en Gran Bretaña. Es el evento latino de más repercusión en los medios de comunicación en la historia del Reino Unido, llegando a un estimado de 20 millones de personas en el Reino Unido, América del Norte y del Sur.

También ha sido nombrada Mujer del Año y Personalidad de Influencia varias veces por periódicos venezolanos como El Nacional, El Universal, Panorama entre otros.

BBC Radio y Televisión

Clara Rodríguez ha participado anualmente tocando y hablando en vivo en el programa “In Tune” de la BBC Radio 3 desde sus inicios en 1998. También ha sido invitada varias veces a hablar de compositoras femeninas y a tocar sus piezas en “Woman’s Hour”.

En abril del año 2016 fue invitada en el programa “Music Matters” dedicado a la celebración del centenario de Alberto Ginastera, dondesu presentador, Tom Service la entrevistó y en donde tocó dos piezas del compositor argentino.

Sus CDs son tocados con mucha frecuencia en programas tales como “CD Review”, “Essencial Classics” y en el “Breakfast Show”.

Clara Rodriguez ha sido entrevistada frecuentemente en muchos de los programas de BBC World Service y France Internationale.

Desde su niñez, Clara Rodríguez ha tocado en directo en los canales de televisión de diferentes países, entre ellos Sky Television y France 3.

Durante el 2016 Clara Rodríguez celebró el centenario del venezolano Antonio Estévez en varios conciertos tanto en el Reino Unido como en Venezuela.

Para más información sobre Clara Rodríguez por favor visite:
Facebook: https://www.facebook.com/pianoclararodriguez/
Blog: http://pianoclararodriguez.blogspot.co.uk/
Wordpress: https://pianistclararodriguez.wordpress.com/
Twitter: https://twitter.com/VENPIANISTA
Youtube channel: https://www.youtube.com/user/Venpianista
Website: http://www.clararodriguez.com http://www.wordpress.uk.com/

Críticas
“Clara Rodríguez es una poeta del piano, si yo fuera pianista me gustaría tocar mis piezas como ella lo hace.” Antonio Estévez

Comentario de Guiomar Narváez sobre AmericasWithoutFrontiers.
“Es un CD para el corazón. Me hizo soñar y vibrar con tu sonido precioso e infinita dulzura”

“El lado multiculturalista de las Américas se celebra en este vivaz disco de la pianista venezolana Clara Rodríguez, que representa la cultura musical de amerindios, europeos y africanos. Desde el principio, el ambiente es de fiesta, con maracas añadidas al Apure en un viaje de Genaro Prieto, un joropo
venezolano.
El colombiano Germán Dario Pérez aporta un bambuco, Ancestro, antes de que las 17 Piezas Infantiles del venezolano Antonio Estévez hablen de una profundidad que desmiente su título. Rodríguez interpreta esta música con habilidad innata, encontrando infinita ternura y nostálgica lamentación. Dos tangos de Nazaret, llenos de energía (el segundo es el conocido Odeón), conducen a un relato robusto de los Tres Preludios de Gershwin antes de que surja la gloriosa Danza de fin de siglo de José María Vitier, con su resplandeciente trabajo de digitación. La seductora pieza por Lamothe, La dangereuse, ofrece otro punto culminante. ¡Un excelente lanzamiento.!” International Piano Magazine

“La venezolana (pianista, Clara Rodríguez) es una valiente defensora de la música latinoamericana, y su programa de piezas para piano alcanza la superficie más baja y con frecuencia alegre para capturar el alma más profunda de la región.Las obras venezolanas de Antonio Estévez y Juan Carlos Núñez son (especialmente) cautivadoras, mientras que los Tres Preludios de Gershwin son un acto magistral” Stephen Pettit. Sunday Times Culture Magazine.

En el número de Septiembre 2009 la revista Gramophone publicó una entrevista hecha a Clara Rodríguez con relación a su disco de música de Teresa Carreño y el crítico Jeremy Nicholas lo reseñó con las siguientes palabras:
“Clara Rodríguez nos ofrece ejecuciones de seductora vivacidad ligadas a ese requisito esencial: ENCANTO. Altamente recomendado”
De su primera presentación pública a la edad de trece años en el Ateneo de Caracas, el crítico Israel Peña se expresó de la siguiente manera: “Cabe decir que en sus interpretaciones hubo algo más de lo que esperábamos, algo fuera de serie, en fondo y aspecto, delicadeza y magia en el toucher”
La crítica aparecida en la revista Musical Opinion sobre su reciente interpretación del Tercer Concierto de Rachmaninoff en la Sala Saint John’s Smith Square de Londres dice:
“Clara Rodríguez ofreció una fluida y comprometida entrega de la muy exi-gente parte solista, revelando con aguda inteligencia los contrastes retóricos de la obra con formas de tocar que se turnaron entre el vigor, la alegría y la compasión”
“Todo lo que tocó Clara Rodríguez en el Wigmore Hall estuvo marcado por la más absoluta belleza de su sonido. Luego de comenzar con la Canción y Danza VI de Federico Mompou, dió una maravillosa, clara y precisa inter-pretación de la Sonata K333 de Mozart. Paralelamente a esto tocó una de las más refinadas obras de Chopin, la Polonaise- Fantasie, pieza que fue an-tecedida por el Nocturno Op.62 No1.Este último con sus largos ramilletes de trinos, elaboradas decoraciones y armonías radicales es por sí solo una pieza exigente pero Clara Rodríguez entiende la música de Chopin maravillosa-mente bien. Su Mozart y su Chopin penetraron profundamente.” Max Harri-son. Musical Opinion. Londres 2006
“Clara Rodríguez es una excelente pianista” Gramophone. Londres
“Los que fueron al recital a oír a un virtuoso estuvieron bien servidos con un denso programa lleno de obras desafiantes, un verdadero tour de force inexorablemente desencadenándose frente a sus ojos y oídos. Los que fueron sedientos de ser vislumbrados por el Arte, el inefable, el inexplicable, el no cuantificable, lo experimentaron también. Fue en suma, una ejecución del corazón, entregada con un toque mágico a través de un ilimitado poder expresivo”
Roberto Filoseta. Compositor. Italia.
“Una pianista con cualidades poco usuales y muy especial en su clase de musicalidad. Ella puede y sabe tocar suavemente, con una gama de matices entre pianissimo y mezzo-forte de extraordinaria sutileza, del tipo que se posa en el oido cual vibraciones de otro mundo. Su recital en el Purcell Room produjo un hechizo de inolvidable belleza” Geoffrey Cranckshaw. Musical Opinion, Londres
“Clara Rodríguez posee una gran habilidad pianística y especialmente una musicalidad maravillosa” Murray Perahia. Marlboro Music. USA
“Discos maravillosamente tocados y grabados que deleitaran a los aficionados del piano y a los amantes de la música en general.” Gerald Fenech. Classical Net

Fitzfest 2016 Michael Collins and Clara Rodriguez

I am really happy to be taking part in the 2016 Fitzrovia Festival on Thursday 9 June 2016 at 7.30 pm.

The concert will be held at the Bolívar Hall, 58 Grafton Way.

I shall be performing alongside clarinettist Michael Collins and the Festival Muscians Orchestra a really special programme that includes Mozart Piano Concerto KV414, Bliss Clarinet Quintet, Wagner Sigfried Idyll, two Venezuelan songs for clarinet and piano by Otilio Galíndez and Waltzes by 19th century Venezuelan composers compiled and arranged for piano and string orchestra by Juan Carlos Núñez.

FitzFest 2016
Celebrating London’s Fitzrovia with its entire musical heritage from past generations together with the contemporary diversity that thrives today.

The Bolívar Hall is part of Francisco de Miranda House which is situatued in the heart of London’s Fitzrovia. It is an important place for Latin Americans as it was at this address that the construction of the dream of a free and united Latin America was thought out, planned and worked for.
Francisco de Miranda, Simón Bolívar, Andrés Bello and Luis López Méndez, four of the most important Venezuelans of all time met not in Caracas where they were from but at this site in Warren Street in 1810.
The house was also the base for the printing of the first newspaper of the Americas, El Colombiano.
At the time, 58 Grafton Way had a library on the third floor containing approximately 6,000 volumes. Important meetings where political ideas were discussed and where the concept of solidarity between Latin American nations flourished.It was also the home of the first diplomatic representation of Latin America in Europe, Leander Miranda, Francisco de Miranda’s eldest son, was the first representative of the new Republic of Venezuela in 1830. He was also reponsible for anouncing the death of the Liberator, Simon Bolivar to the British Government.
For tickets you can go to:
https://www.eventbrite.co.uk/e/fitzfest-evening-concert-michael-collins-and-clara-rodriguez-tickets-24523642876?utm-medium=discovery&utm-campaign=social&utm-content=attendeeshare&aff=esfb&utm-source=fb&utm-term=listing


 

16-04-2016 ALMA LLANERA Soul of the Plains

Tickets from: http://clararodriguez.brownpapertickets.com/

or at the door on the day of the concert

Programme CLARA_A5_Flyer_2016.jpg

Programme details:
Clara Rodríguez SOUL OF THE PLAINS Alma llanera

St. James’s Church Piccadilly. London. Saturday 16-04-2016 at 730 pm

Clara Rodríguez, piano Carlos Nené Quintero, percussion Edwin Arellano, cuatro
Timothy Adès, Thomas Lyttelton and Leonardo Muller Rodríguez, readers

Ariel Ramírez:
Four Piano Studies: Bailecito-Cueca -Chamamé-Carnavalito

Federico Ruiz:
La peruanita (from “Pieces for children under 100 years of age”)

George Gershwin:
Three Preludes

Moisés Moleiro:
Estampas del llano /Pictures of the plains

Poem “Píntame Angelitos negros” by Andrés Eloy Blanco read in Spanish and in English

Antonio Estévez:
Ancestro-Ancestro-Ancestro-El Trompo- Florentino cuando era becerrero-Angelito negro- El pajarito- Toccatina (From “17 Canciones infantiles”)

Poem “Florentino and the Devil” by Alberto Arvelo Torrealba read in English

Heraclio Fernández:
El diablo suelto /The Devil on the loose

INTERVAL

Juan Carlos Núñez:
Retrato solemnísimo de Aldemaro Romero

José María Vitier:
Danza de fin de siglo

Simón Díaz:
Caballo Viejo

Alberto Ginastera:
Three Argentinean Dances
Danza del viejo boyero-Danza de la moza donosa-Danza del gaucho matrero

Poem “Florentino and the Devil”

Aldemaro Romero:
El Negro José

Ernesto Nazareth:
Odeon

Poem Apure in one journey by Genaro Prieto
Genaro Prieto:
Apure en un viaje

Germán Darío Pérez:
Tranquilamente un tipo leal

Pedro Elías Gutiérrez:
Alma llanera

Alberto Ginastera

ALBERTO GINASTERA

Buenos Aires 11-April  1916-Geneva 25- June 1983

Just like Chopin, Ginastera wrote his first concerto at the age of 19, the Concierto Argentino which he later withdrew as he did with many of his early works preferring start his Op. 1 with the Ballet Panambí following that with the now famous Three Argentinean Dances for piano.
Ginastera was born in the year of the 100th anniversary of the Argentinean Independence from the Spanish Empire which was probably a time of affirmation of the national identity.
Ginastera is in love with his land but also expresses, especially in his late works, the anguish and disappointment of most of the 20th century Latin American artists with the outcome of the local politics, with the debacle of what has become by now the eternal failure of the handling of an already suffered society.
How many dictatorships did Ginastera endure in his life? The performance of his Bomarzo opera, for instance, was forbidden by one of the Argentinean dictators in 1967. Luckily his works, although not always well received by the critics, were being championed by musicians in the USA, Europe and other Latin American countries. Little by little his music has become mainstream.
He founded La Plata Conservatoire but in 1949 left the country to live in Tanglewood where he was helped by Aaron Copland; he went back to Argentina in 1958 when he was invited to teach composition at the Instituto di Tella where he taught, amongst many students, Astor Piazzolla and could invite the most important international composers of the time such as Nono, Ligeti, Xenakis to share their expertise.
Villa-Lobos who was an established composer by then, admired the talent of the young Ginastera.
In much of his music, Ginastera shows the influence of the Argentinean folk music and dances which derive naturally from the Spanish, the native Indian and the African cultures just like in the rest of Latin America. He seems to enjoy the obsessional character of the malambo dance and seems to be inspired by the gaucho traditions.
In fact what is great about Ginastera is that he transcends the nationalistic notion even when his music is telluric and a good amount of his works are close to the Argentinean Pampas and South American music such as the genres from the Andean plateau. He embraces in his own personal way pantonality, serialism, bi and micro tonality using all these techniques to create his idiom.
His writing is very clear, according to pianist Alberto Portugheis who met him and has recorded his piano and chamber music; he was very meticulous with the way his scores looked having in the end the appearance of near architectural designs.
Composer Juan Carlos Núñez also met Ginastera in Venezuela in 1983 and tells me that it was a pleasure to talk to him as he was a highly educated person and they had the chance to discuss many subjects including the books and scripts that gave rise to his operas Bomarzo (Manuel Mujica Láinez) and Beatrix Cenci (Antonin Artaud, the Theatre of cruelty).
I have been in love with his music since I was a teenager in Caracas and have enjoyed playing it enormously. It has to be thanks to the rhythmic drive and technical challenges in the fast sections but also to the great lyricism and sense of loneliness and space in his slow movements.
Incidentally I shall play his Three Argentinean dances next to the Children Songs by Antonio Estévez who was also born 100 years ago and who was a close friend of Ginastera’s in my Alma llanera concert on April 16th at 7.30 pm at St. James’s Piccadilly.

Piano works by Alberto Ginastera:
Danzas argentinas, Op. 2 (1937)
Tres piezas, Op. 6 (1940)
Malambo, Op. 7 ( 1940)
Pequena Danza (from the ballet Estancia, Op. 8) (1941)
12 Preludios americanos, Op. 12 (1944)
Suite de danzas criollas, Op. 15 (1946, revised 1956)
Rondó sobre temas infantiles argentinos, Op. 19 (1947)
Piano Sonata No. 1, Op. 22 (1952)
Arrangement of an Organ Toccata by Domenico Zipoli (1970)
Piano Sonata No. 2, Op. 53 (1981)
Piano Sonata No. 3, Op. 54 (1982)
Danzas argentinas Para los niños (Unfinished)
Moderato: para Alex
Paisaje: para Georgina

El Cuarteto y yo 09 332