Events / Proyectos
Octubre de 2023 "THE RUNAWAYS" 
(Living composers from Spain in New York City)

October 18th: Instituto Cervantes (Nueva York)
October 20th: Instituto Cervantes (Chicago)
October 22nd: Instituto Cervantes (Alburquerque)
October 24th: Instituto Cervantes (Los Angeles)

The Runaways is a recital for solo classical piano and voice of compositions by living composers from Spain who sought to expand their creative borders by moving to New York City in search of new aesthetic paths. These emigré Spanish composers from three distinct generations aimed to maintain their essence and their own vernaculars while ensuing in music creation in New York City.

Ricardo Llorca (Alicante, 1958)
Sonia Megías (Almansa, 1982)
Octavio Vázquez (Santiago de Compostela, 1972)

Rosa Torres-Pardo, piano
Anna Tonna, Mezzosoprano,

Concert presentation
A brief pre-concert lecture by one of the composers or by the performers introducing to the audience the main ideas that lay behind “The Runaways”.

Link: The Runaways
Ricardo Llorca Ricardo Llorca
The Darkside(1993) Monodrama for
mezzo-soprano and piano
Text and music, Ricardo Llorca

In "The Dark Side" Llorca experiences for the first time with the voice, alternating systematically between spoken parts and singing parts, a resource that will be a constant in his later opera "Las Horas Vací­as/The Empty Hours". The text, written by the composer himself but loosely based on fragments by Albert Camus, is an argument against fanaticism with certain touches of humor.

CHORALE for piano solo (2000)
Ricardo Llorca

"Chorale" is a work commissioned in 2000 by Queen Sofía Spanish Institute of New York City. This work is part of "Three Academic Pieces for Piano", and its the result of Llorca's efforts to combine and juxtapose traditional techniques with elements of contemporary music. In this work, Llorca has used elements taken from eighteenth-century keyboard music as a source of thematic and structural inspiration, although always combining them with avant-garde language, while maintaining a coherent narrative, elaborated on a harmonic basis that we could classify as "non-atonal".

Octavio Vázquez Octavio Vázquez
Two Songs to Texts by Rosalia de Castro (2013), for voice and piano.

En Cornes
Como Chove Miudiño

Octavio Vázquez

In the words of the composer: "I wrote “En Cornes” in New York in 2012, setting a touching poem taken from world-renowned poet Rosalia de Castro's book “Follas Novas” (“New Leaves / New Paper Sheets”), as part of a collection of Galician songs published by the Galician Cultural Council that same year. In 2013 it was chosen by the Galician government to be performed by a choir of more than four hundred school children, accompanied by a brass quintet, for the 150th anniversary of Castro’s “Cantares Gallegos” (“Galician Songs”). A powerful reminder of the reasons that brought tens of thousands of Galician immigrants to New York, including my great grandfather, this song speaks to all that have made the city their home in search of a better future.

Also written in New York City, “Como Chove Miudiño” was commissioned, premiered, and recorded by Joaquin Pixan and Alejandro Zabala in celebration of the aforementioned anniversary of Castro’s “Cantares Gallegos”, of which this poem is part. First published in Vigo, on May 17, 1863, this date has since become the official Galician Literature Day, a public holiday observed in Galicia since 1963. This setting of this powerful, emotional poem contains a selection of stanzas from the original. The music evokes the traditional “alalá”, an ancient Galician song, that Castro quotes in the opening lines. Similarly to the first piece, this poem touches upon the inevitable drama of migrants, forever torn between two worlds”.

Galician Fancy (2019) and Three Galician Pieces (2015) for piano solo

Octavio Vázquez

"Galician Fancy
In the words of the composer: I wrote "Galician Fancy" in 2019, and was premiered in 2021 following the Covid hiatus. The piece is based on three Galician traditional dances, clearly distinguishable but performed without interruption".

"Three Galician Pieces
“I wrote this short set of piano pieces in the fall of 2015, while teaching in Rochester, NY. Awarded first prize in the 2015 Galician Folk Songs International Composition Competition, it was premiered and recorded (Landra Music, 2015) by Galician pianist Javier Otero Neira. Bulgarian-American pianist Linda Boianova gave the US premiere in 2017”.

Sonia Megías Sonia-Megías
SoLnatina (2002) for piano solo

Sonia Megías

In the words of the composer: “I wrote SoLnatina during my composition studies in Murcia (Spain), in April 2002, while I was studying with professor Manuel Seco de Arpe. The piece explores the sonata form in a pure way, with no artifices.

During the time I was composing SoLnatina, I was dreaming of traveling and living in New York City; I was obsessed with skyscrapers, the New York City avant-garde composers, and the rich cultural life of Manhattan. It was not until 2008 that I visited the Big Apple for the very first time. I fell in love with the city instantly.”

Not Today (2020) for voice and piano
music by Sonia Megias 
lyrics by Eva Guillamón

Not Todayis a cabaret style song. Commissioned by pianist Rosa Torres-Pardo, the work is a creation by Dúa de Pel (Eva Guillamón and Sonia Megías). With harmonies reminiscent of the style of Kurt Weill, it strives to be in the purest Broadway musical theater style. Not Today tells the story of a singer who, in the midst of her performance, begins an internal battle with fear of death, but realizes that this is what makes her feel truly alive. Not Todaywas composed during the pandemic, and it’s dedicated to Miguel Muñiz, Rosa’s husband, who had a fragile health by then. Premiered in a cabaret concert at the National Auditorium of Madrid by Rosa and her daughter, Clara, Not Todayis the message we wanted to send to Miguel, to the great beyond”.

In the words of the composer: “I first met Ricardo Llorca and Rosa Torres-Pardo while I was working as a pianist at the legendary Galapagos cabaret club in Brooklyn in 2011. I was acting in a comic and avant garde costumed performance piece. Ever since, Rosa, Ricardo and myself have enjoyed a close friendship. We have collaborated in wonderful projects that have been showcased both in Spain and in the US.

Rosa Torres Pardo Rosa Torres Pardo
Rosa Torres-Pardo, piano

One of the most important Spanish pianists of her generation, she is recipient of Spain's National Prize in Music of 2017. She has performed at the Teatro Real of Madrid, New York's Lincoln Center, as well as the Teatro Colón in Buenos Aires and the Konzerthaus of Berlin among many others. Her recent recording of piano works by Enrique Granados with Deutsche Grammophon was received with critical acclaim. She has taught master classes at The Juilliard School of Music, the Hochschule fur Musik in Vienna, and the Peking Conservatory as cultural ambassador for the Institute Cervantes.

Her repertoire ranges from 18th century works from her native Spain, to the latest generations of contemporary composers. A graduate of The Juilliard School of Music in NYC, she has studied with Maria Kurzio and Jean-Bernard Pommier.

Tonna Anna Tonna Anna
Anna Tonna, mezzo-soprano

Anna's roots and affinity for the Spanish language have guided her artistic path to share with audiences the culture and music of the Hispanic World, presenting repertoire from both Spain and Latin America in symposiums, thematic recitals, lectures and artist residencies. She has appeared at the Casals Festival in Puerto Rico; Festival de Segovia, Fundación Juan March, Auditorio Nacional de España in Spain; Weill Recital Hall at Carnegie Hall, Teatro Grattacielo, Joy in Singing, and the Hispanic Society Museum & Library in New York City; the Pacific Music Festival in Japan, and the ElbPhilharmonie in Hamburg. She can be heard in her commercial recordings “The songs of Julio Gómez”, “España alla Rossini” ; “The Unknown Pauline Viardot” and in her most recent disc, “1915: A Trip to Granada” with pianist Mac McClure.

Crítica / The Runaways:
compositores españoles en el corazón de Nueva York
por Bernd Gottinger. Nueva York - 17/11/2023

September 13th, 2023 Miotta & Moliere Productions:
Contemporary music recital and presentation in Madrid
of the pianist ARTUR MIKHLIN

Miotta & Moliere Productions:
Contemporary music recital and presentation in Madrid of the pianist ARTUR MIKHLIN

Miotta & Moliere ProductionsSeptember 13th, 2023
Manuel de Falla Theater (SGAE)
Calle Fernando VI 4
Madrid 28004


1) "Studies" 1 and 2
Jorge Grundman
 (Madrid 1961)

2) "Aokigahara"
Ruben Jordán
 (Alicante 1987)

3) "Tiento" and "Pavane" from the "Suite for Harpshichord"
Daniel Blanco Albert

4) "Tocatta"
Alexis Soriano
 (Chicago 1964)

5) "Cavatine"
Ricardo Llorca
 (Alicante 1958)

6) "Choral"
Ricardo Llorca
 (Alicante 1958)

7) "Sonata n 3"
Sergei Prokoviev
 (Sontsovka 1891- Moscú 1953)

Artur Mikhlin, Alexis Soriano and Jorge Grundman Artur Mikhlin, Alexis Soriano, Jorge Grundman and Daniel Blanco Albert

Presentation in Madrid of the young pianist Artur Mikhlin at the Manuel de Falla Auditorium (SGAE) on September 13th, 2023 at 7:00 p.m.

Artur Mikhlin

Born in Almaty (Kazakhstan) and educated at the Alicante Conservatory, this young pianist already has impeccable musical training and an ability to convey emotions that have made him one of the most brilliant pianistic promises of the moment.

The contemporary music program that Artur has prepared will invite us to explore new sounds. Contemporary music is fertile ground for experimentation and creativity and Artur Mikhlin, with his technical prowess and deep understanding of music, will take us on a journey through the music of various contemporary Spanish composers. From Ricardo Llorca's rhythms to Jorge Grundman's exquisite harmonies, Alexis Soriano's sound explorations or Daniel Blanco Albert's neoclassical language, each piece will invite us to reflect and immerse ourselves in a unique universe.

The presentation of Artur Mikhlin in the Manuel de Falla Auditorium on September 13th, 2023 will be an important event for lovers of contemporary music. His exceptional talent and his ability will transport us to a world of innovative sounds and unique artistic expressions.

20 de Julio de 2023 Estreno mundial del Oratorio de Ricardo Llorca
"Oficio de Caminantes"
AUDITORIO DE GALICIA (Santiago de Compostela)

Obra encargo de la S.A.M.I  
Catedral de Santiago de Compostela.

Cantata para orquesta sinfónica; coro SATB; órgano; soprano solista; tenor solista y narrador-narradora, sobre textos basados en el Codex Calixtinus, textos de los Santos Padres, y los diarios de la peregrina Concha Llorca Zaragoza.

Con la colaboración de Sony Classical

Una producción de "Miotta e Moliere"

Estreno mundial del Oratorio de Ricardo Llorca

Estreno mundial del Oratorio de Ricardo Llorca "Ricardo Llorca nos invita en este oratorio, obra encargo de la S.A.M.I Catedral de Santiago, a profundizar en el encuentro con nosotros mismos a través del camino que ha de iniciarse para alcanzar ese estado de luz y paz interior. Para ello, no solo ha recurrido a el Codex Calixtinus, manuscrito de mediados del siglo XII, y a homilías de los Papas Francisco y Benedicto XVI, sino que también incorpora textos recogidos en los diarios de peregrinación de su familiar Concha LlorcaZaragoza como resultado de ese peregrinaje interior del propio compositor. Obra de extraordinaria belleza, en lo musical, Ricardo Llorca nos presenta sonoridades que abarcan, desde la inspiración pre-gregoriana de carácter oriental, a melodías bien conocidas por el autor desde su infancia transmitidas a través de las generaciones como son los "Cantares de Batre" alicantinos. En ese peregrinaje interior de Ricardo Llorca, nos encontramos también con inspiraciones de sonidos de inspiración no-occidental que se reflejan en el uso de la tabla hindú, el gong, o los melismas propios de la Iglesia Católica Maronita".

Estreno mundial del Oratorio de Ricardo Llorca
(Santiago de Compostela)
Avda do Burgo das Nacións 


Director de Orquesta: Alexis Soriano
Soprano: Susana Cordón
Tenor: Jose Luis Sola
Organo: Fernando Buide
Narradora: Eva Guillamón
Coro Angel Barja
Dirección del coro: Aitor Olivares Garcia
Dirección Técnica: Diego Fortes

Link: "Dossier Officium Llorca" PDF

June 2023 CD release of a new Song cycle for voice and piano "El Combat del somni" ("The Battle of Dreams") by Spanish composer Ricardo Llorca)

3 songs for Mezzosoprano and Piano:
Mezzosoprano: Marisa Martins
Piano: Mac Maclure

"Mai Mes"
"La Llum"
"En Dute’m"

Music: Ricardo Llorca
Text: Josep Janés

Marisa Martins Ricardo Llorca, Mac Maclure and Marisa Martins

Link Spotify: Llorca: El combat del Somni - Single by Ricardo Llorca, Josep Janes, Marisa Martins, Mac McClure | Spotify 

Link Amazon  Music:

Buy this album on Amazon:

Also available on 45 different platforms worldwide

Text from Anna Tonna (NY mezzosoprano specialist in spanish music):

"As an active interpreter of music from Spain and Latin America, I have been interested in art song by composers that set song in the Catalan language.

Just a few days ago, the songs by Ricardo Llorca have dropped on streaming platforms. For many of us in the English-speaking world, there are scant opportunities to obtain information in the English language to explain and portray the literature, composers and poets from the Catalan world. This is only a small (but very beautiful) window into this world:

"El Combat del somni" ("The Battle of Dreams") is a cycle of poems by Josep Janés mostly based on hopelessness and unsolicited love, some of which were set to music in 1948 by Federico Mompou, leaving other poems in the inkwell. In 2004 American pianist Mac Maclure and Carmen Bravo (widow of Federico Mompou) commissioned the most representative group of Catalan and Valencian composers of the moment (Albert Guinovart, Albert García Demestres, Miquel Ortega, Moisés Bertran, and Ricardo Llorca) to complete the cycle of the poems of Josep Janés -those that Federico Mompou had not composed- assigning series of three poems to each of these composers, with which the cycle of "El Combat del Somni" by Josep Janés was definitively completed.

Ricardo Llorca set to music 3 poems from this cycle: 1) "Mai més" ("Never again"),2) "La Llum" ("The Light") 3) "En du-te'm" ("Take me with you"). This cycle can now be heard on Spotify and Amazon and other streaming platforms worldwide. I hope to be one of the many singers to promote and program Ricardo's latest song cycle, as I begin my own journey in songs from the Catalan world.

Fall 2023- Otoño 2023 / Fall 2022- Otoño 2022. "BORDERLINE AT THE BRONX-BORDERLINE EN EL BRONX"

"Playing on the Borderline: Music and Global Citizenship"

Hispanic Culture Arts, Inc.Hispanic Culture Arts, Inc. provides innovative programming in the classical arts from the Hispanic World for school-aged children in New York City and surrounding areas.

This arts residency is inspired by the musical work “Borderline: Batucada with Orchestra” by Spanish born and lifetime New Yorker, composer Ricardo Llorca. Infused with the “Batucada” rhythms of Bahia (Brazil), Llorca created his work as a reaction to the global inequities protests occurring in Madrid in 2010.  In this arts residency, students will have the opportunity to experience “Borderline” via  different points of entry:  percussion, movement and visual arts.  Using hands-on activities, connections will be made to the idea of “global citizenship”, using as a focus Sustainable Development Goal 10 as outlined by the United Nations, of eradicating global inequality

"BORDERLINE AT THE BRONX-BORDERLINE EN EL BRONX"Curriculum Goals of Ricardo Llorca´s "Borderline" and "Hispanic Culture Arts":

• To give students an overview of Sustainable Development Goals, concentrating on SDG10, which focuses on reducing global inequalities.

• Explore visual arts activities as well impromptu music making that is created during global inequality social movements.

• Music Skills:  students will learn to play percussion sounds they hear and see  in the video “Borderline:  Batucada for Orchestra”. 

• Visual Arts Skills:  students will be guided in creating "home-made" instruments and paper collages that would be used and or displayed in the final performance, and in which “student choice and voice” will be encouraged and explored.

November 9th, 10th, 12th, 13th and 14th 2021. WORLD PREMIERE OF THE STAGED VERSION OF
"LAS HORAS VACÍAS" by Ricardo Llorca

HighC MUSIC, in collaboration with

November 9th, 10th, 12th, 13th and 14th 2021.

Sala Verde of Los Teatros del Canal

Ópera / Monodrama

Music by Ricardo Llorca (1958)

Libretto by Ricardo Llorca and Paco Gámez.

New production by the Teatro Real, in co-production with the Teatros del Canal and High C Music. With the collaboration of the New York Opera Society.

An opera commissioned by the New York Opera Society, premiered in concert version at the XII Sacred Music Week in Benidorm on March 31, 2007.

:: Ricardo LLorca :: "Las Horas Vacías" en Madrid - 2021


The Woman (soprano): Sonia de Munck
The Woman (actress): Mabel del Pozo
Musical Director: Alexis Soriano
Stage Director: José Luis Arellano García
Set designer: Silvia de Marta 
Set designer: Miguel Ángel Milan
Video creator: Miquel Àngel Raió 
Choreographer: Chevi Muraday 
Illuminator: Juan Gómez-Cornejo, 
AAIA Lighting assistant: Jesús Díaz Cortés
Choir and soloists of the Titular Orchestra of Teatro Real de Madrid
Pianist: Eduardo Fernández 
Choir Director: Andrés Máspero
Assistant Musical Director: Luis Seguí

:: Ricardo LLorca :: "Las Horas Vacías" en Madrid - 2021"The Empty Hours" –opera for soprano, actress, choir, piano and string orchestra– is an essay about a lonely woman, addicted to the Internet, who lives locked in her own fantasy world. "The Empty hours" is an exploration of loneliness, the confusion between the real and the imaginary world, and the growing sense of isolation in which today's affluent society finds itself immersed.

Stylistically "The Empty hours" combines motifs from traditional spanish polyphony with a contemporary musical language, mainly minimalist and post-minimalist in the vein of composers such as Philip Glass, John Adams and Meredith Monk. The result is a synthesis of styles closer to the sound and spirit of Downtown New York - in which Ricardo Llorca has lived for 33 years - than to that of the dominant trends in the European avant-garde scene.

Originally premiered in 2007 during the XII Sacred Music Week of Benidorm, and subsequently performed in Berlin, New York, Saint Petersburg, São Paulo and Klaipėda (Lithuania), always in concert version, The Empty Hours now arrives in Madrid performed for the first time in stage version.

22 y 23 de octubre de 2021. FESTIVAL ALBORADA CLÁSICA de SALOBREÑA

:: Ricardo LLorca :: "Las Horas Vacías" en Madrid - 2021La primera de las citas tendrá como protagonista al pianista Andrey Yaroshinsky que, bajo el rótulo de «Un viaje sonoro por Rusia. De 1875 a 1896», interpretará obras de Chaikovski y Scriabin. Un día después, el Centro de Convenciones del Hotel-Sala «Guarapo» verá la proyección de la película Dancing Beethoven y, a las 19:00, el compositor Ricardo Llorca ofrecerá una charla coloquio junto al director de orquesta y compositor español Alexis Soriano en torno a la ópera de Llorca Las horas vacías. A las 21 horas el festival ofrece una Gala de Solistas en el Auditorio de Salobreña, protagonizado por la mezzosoprano Joana Thomé da Silva, el barítono Alfredo García, la violinista Gala Pérez-Iñiesta y el pianista Juan Carlos Cornelles. En el programa se interpretarán obras de Llorca, Miranda, Santoro, Soriano, Albéniz, Saint Saëns, de Falla y Beethoven.

17 de Septiembre de 2020 y 18 de junio de 2021.  "Las Horas Vacías " en LITUANIA
17 de Septiembre de 2020 y 18 de junio de 2021.

"Las Horas Vacías " en LITUANIA

"Las Horas Vacías " en LITUANIALos Klaipėdos koncertų salė
Kompozitorius Ricardo Llorca
Režisierė Loreta Vaskova
Kostiumų dailininkė Žaneta Černė
Vaizdo projekcijų autorius Rimas Sakalauskas

Klaipėdos kamerinis orkestras
Meno vadovas Mindaugas Bačkus

Vokalinis ansamblis 
Meno vadovas Egidijus Kaveckas
Solistė Agnė Stančikaitė (sopranas)
Aktorė Monika Valkūnaitė
Gaivilė Simaitytė (fortepijonas)
Dirigentas Alexis Soriano


"Las Horas Vacías " en LITUANIA

El director de orquesta español de ascendencia lituana Alexis Soriano dirigirá la ópera contemporánea del compositor alicantino Ricardo Llorca "Las horas vacias" dentro del marco del festival "Permainų muzika" el 17 de septiembre a las 18.30 en la Sala de Conciertos de Klaipėda.

"Las Horas Vacías" es una ópera-monodrama con música y texto de Ricardo Llorca para soprano y actriz, coro, piano y orquesta de cámara. Con un elenco lituano encabezado por la soprano Agnė Stančikaitė, la actriz Gailė Butvilaitė y el pianista Gaivilė Simaitytė, dirigidos por Alexis Soriano, el elenco lo completan la directora de escena Loreta Vaskova, la directora de vestuario Žaneta Černė, el diseñador de video Rimas Sakalauskas junto a la Klaipėda Chamber Orchestra Klaipėdos kamerinis orkestras / Klaipėda Chamber Orchestra con Mindaugas Bačkus (director artístico) y el coro Jauna Muzika con Vaclovas Augustinas (director artístico).


Ricardo Llorca estrena en Lituania su ópera «Las Horas Vacías»

Saturday, March 7, 2020, 8:00 p.m. THE MANHATTAN CHORAL ENSEMBLE’S
Saturday, March 7, 2020, 8:00 p.m.

The Manhattan Penthouse on Fifth Avenue80 Fifth Avenue (at 14th St.)

New York, NY 10011

TEATRO DE LA ZARZUELA (Madrid 12, 13, 15, 16, 27, 28 y 29 de Noviembre de 2019)

Composers whose works will make up the songbook include:

• Ricardo Llorca • Nico Muhly • George Andoniadis • Victoria Bond • Greg Brown • Rich Campbell • Christian Carey • Patrick Castillo • Charles Griffin • Jaymay • David Kim Frances Pollack • George Steel • Martha Sullivan • Joelle Wallach • Davide Zannoni

TEATRO DE LA ZARZUELA (Madrid 12, 13, 15, 16, 27, 28 y 29 de Noviembre de 2019)"We are turning 20 this year, so come join us to celebrate with a night of singing, dancing, and greeting old friends. We have a lot to celebrate! What better way to debut “The Many Hills Songbook: To Be Sung Together” than to gather our community from the past 20 years for an evening of songs, dancing and revelry? This event will serve a multitude of purposes: The premiere of “The Many Hills Songbook”, a chance for our community to celebrate the success of the MCE, a fundraising opportunity, as well as a homecoming for the 300 singers who have performed with the MCE over the last 20 years".

Web link:

January 23–February 27, 2020 "THE ZARZUELAS" at THE JUILLIARD SCHOOL (Evening Division)
January 23–February 27, 2020

Instructor: Ricardo Llorca

6 weeks, Thursdays 5:30–7pm
January 23–February 27, 2020

TEATRO DE LA ZARZUELA (Madrid 12, 13, 15, 16, 27, 28 y 29 de Noviembre de 2019)

Everyone knows the operettas of Johann Strauss and Franz Lehar, the "Savoy operas" of Gilbert and Sullivan, and the splendors of Jacques Offenbach. Spain and Latin America have the zarzuelas, a light opera form different from those in the rest of Europe but every bit as tuneful and hilarious and a type of musical theater in which the spoken word alternates with music. Zarzuela has always occupied a central position in the hispanic TEATRO DE LA ZARZUELA (Madrid 12, 13, 15, 16, 27, 28 y 29 de Noviembre de 2019)cultures although there is no single model of zarzuela. Over time numerous variants have been composed on very different musical forms according to the fashions of each era. Having survived for such a long time one can find zarzuelas written in the 18th century musical style; Scarlattiesque; with a 19th century operatic form; dramatic; historical; regional; using traditional dances and popular tunes, etc. Such stars as Montserrat Caballé, José Carreras, Alfredo Kraus, Teresa Berganza and Victoria de los Angeles have devoted themselves to the zarzuela and in this class you will find why it continues to fascinate and entertain. We will analyze and see some of the better known ones, such as "El Duo de la Africana", "La Corte de Faraon", "La Verbena de la Paloma" and "Doña Francisquita". 

With rare recordings and live performances we will trace its development and analyze from its beginnings in the 18th century to its culmination in the 1930´s.

5 de Mayo de 2020

(CNDM) Fronteras
Rosa Torres-Pardo, piano & Clara Muñiz, voz

Centro Nacional de Difusión Musical - CNDM

TEATRO DE LA ZARZUELA (Madrid 12, 13, 15, 16, 27, 28 y 29 de Noviembre de 2019)


Clásicos al cabaret. Música de entreguerras

Ricardo Llorca y Mavi Margarida
Steak Tartar (2019)
Isaac Albéniz (1860-1909)
The Caterpillar (1903)
Sonia Megías (1982)
Not Today *
George Gershwin (1898-1937)
Canciones y preludios
Jacques Prévert (1900-1977) / Joseph Kosma (1905-1969)
Les feuilles mortes
Kurt Weill (1900-1950)
De Die Dreigroschenoper (La ópera de los tres centavos, 1928)
Ricardo Llorca (1962)
Steak Tartar (2019)
Dave Brubeck (1920-2012)
Take Five (1959)
Astor Piazzolla (1921-1992)

* Estreno absoluto

Noviembre de 2019 TEATRO DE LA ZARZUELA
(Madrid 12, 13, 15, 16, 27, 28 y 29 de Noviembre de 2019)
Estreno en España de
"TRES SOMBREROS DE COPA" de Ricardo Llorca
(Opera basada en la obra homónima de Miguel Mihura)

TEATRO DE LA ZARZUELA (Madrid 12, 13, 15, 16, 27, 28 y 29 de Noviembre de 2019)

“Este será el turno para la ópera española y de autor vivo con “Tres Sombreros de Copa” de Ricardo Llorca. Esta ópera, encargada por la New York Opera Society, se estrenó en Sao Paulo en el Teatro Sergio Cardoso en 2017 con gran éxito de público y crítica. En noviembre 2019 el Teatro de la Zarzuela, ofrecerá una nueva producción para el estreno de esta nueva ópera en Europa. La escena de esta nueva producción del Teatro de la Zarzuela estará dirigida por José Luis Arellano y se han programado siete funciones con Diego Martín-Etxebarría como director musical. El reparto contará, entre otros, con Jorge Rodríguez-Norton, Rocío Pérez, Emilio Sánchez, Gerardo Bullón, Enrique Viana, Irene Palazón y Anna Gomá. La escenografía es de Ricardo Sánchez Cuerda y el vestuario de Jesús Ruiz"

TEATRO DE LA ZARZUELA (Madrid 12, 13, 15, 16, 27, 28 y 29 de Noviembre de 2019)

TEATRO DE LA ZARZUELA (Madrid 14 de Noviembre de 2019)

"Para componer Tres Sombreros de Copa he usado como fuente de inspiración temática elementos tomados de la música del sur de Italia. Durante el verano de 2015 estuve en Apulia, el tacón de Italia, visitando algunos conservatorios para documentarme en detalle sobre el folklore autóctono de la zona, que es muy rico y prácticamente desconocido fuera de sus fronteras locales. En Apulia descubrí una música muy interesante, especialmente las “Tarantelas”, que todavía se bailan en las fiestas públicas y en celebraciones privadas de los pueblos de la zona. También descubrí las “Ninna nannas”, que son canciones de cuna italianas muy interesantes. Además en “Tres Sombreros de Copa”  hay elementos de la música de circo. Hay un acordeón muy presente durante toda la obra. También hay solos de trompeta, metal y percusión, algo que ya es una constante en mi música".

Ricardo Llorca.

Fall Semester 2019 "Richard Strauss". Instructor: Ricardo Llorca
The Juilliard School (Fall Semester 2019)

Richard Strauss (1864-1949), one of the last Romantic composers, is among the most controversial figures in contemporary music. His artistic education was conservative and his aesthetics were classical, yet he shocked the world with his iconoclastic symphonic works that inspired avid debate, as well as his operas that literally incited crowds to riot. With the composition of Salome, in 1905, Strauss found operatic immortality as the composer of the most scandalously sensational stage production of his era. The powerful Elektra (1909) and the glorious Der Rosenkavalier (1911) brought fortunes to both Strauss and his librettist, the Austrian poet Hugo von Hofmannsthal. Symphonic poems, beautiful songs and choruses, chamber music, and two symphonies complete the list of his works. Using audio and visual materials, and concentrating on specific examples, we explore some of Strauss’s symphonic works, such as Don Juan, Till Eulenspeigel or Also sprach Zarathustra. We also examine the musical and dramatic aspects of Salome, Elektra, and Der Rosenkavalier and analyze in depth what is considered one of the masterpieces of the 20th century, his threnody for strings, Metamorphosen (1945). The class also discusses Strauss’s life, roots, aesthetics, and relationship with the exciting world of early 20th-century Vienna.

Fall Semester 2019 "The World of Patty Smith". Instructor: Ricardo Llorca
The Juilliard School (Fall Semester 2019)

The World of Patty Smith. Instructor: Ricardo Llorca

Patty Smith is an American singer, bandleader, composer and poet who has always sought peace through artistic confrontations, a woman who broke stereotypes and represented the dreams of the misunderstood youth of the 1970s. Nicknamed "The godmother of punk," Patty Smith rose to fame during the punk movement with her album "Horses" (1975) produced by John Cale, former member of the Velvet Underground. She brought to punk music a feminist and intellectual point of view and became one of the most influential artists of rock music in the 1980s, integrating poetry into her music. Her artistic and intellectual legacy undoubtedly marked an entire generation and her lyrics introduced nineteenth-century French poetry to American youth while her androgynous image challenged the era of disco music. In 2005 she was named Commander of the Order of Arts and Letters of France and in 2007 she entered the Rock & Roll Hall of Fame. Her memoir "Just Kids" (2010), winner of the 2010 National Book Award for Nonfiction, is a narrative that gathers the beginnings of her friendship with photographer Robert Mapplethorpe. The class explores her life and music and will focus on her roots, aesthetics, and her relationship with the exciting world of New York City in the 1980s

CURSOS DE COMPOSICION (del 1 al 5 de Julio de 2019)


1) Los seminarios se dividirán en clases de mañana (elemental/principiantes) y clases de tarde (medio/avanzado).
2) Dentro de los dos niveles (elemental o avanzado) las clases se subdividirán en segmentos prácticos y segmentos teóricos.

3) Se sugiere que, tanto los alumnos de elemental/principiantes como los de medio/avanzado, envíen junto con su matrícula (o unas semanas antes del inicio de las clases) alguna obra suya (o, en su defecto, algun boceto) compuesta para uno o para varios de los instrumentos cuya enseñanza se va a impartir de forma paralela en los cursos.
Ejemplos:Los alumnos presentarán obras (o bocetos) para:

  1. Solo piano/ Piano y cello/ Piano y saxo/ Piano y grupo de los vientos (madera o metal) que estén listados en los cursos.
  2. Solo cello o ensemble de cellos (hasta cuatro)
  3. Solo trompeta o ensemble de trompetas (hasta cuatro)
  4. Trompeta solo
  5. Saxofón solo.
  6. etc.

4) Se sugiere que para las clases prácticas los alumnos traigan sus ordenadores con sus obras escritas (y, a ser posible, grabadas por su programa de audio). Durante los cursos se analizarán, corregirán, y estudiarán dichas obras en detalle. Al final de los cursos las obras se interpretarán por los alumnos instrumentistas participantes en las otras clases.

Durante las clases teoricas se analizaran obras de compositores contemporáneos, con especial énfasis en los compositores norteamericanos.
También veremos los diferentes aspectos de la orquestación y estética en ejemplos de las diferentes obras de cámara y orquestales de Aarvo Part, John Adams, o John Corigliano. También, durante las clases teoricas, se escuchará y analizará la música de los compositores de mayor relieve hoy en día, y se verán los diferentes estilos que representan a la sociedad de hoy; ¿Cual es la auténtica influencia de la música contemporánea en el arte de hoy?; ¿Porqué muchos compositores jóvenes hoy en día rechazan el experimentalismo y las vanguardias que han dominado la escena durante los últimos sesenta años para regresar a la música tonal? ¿Que es la música minimal? ¿Quien es John Adams?, y , en definitiva, cualquier temática referida a la música de hoy que sea del interés del alumnado.

June 2nd 2019 Washington DC National Gallery of Art
June 2nd 2019 at 3:30 PM 
West Building, West Garden Court

Washington DC National Gallery of Art. June 2nd 2019 at 3:30 PM 
West Building, West Garden Court

The New York Opera Society presents:

"The Evolution of Fools: From Jesters to Buffoons"

"Our contemporary preoccupation with reality entertainment was foretold by grand opera long before the advent of television. Jesters and their antics reveled in ancient civilizations and formed the cornerstone of entertainment, alleviating cares with their verbal jousting. As time passed, the depiction of jesters evolved to entities “wise enough to play the fool” (William Shakespeare), and finally, to the buffoon. Ruggero Leoncavallo and Giuseppe Verdi experimented with every facet of laughter, satire, and tragedy commensurate with the fool's transformation from the court, to the stage, to modern times. The concert features excerpts from the masterworks Pagliacci (Leoncavallo), Falstaff (Verdi), and Rigoletto (Verdi), as well as original dialogue by renowned opera director Marc Verzatt".

28 de mayo del 2019 Barcelona
Sala Mompou de la Sociedad General de Autores de Cataluña
Recital de piano contemporáneo de Isabel Dobarro
Martes 28 de mayo del 2019

"Coral" de "Tres Piezas Académicas" de Ricardo Llorca

Barcelona. Sala Mompou de la Sociedad General de Autores de Cataluña. Recital de piano contemporáneo de Isabel Dobarro"A pesar de conocer al fantástico compositor Ricardo Llorca desde hace años, ya que ambos residimos en Nueva York pues él es profesor en la prestigiosa Juilliard School of Music, nunca había tocado ninguna obra suya hasta este año. Fue un descubrimiento maravilloso entrar en contacto con sus "Tres Piezas Académicas", de entre ellas, en particular, el "Coral" que voy a interpretar. Una obra introspectiva, de gran profundidad emocional con la que conecto enormemente"
"Soy una firme defensora de la promoción de la música actual y de hecho, ésta constituye una parte esencial de mi repertorio. Creo que la única manera de mantener la música clásica viva es fomentando su creación y es nuestro deber como intérpretes darla a conocer.
Además, la posibilidad de colaborar directamente con los compositores es tremendamente enriquecedora. Ojalá le pudiéramos plantear preguntas a Bach o Brahms sobre sus obras! El intérprete participa más activamente en el proceso creativo y se puede ganar mucho de la interacción con el compositor/a."


2019 Alba Ventura
Recitales de Beethoven, Ligeti y Llorca

Opera “Tres Sombreros de Copa-Three Top Hats”

Auditorio del Paraninfo de Universidad de Salamanca
Ciclo ‘Beethoven Actual’
Alba Ventura
Recital de Beethoven, Ligeti y Llorca
12 de Marzo de 2019

Teatro Municipal de Elvas (Portugal)
Ciclo ‘Beethoven Actual’
Alba Ventura
Recital de Beethoven, Ligeti y Llorca
7 de Junio de 2019

2019 Concierto de clausura del Festival Internacional de Piano de Colombia Concierto de clausura del Festival Internacional de Piano de Colombia

Orquesta Sinfónica del Conservatorio del Tolima
Ensemble de percusión del Conservatorio del Tolima
18 de Mayo de 2019
Jorge Luis Prats
Mac Maclure
Director: Sergio Sanchez

"Borderline" (Ricardo Llorca)
"Danzón" (Arturo Marquez)
"Concierto de piano nº 3 (Sergei Prokofiev)

5 de Febrero de 2019 Teatro de la Zarzuela, Madrid
5 de Febrero de 2019
"Música entre Amigas"

Rosa Torres-Pardo (Premio Nacional de Música 2017), Ana Belén, Rocío Márquez, Patricia Guerrero, Marina Pardo, Ruth Rosique, Lucía Álvarez y Clara Muñiz.

Estreno de "Steak Tartare" de Ricardo Llorca y Mavi Margarida

Teatro de la Zarzuela, Madrid. 5 de Febrero de 2019. Música entre Amigas "El 5 de febrero, Rosa Torres-Pardo planea un reencuentro. El programa que ofrecerá a las 20.00 en el Teatro de la Zarzuela lleva por título Música entre amigas, y no por casualidad. La pianista y compositora, Premio Nacional de la Música de 2017, reúne en el escenario a algunas de las compañeras con las que ha compartido carrera y vida. Son Ana Belén, la cantaora Rocío Márquez, la bailaora Patricia Guerrero, la mezzosoprano Marina Pardo, la soprano Ruth Rosique, la actriz Lucía Álvarez y la actriz y cantante Clara Muñiz.

El programa es tan variado como las influencias de unas y otras, que Torres-Pardo ha ido visitando. Con Ana Belén se asoma a la música de Enrique Granados, de la que la pianista es muy conocedora, con unas "Goyescas" sobre las que la cantante y actriz recitará "Lavapiés", de Luis García Montero —amigo también de Torres-Pardo—. Del poeta granadino toman también unos versos que unen a la música de Albéniz el trío de actrices Ana Belén, Álvarez y Muñiz. Esta última se atreve también con "Libertango", de Astor Piazzolla, y "Steak tartar", la canción que popularizaron Ricardo Llorca y Mavi Margarida en los ochenta y que ahora actualizan".
2019, January 24 – February 28 The Juilliard School. Spring Semester 2019 "Sounds of Latin America". Instructor: Ricardo Llorca

Teatro de la Zarzuela, Madrid. 5 de Febrero de 2019. Música entre Amigas(with the collaboration of Anna Tonna and Angélica de la Riva)

6 weeks. Thursday 5:30 – 7pm
January 24 – February 28

"The contributions of Latin American and Caribbean composers to music literature have been substantial. Music has always occupied a central position in the Hispanic cultures, from the popular genres to concert pieces and from chamber styles to contemporary music. For more than 1,000 years, music in Spain and Portugal has combined the traditions of Jewish, Islamic, Gypsy, and Western music to produce one of the most exciting and colourful of national sounds. Those traditions were later brought to the New World where they were mixed with autochthonous music in South America, and African sounds in Brazil and the Caribbean. La Purpura de la Rosa, the first opera to be performed in the New World, was presented in Lima in 1701. It had a Spanish continuo-accompaniment of harp, guitars, and percussion, with choruses sung to the American folk musicians and in Spanish student bands. Lately, composers such as Alberto Ginastera and Ernesto Lecuona would reflect in their compositions a music born of different traditions: jazz, ballroom music, Spanish folk, and the Afro-Cuban trend. Over the years, the performances and the music of Astor Piazzolla, Daniel Baremboim, Alicia de la Rocha, Andrés Segovia, Pablo Casals, and Gustavo Dudamel have advanced South American Music. This course traces the roots and follows South American compositions from the early folk traditions through the triumphs of the 20th and 21st centuries.
March 2019 "Handeliana" by Ricardo Llorca
Montgomery College, Maryland

Monday, March 04, 2019
Guitar: Adam Levin

Virtuoso classical guitarist Adam Levin performs newly commissioned works from the decade-long project called “21st Century Spanish Guitar” at Montgomery College.

"Adam Levin ’s 21st Century Spanish Guitar project is a result of three years of research in Spain as a Fulbright Scholar, Program for Cultural Cooperation grant recipient, and Kate Neal Kinley Fellow. Levin embarked on a project to commission thirty of today’s most respected living composers. This recital program will highlight significant works from this catalogue, including works by Ricardo Llorca, Leonardo Balada, Cristobal Halffter, Antón Garciá Abril, Eduardo Morales-Caso and Salvador Brotons"

May 2019 Opera “Tres Sombreros de Copa-Three Top Hats”
Teatro Amazonas - Gran Teatro de la Opera de Manaos

The New York Opera Society, Dinámica Agencia, and “Teatro Amazonas-Gran Teatro de la Opera de Manaos” have announced the performance of Ricardo Llorca´s new opera “Tres Sombreros de Copa-Three Top Hats" based in Miguel Mihura´s  theater play.

Opera “Tres Sombreros de Copa-Three Top Hats”

Cast  to be announced

Note from The New York Opera Society:

“We consider ourselves extremely fortunate to have collaborated with Spanish composer Ricardo Llorca for the last 10 years and are proud that Mr. Llorca continually achieves higher terrains of musical achievement and innovation with the help of our support (e.g. commissions from Lincoln Center (NY), Orquesta Nacional de España, Museo Nacional Reina Sofia, etc. Further, we are impressed by the depth of Llorca’s knowledge and his tireless efforts to promote Spain and Spanish classical music at its absolute best. Our next commission from Mr. Llorca is based on the* first* musical adaptation of Miguel Mihura’s Tres Sombreros de Copa (Three Top Hats). We and many musical authorities believe that Mr. Llorca’s adaptation of this historically significant masterpiece will transform the operatic landscape because Mr. Llorca and Mihura represent the symbiosis between modernity and tradition”.

Opera “Tres Sombreros de Copa-Three Top Hats”
Teatro Amazonas - Gran Teatro de la Opera de Manaos

Seminario de Composición con Ricardo Llorca


Entre los días 2 al 7 de Julio del 2018 en el marco del XXIX CURSO INTERNACIONAL DE MUSICA DE BENIDORM Ricardo Llorca estará impartiendo las clases de los Seminarios de composición. En esta edición del Curso, que se celebrará del 2 al 7 de julio, contará con cuatro especialidades instrumentales y una no instrumental, violonchelo, piano, trompeta, saxofón  y composición, que serán impartidas por los maestros Michal Dmochowski, Angel Sanzo, Germán Asensi, Nikita Zimin y Ricardo Llorca.

The Juilliard School - Fall Semester 2018 "DIAGHILEV AND LES BALLET RUSSES"
THE JUILLIARD SCHOOL - Fall Semester 2018
Instructor: Ricardo Llorca


Serge Diaghilev, an impresario who encouraged collaboration in the arts, is one of the most influential artistic figures of the twentieth century. He gathered the geniuses of his time, and was the patron of the most daring and innovative group in the history of the arts: the Ballet Russes. Its first season in Paris in 1909 was a triumph. Audiences were stunned by the music, the quality of the dancing, the spectacular sets and the exotic atmosphere of the ballets.  Diaghilev’s earlier productions exhibited the influences of Tchaikovsky (“The Sleeping Beauty “),Tcherepnine ( “Le Pavillon D’Armide “ ), Debussy ( “L’Apres-Midi d’un Faune “), and Rimsky-Korsakov ( “Ivan the Terrible “, “Scheherazade”  ). As he progressed, he added Eastern counterpointal techniques, French music and American Jazz.

The company Diaghilev assembled comprised some of the ballet’s greatest dancers and choreographers - Fokine, Pavlova, Karsavina, Nijinsky, Massine and Balanchine - who were given scores by great composers such as Richard Strauss ( “The Legend of Joseph “), Ravel (“Daphnis and Chloe “), Eric Satie (“Parade “),  Manuel de Falla ( “Love the Magician”, “The Three-Cornered Hat “), Darius Milhaud ( “Le Train Bleu “), Francis Poulenc (“Les Biches “) and Igor Stravinsky, whose  ballets alone are at the very best of the 20th century music. Costumes and scenery were designed by painters like Matisse, Leo Bakst, Alexander Benois, Pablo Picasso, Di Chirico and Robert Delaunay . With this startling concentration of talent, it is hardly surprising that the Ballet Russes made such a lasting impact.

The Juilliard School - Septiembre 2018 "JOHN WILLIAMS"
THE JUILLIARD SCHOOL - Fall Semester 2018
Instructor: Ricardo Llorca”


John Williams -born in New York City in 1932- is the leading composer of Hollywood film music for several reasons of weight: the symphonic renaissance that he started in the mid-1970´s with the score of "Star Wars"; the blockbuster films in which he has participated ("Superman", "In search of the lost ark", "ET", "Home Alone","Jurassic Park" , "Schindler´s List", "Harry Potter", etc ); the recordings and regular performances of his works throughout the entire world; and, most importantly, for the indisputable quality of both his movie scores and his concert music. 

His father was a jazz musician and, in 1948, when his family moved to Los Angeles, Williams began studying with the jazz pianist Bobby Van Eps. Afterward he studied at The Juilliard School with the eminent pianist Rosina Lhévinne, and composition at UCLA with Mario Castelnuovo-Tedesco and Arthur Olaf Andersen.

John Williams begun early in his career working as an assistant composer of movie legends such as Bernard Hermann or Alfred Newman, but it was in the 1970´s when he became well known for writing the scores of "The Poseidon Adventure" (1972), "Earthquake" (1974), and "The Towering Inferno" (1974). 

Williams composed in 1977 two of his most famous scores: "Star Wars" (by a young director unknown at the time called George Lucas); and Steven Spielberg´s "Close encounters of the third kind". Precisely his collaborations with these two directors have marked his entire career. With George Lucas he has worked in the entire series of "Star Wars"; and with Steven Spielberg he composed the music for most of his movies. 

John Williams is also an active composer of concert pieces not connected to films, including a Symphony and a series of concertos for flute, violin, tuba, clarinet, cello, bassoon, trumpet, and horn. His Bassoon Concerto, subtitled "The Five Sacred Trees" was commissioned by the New York Philharmonic for its 150th anniversary.

In both his movie music and in his concert pieces we find John Williams´ works always composed with an spectacular sense of orchestration, precise rhythmic tempo -going from Bartók to Wagner- although it is undoubtedly Erich Wolfgang Korngold, the greatest composer of the golden age of Hollywood, to whom Williams owes the dramatic intensity and the melodic ease of his compositions.

At 86 years of age Williams is still active, composing, directing, making musical arrangements and concerts. His musical production is immense: more than 50 classic pieces, countless music for programs and television series, music for 4 Olympic games (1984, 1988, 1996 and 2002) and more than 100 soundtracks. He has won 5 Oscars and has been nominated 45 times .

The Juilliard School - Spring Semester 2018 Class “John Adams: An American Master”
Class “John Adams: An American Master” Spring semester.
Thursday 5:30 – 7pm

John Adams:
An American Master

John Adams is one of America's most admired and frequently performed composers. Audiences have responded enthusiastically to his music and he enjoys a success not seen by any American composer since George Gershwin or Leonard Bernstein. Adams is closely allied with the style known as Minimalism, which utilizes repetitive melodic patterns and consonant harmonies. Unlike some other minimalist music, John Adams’s works are marked by frequent allusions to a wide range of 20th-century idioms, both popular and classical. In this class, we explore the life of John Adams and examine some of his works, such as: “Nixon in China” (1985-87), which shocked audiences with its contemporary subject matter and figures such as Richard Nixon, Henry Kissinger and Mao Zedong; “The Death of Klinghoffer” (1991), based on the 1985 hijacking of a cruise-liner; “Doctor Atomic” (2005); and “On the Transmigration of Souls,” a work written in commemoration of the first anniversary of the World Trade Center attacks. This class is intended for musicians as well as those with no musical background.
November 2017- Teatro Sergio Cardoso in Sao Paulo (Brazil) World premiere of Ricardo Llorca´s new opera
“Tres Sombreros de Copa-Three Top Hats”

November 2017- Teatro Sergio Cardoso in Sao Paulo (Brazil)
Cast to be announced

The New York Opera Society , Dinámica Agencia, and Teatro Sergio Cardoso in Sao Paulo have announced the world premiere of Ricardo Llorca´s new opera “Tres Sombreros de Copa-Three Top Hats¨ based in Miguel Mihura´s theater play.

*Three Top Hats, A New Commission for Ricardo Llorca, Comic Chamber Opera*

Ever wished you could live another life? Even just for one night? It’s the eve of Dionisio’s wedding and he is spending it in a little hotel. He has a huge decision to make – which of his beautiful three top hats will he wear to his nuptials? Holding all three hats in his hands, Dionisio stands in his hotel room, deliberating. Opera “Tres Sombreros de Copa-Three Top Hats” Suddenly Paula, a dancing girl from a circus troupe also staying in the hotel, bursts into his room. Seeing Dionisio with the three top hats she mistakes him for a juggler. So, for one night only, Dionisio experiences the fun and madness of being part of the circus troupe. Tres sombreros de copa (Three Top Hats) presents two different existences. Paula lives unconventionally in a world of parties; Dionisio is about to embark on married life. Yet both characters find their respective lifestyles monotonous. The opera asks whether true happiness is ever achievable, or whether the grass just appears greener on the other side. Based on the seminal Spanish play "Tres Sombreros de Copa" by Miguel Mihura, this world premiere of this new commission represents the first time this play has been adapted musically. Themes: Despite the comical aspect of Miguel Mihura’s work, his plays also contain tinges of sadness. His theatre is full of tensions between characters’ social responsibilities and their individual freedom. The settings of his plays are predominantly domestic, such as the marital home, in which he dramatises conflicts between individuals. These societal themes will be accentuated by the interracial love story across "class" lines that will be portrayed in this opera by Dionisio and Paula. Biography: Miguel Mihura (1905-77) was introduced to theatre early. His father was an actor and theatre producer, although his own career in the theatre came in later life. His first play, Tres sombreros de copa (Three Top Hats), was written in 1932 but was not actually performed until 1952. Before this, Mihura worked as a newspaper illustrator, wrote film scripts and, between 1941 and 1944, ran his own satirical magazine, La Codorniz. His work in television and film was popular both in Spain and internationally. In terms of theatre, Mihura wrote 23 plays and directed and produced many of these. He was twice awarded Spain’s National Theatre Prize, in 1952 for Tres sombreros de copa, and again in 1959 with Maribel y la extraña familia (Maribel and the Strange Family). Mihura is considered a significant figure in Spanish theatre, specifically because his plays helped revitalise the way in which dramatic comedy was performed and, in turn, appreciated by audiences. Mihura died in Madrid and is buried in San Sebastian, the town where he lived during the Spanish Civil War.

Opera “Tres
The Juilliard School - Fall Semester 2017 Class “Folk Influences in Classical Music”
The Juilliard School - Class “Folk Influences in Classical Music”

Folk Influences in Classical Music:

This is a continuation of the class offered in Fall 2016. In this class, we explore folk traditions and the folk-inspired classical music of Italy, France, Poland, Germany, the Middle Eastern, China and Japan. We discuss works by composers such as: Ludwig Van Beethoven, who used contra-dances and arranged Welsh, Irish, and Scottish folk songs in his compositions; Frederic Chopin, who introduced various Polish folk dances in his Mazurkas; Claude Debussy and Maurice Ravel, who assimilated with great depth and authenticity the spirit of folk music, as heard in Ravel’s “Bolero” and Debussy’s “Minstrels” or “Une soirée in Grenade.” We also explore some postmodern and post-minimalist classical composers, who acknowledge their debt to popular and folk music, such as Meredith Monk and Philip Glass. The class incorporates live performances as well as audio and visual material, and is intended for musicians as well as those with no musical background.

5 weeks
Fall semester
Thursday 5:30 – 7pm
September 28 – Thursday October 26

23 de Septiembre de 2107 “BORDELINE/AL LIMITE” en Barcelona
Palau de la Música Catalana

23 de Septiembre de 2107
18:30 h Sala de Conciertos
Ciclo “Sinfónicos en el Palau”
Organizan: Fundació Orfeó Català-Palau de la Música y Orquestra Simfònica del Vallès


Cor de Cambra de Granollers y 
Cor Lieder Camera.
Orquestra Simfònica del Vallès.
Rosa Torres Pardo, piano
James Ross, director


R. Llorca:
“Borderline-Al Límite” (Concierto para piano, batucada y orquesta)

L. Van Beethoven: 
Sinfonía núm. 9, en Re menor, op. 125

“La temporada de Simfònics al Palau de la Música Catalana comienza el sábado 23 de septiembre (18.30h) con una Novena de Beethoven como nunca antes la has escuchado y "Borderline" de Ricardo Llorca.

Una nueva propuesta innovadora de la Orquestra Simfònica del Vallès, acompañada del ritmo de Brincadeira. ¿Te lo vas a perder? Entradas a partir de 18€”

3-7 de Julio de 2017 XXIX Cursos Internacionales de Música de Benidorm - Cursos de Composición



A las 21:30h. Concierto inaugural del XXIX Curso en el Salón de actos del Ayuntamiento de Benidorm (Plaza SS. MM. los Reyes de España), a cargo de Mar Valor, ganadora del XVIII Concurso de Música de Benidorm en la especialidad de piano.

DEL 3 al 7 DE JULIO. Clases en horario de mañana y tarde.

XXIX Cursos Internacionales de Música de Benidorm - Cursos de Composición

A las 21.30h. Concierto a cargo de los profesores del Curso en el Salón de Actos del Ayuntamiento de Benidorm. Michal Dmochowski (violonchelo) y J.C. Matamoros (trombón)

A las 21:30h. Final del XIX concurso de Música de Benidorm. Especialidad TROMBÓN.

A las 21:30. Concierto a cargo de los alumnos del Curso en el Salón de Actos del Ayuntamiento de Benidorm. 

A las 21:30h.
Clausura del Curso. Entrega de los premios a lo ganadores/as del XIX Concurso de Música de Benidorm 2017. Seguidamente, concierto a cargo del ganador/a del XIX concurso de Música de Benidorm y de los profesores del Curso Ana Guijarro (piano) y Vincent Llimerá (oboe), en el Salón de Actos del Ayuntamiento de Benidorm.

“Una vez más Benidorm se convierte en un referente internacional de la música. El Curso Internacional de Música de Benidorm cumple su XXIX edición.

En esta edición del Curso, que se celebrará del 3 al 7 de julio, contaremos con cuatro especialidades instrumentales y una no instrumental, violonchelo, piano, trombón, oboe  y composición, que serán impartidas por los maestros Michal Dmochowski, Ana Guijarro, J.C. Matamoros, Vicent Llimerá y Ricardo Llorca. 

Alumnos de todo el mundo tendrán la oportunidad de recibir clases de estos maestros, a la vez que podrán asistir a los conciertos que durante toda la semana celebraremos en el salón de actos del Ayuntamiento de Benidorm. 

Además, los alumnos inscritos podrán  participar en el XIX Concurso de música, que este año estará dedicado a la especialidad de trombón. Alumnos que optarán a los premios donados por: Consolat de Mar, Editorial Piles, Custom Pro, y hotel Prince Park, todos ellos colaboradores del Concurso y al Premio Especial del Ayuntamiento de Benidorm, que consiste en el concierto inaugural del XXX Curso a celebrar en el 2018.

El Curso es una oportunidad única para los alumnos, como lo es también para los ciudadanos y ciudadanas de Benidorm que, durante esos días, podrán disfrutar de los conciertos protagonizados por profesores y alumnos del Curso y del Concurso de Música de Benidorm. 

Gracias a todos los colaboradores del Curso: IVM, Conservatorio Profesional de Música “José Pérez Barceló”, Clemente Pianos, Custom Pro, Consolat de Mar, Editorial  Piles y Hotel Prince Park.

Concejala de Cultura del Ayuntamiento de Benidorm

April Tour 2017 - Colombia Gira “BORDERLINE” en Colombia
Clases magistrales en la EAFIT (Medellin) y
Conservatorio del Tolima (Ibaguè)

Clases magistrales en la EAFIT (Medellin) y Conservatorio del Tolima (Ibaguè)

IV Concierto de temporada
Jueves 23 de marzo, 8:00 p.m.
Directora: Cecilia Espinosa Arango
Auditorio Fundadores EAFIT


Borderline (para piano, batucada y orquesta)
Ricardo Llorca;
Concierto para piano y Orquesta Nº 23-W. A. Mozart; Solista: Mac Maclure (España)-Sinfonía Nº 5-Félix Mendelssohn 

Clase Magistral en el Departamento de Música dela EAFIT de Medellin el Miercoles 22 de Marzo a las 12 PM.

Clases magistrales en la EAFIT (Medellin) y Conservatorio del Tolima (Ibaguè)

Concierto Conservatorio del Tolima
Jueves 30 de Marzo de 2016
Orquesta del Conservatorio del Tolima
Director: Sergio Sanchez
Piano: Mac Maclure
Obras de Llorca, Pedro Morales Pino, Manuel de Falla, Joaquín Turina

Clase Magistral en el Conservatorio del Tolima el Miercoles 29 de Marzo a las 3 PM

Notas al programa

“En realidad, es uno de los instantes más significativos para dicha agrupación, debido a que será estrenada la versión de este colectivo de músicos de la obra ‘Boderline’, que fuera escrita por Ricardo Llorca (1974). Se trata, en general, de un programa que iniciará con la ‘Suite Tierra Colombiana’, elaborada por Rozo Contreras (1894 - 1976) y compuesta de Obertura, Intermezzo y Vals. Continuará, con la Fantasía sobre Motivos colombianos, autoría de Pedro Morales Pino (1863 - 1926), que hace tres años fuera presentada por la Orquesta bajo la batuta del maestro Juan Gabriel Alarcón, y que esta vez llega dirigida por el bogotano Sergio Sánchez. Para la segunda parte, en la que se junta la orquesta y la figuración de solistas, se contará al inicio con la voz del joven contratenor Johan Ocampo, que acompañará la interpretación de la Suite No. 1 ‘Sombrero de Tres Picos’, de Manuel de Falla. Luego, vendrán dos intervenciones con la ‘vocería’ a cargo del pianista estadounidense Mac McClure, y la Sinfónica: en primer lugar, la ‘Rapsodia Sinfónica’ del español Joaquín Turina Pérez (1882 - 1949), representante del movimiento nacionalista del Siglo XX. Y para el cierre, ‘Boderline’, un estreno del español Ricardo Llorca, en formato de Concierto para piano, batucada y orquesta, y que ha sido preparado con mayor intensidad esta semana, cuando el mismo autor adelanta un taller de composición en el Conservatorio.

Más información:

Clases magistrales en la EAFIT (Medellin) y Conservatorio del Tolima (Ibaguè)
February 24th 2017 - Church of Saint Ignatius Loyola in New York City New York Opera Society premieres Gisle Kverndokk´s opera
“Upon this Handful of Earth”

"Upon this Handful of Earth" is a new opera by Gisle Kverndokk and Aksel-Otto Bull. It is commissioned by The New York Opera Society, and will have its world premiere at the Church of St. Ignatius Loyola in New York, February 24., at 7:00 pm. 

New York Opera Society premieres Gisle Kverndokk´s opera

Inspired by and featuring Teilhard’s “Mass on the World,” Kverndokk’s opera tells the stories of people whose lives have been irrevocably altered by environmental catastrophes: Chernobyl, the tsunamis, pollution and climate change. The work offers a hopeful, empowering meditation on the way forward from the human and environmental toll of these events. 

This production has been made possible by Arts Council Norway/The Audio and Visual Fund, The Norwegian Composers Fund, The Lyric Writers Fund in Norway, The Dan & Gloria Bohan Foundation and The Arthur and May Orvis Foundation.

Gisle Kverndokk, composer
Aksel-Otto Bull and Gisle Kverndokk, libretto
K. Scott Warren, conductor
Joachim Schamberger, director
Isai Jess Muñoz, assistant director
Caitlin Rain, costumes
Nathan Scheuer, lighting
Shannon DeVine, The Priest
Nadia Petrella, soprano The Young Woman
John Tiranno, tenor The Young Man
Sara Murphy, mezzo-soprano The Wife
Kenneth Overton, baritone The Businessman
Sarah Hawkey, soprano The Child
Choir and Children's Choir of St. Ignatius Loyola
New York Opera Society Orchestra
November 4th 2016 XXV African Congress - National Theater of Ethiopia (Addis Abeba)
Ricardo Llorca´s “BORDERLINE” en Africa (Estreno africano de la obra “Borderline” de Ricardo Llorca)

XXV African Congress - National Theater of Ethiopia (Addis Abeba)“The 4th Ethio-Spanish Classical Music Concert is set to be held at the National Theater on November 4th, 2016. The highly anticipated concert will feature the well known Spanish Conductor Alexis Soriano and the Yared School of Music Student’s Orchestra at the National Theatre of Addis Ababa.

Alexis Soriano is one of the most outstanding Spanish conductors of his generation. A pupil of Ilya Musin at the St. Petersburg Conservatory, who was invited by his mentor, Valery Gergiev to conduct in Rotterdam and took part in the film ,“The Master and His Pupil”, shortly after he made his debut with “Nozze di Figaro” at The Mariinsky Theater.

The program of the concert has two parts, one that will be conducted by the Conductor Jonovan Cooper featuring Ethiopian classical works and the other one by Alexis Soriano, which will include famous Spanish compositions from Ricardo Llorca, Manuel de Falla, and Ruperto Chapí”
2016 CNDM (Centro Nacional para la Difusión Músical)


Auditorio de la Diputación de Alicante (ADDA)
21 de Marzo a las 8 PM
Estreno de una obra nueva para piano de Ricardo Llorca

Ludwig van Beethoven (1770-1827)
Sonata nº 14 en do sostenido menor ‘Claro de luna’, op. 27, nº 2 (1801)
Sonata nº 17 en re menor ‘Tempestad’, op. 31, nº 2 (1802)
Sonata nº 23 en fa menor ‘Appassionata’, op. 57 (1804/05)
György Ligeti (1923-2006)
Estudio nº 10, ‘Der Zauberlehrling’ (Libro II, 1988/94)
Estudio nº 6, ‘Automne à Varsovie’ (Libro I, 1985)
Ricardo Llorca (1962)
Estudio para piano *+ (2016)

*+ Estreno absoluto. Encargo del CNDM

"Esta instrumentista, de notable efusividad y refinada expresión, acomete los Estudios 6 y 10 de Ligeti y la partitura de nuevo cuño, debida en este caso al diligente Ricardo Llorca. Beethoven está presente con tres Sonatas: la nº 14, la famosa y premonitoria Claro de luna, cuyo tranquilo primer movimiento más de una vez se ha considerado anuncio del impresionismo; la nº 17, casi tan célebre, conocida como Tempestad, que marca el comienzo de una etapa nueva en la forma y en el fondo, y la fenomenal nº 23, Appassionata, a la que su creador ponía en conexión con la tragedia de Shakespeare".


DAVID BOWIE: Defying Genre, Expanding Artforms


Instructor: Ricardo Llorca
Guest lecturer (September 28th): Henning Rübsam 
Fall Semester

David Bowie died on Jan 10, 2016 right after the release of his final album “Blackstar,” an impressive blend of different musical styles and filled with lyrics pointing to his own acceptance that his end was approaching. He was an artist that defined modernity and the increasing fusion between contemporary, classical, and pop cultures. Over the course of his career, Bowie developed a diverse musical style that incorporated aspects of dance, rock, jazz, electronic, and avant-garde music. He also collaborated with and influenced artists in other musical genres and artistic media. In 2013, the Victoria and Albert Museum curated the first international retrospective of his extraordinary career, featuring more than 300 objects that include music videos, set designs, lyrics, original costumes, fashion, photography, film, and even Bowie's own instruments. This was one of many exhibits, shows, and commissions that contemporary art museums have dedicated to pop and modern music, proving that, artistically speaking, we are at an exhilarating crossroads of unpredictable cultural shifts. This class explores David Bowie’s career and his influence in the art world, extending beyond pop, beyond music, and beyond categorization. Audio recordings, video projections, and various reading materials support the course to give students a full understanding and serious appreciation of this eclectic artist.
2016 THE JUILLIARD SCHOOL (Fall Semester 2016)

Instructor: Ricardo Llorca 
A 10-week course Thursday 5:30 – 7 pm


For hundreds of years, folk music has been a major influence in the works of many composers. Starting in the second half of the eighteenth century, an astonishing phenomenon known as “the cultural degradation of the upper classes” emerged and became a determining influence on the future generation of musicians and artists. During this time, the aristocracy started to imitate the lower classes and to adopt in their salons the music and cultural customs of the commoners. Early examples of this can be found in the works of Luigi Boccherini, Domenico Scarlatti, and even Mozart. In the nineteenth century, along with the emergence of musical nationalism, the use of folk music became essential for the innovation of classical music; Ludwig Van Beethoven arranged Welsh, Irish, and Scottish folk songs in his compositions, and Frederic Chopin introduced Polish folk dances in his Mazurkas. This continued into the twentieth century, as different composers incorporated folk music material into their compositions, including Claude Debussy (Minstrels), Maurice Ravel (Bolero), Bela Bartok (15 Hungarian Peasant Songs), Aaron Copland (Rodeo), and Manuel de Falla, who assimilated the language and spirit of Andalusian music into his works. More recently, postmodern and post-minimalist classical composers acknowledge their debt to popular and folk music, such as Meredith Monk and Philip Glass. With audio visual material and live performances, we explore some of the compositions throughout history that have used folk music as their main source of inspiration, and learn about the original folk music traditions that inspired such masterworks.
2015 Rafael Lamas conducts The New York Classical Orchestra
October 24th 2015 / 24 de Octubre de 2015

Rafael Lamas conducts The New York Classical Orchestra

Rosa Betancourt
October 24th 2015 / 24 de Octubre de 2015

The Irene Diamond Educational Center
at Jazz at Lincoln Center
3 Columbus Circle, New York, NY 10019

Rafael Lamas conducts The New York Classical Orchestra

Ricardo Llorca
Luigi Boccherini
Musica notturna delle strade di Madrid
Roberto Gerhard
Concerto for piano and strings

Rosa Betancourt
Alberto Medina
and José Luis de Miguel.

Rafael Lamas es director de orquesta, pianista de concierto y profesor titular de literatura y estudios culturales en Fordham University at Lincoln Center de Nueva York. 

Su formación es fruto del paso por instituciones como la New York University, la Accademia Chigiana de Siena, la Juilliard School de Nueva York, la Universität für Musik de Viena, la UNED y el Conservatorio de Madrid. 
Ha dirigido orquestas y producciones de ópera en los USA y Europa en salas como el Konzerthaus de Viena y el Symphony Space y el Carnegie Hall de Nueva York.

En España es director principal de la Orquesta Académica de Granada y ha dirigido en teatros como el Auditorio Manuel de Falla de Granada, el Auditorio Maestro Padilla de Almería, el Gran Teatro Falla de Cádiz, el Teatro Jovellanos de Gijón, el Teatro Caixanova de Vigo, el Teatro Monumental de Mataró y el Hospital de Santiago de Úbeda. 

Como pianista ha ofrecido conciertos en el Guggenheim Museum de Nueva York, el Irving Auditorium de Philadelphia, el Art Institute de Chicago y el Weill Hall del Carnegie Hall en Nueva York.

Entre las distinciones recibidas destaca la Medalla al Mérito Musical de la región italiana del Lazio y su estancia en la Real Academia de España en Roma. Cuenta con numerosas publicaciones académicas y ha impartido decenas de conferencias. Sus libros “Música e Identidad” y "Escuchar e Interpretar" han sido publicados por Alianza Editorial.

2015 The Juilliard School - Fall Semester 2015
“Ars Sonora: Exploring The Art and Music of Today”

Conciertos solistas mediterráneos

The Juilliard School - Fall Semester 2015
Instructor: Ricardo Llorca

“Ars Sonora: Exploring The Art and Music of Today”
In recent years, museums of modern art around the world have presented exhibitions focusing on pop and modern music, trying to define modernity and the increasing fusion of contemporary, classical, and pop music, along with other disciplines of the art world such as the visual arts, fashion, film, and technology. Although it is no easy task foreseeing the musical trends of tomorrow, these exhibits are proof that we, artistically speaking, are at an exhilarating crossroads. In this class, we explore a few of the more prominent and revered contemporary artists whose works go beyond “music” (or even one genre of music), and incorporate other artistic disciplines and technologies. Hailed by critics and honored by institutions around the world, these artists – including Björk, Antony and The Johnsons, and David Bowie – are clearly paving the way beyond the fringe of the “avant-garde” and into the future. We discover that the multi-faceted nature of these artists’ works also challenge traditional venues, and we question whether the physical boundaries of spaces like museums and concert halls can accommodate the arts of the future. The class is highlighted by recordings, projections, and readings, allowing students to have a better understanding of and appreciation for the music and arts of today.

2015 Conciertos solistas mediterráneos
October 27th 2015 / 27 de Octubre de 2015 / Alicante

Conciertos solistas mediterráneos

October 27th 2015 / 27 de Octubre de 2015
José Miguel RODILLA, director | Ana María SÁNCHEZ soprano
Auditorio de la Diputación de Alicante (ADDA) | Alicante

Ricardo Llorca   
Obertura de “Las Horas Vacías” 
“El combat del somni” (para soprano y orquesta de cámara) 
Enrique Granados 
Intermezzo de Goyescas, op. 11,  con motivo del centenario de Granados
Tres majas dolorosas  
Rafael Rodríguez Albert (1902-1979) 
Pequeña fantasía para piano y orquesta de cámara  (sobre el cuarteto en re mayor de R. Rodríguez Albert)
Cinco canciones, para soprano y orquesta de cámara 

“Un concierto dirigido por un valenciano, de Lliria, en el que entra la luz a raudales, merced a la diáfana luz alicantina que lo envuelve, la que poseen los pentagramas a interpretar. La Pequeña fantasía para piano y orquesta de cámara y Cinco canciones para soprano (en arreglos para orquesta del bilbaíno Javier Artaza) de Rodríguez Albert son buenas muestras. Como el conocido Intermezzo de Goyescas, o El combat del somni de Ricardo Llorca, de quien escuchamos también la obsesiva obertura de la ópera de cámara Las horas vacías. Alicantina es asimismo la soprano Ana María Sánchez”
2015 “Combat del Somni” New York City. November 2 ,3, 4  2015
“Combat del Somni” New York City. November 2 ,3, 4 2015

New York City. November 2 ,3, 4  2015
Nueva York. 2,3 y 4 de Noviembre de 2015.

Henning Rübsam’s “Sensedance”
Rosa Torres-Pardo (piano)
Bruno Axel (violin)
will perform
Ricardo Llorca’s “Combat del Somni”
at the Danny Kaye Playhouse (Hunter College, New York) 

“Choreographer, writer, scholar, the German born Henning Rübsam honors balletic traditions, crafting his dances with musicality, clarity, and nuance”.
The Dance Enthusiast, Deirdre Towers, 

2015 Antes y después de GranadosAntes y después de Granados, ROSA TORRES-PARDO, piano
December 17th 2015
17 de Diciembre de 2015
Auditorio de la Diputación de Alicante (ADDA) | Alicante


Ricardo Llorca (1962)
Cadencia del Concierto para piano (1999)
De Tres piezas académicas para piano:
nº 2 Coral (2000)

Domenico Scarlatti (1685-1757)
Sonata en la mayor, K 208

Antonio Soler (1729-1783)
Sonata en re mayor, nº 84
Sonata en sol menor, nº 87
Fandango en re menor, R. 146

Enrique Granados (1867-1916)
De la Suite Goyescas (1916):
La maja y el ruiseñor
El Amor y la Muerte

Esta pianista madrileña siempre ha sido una arrostrada investigadora de las más diversas músicas, entre ellas la del Padre Soler, que es quien se erige en uno de los protagonistas del concierto con dos de sus Sonatas y el famoso Fandango. Antes, otra Sonata de quien fuera guía del fraile de Olot, Domenico Scarlatti. Buena idea la de acompañar esos pentagramas dieciochescos con una selección de piezas de Enrique Granados, tan influido por esos dos autores. La estilizada pluma de Ricardo Llorca cierra la sesión con su Cadencia y Coral sobre poemas de Luis García Montero. Todo muy exquisito.

2015 400 Iberian years of keyboard music
Piano recital by Rosa Torres-Pardo,
DiMenna Center / New York City
March 28th 2015
400 Iberian years of keyboard music. Piano recital by Rosa Torres-Pardo.


Domenico Scarlatti (1685- 1757)
Sonata in A, Adagio e cantabile

Antonio Soler (1729-1783)
Sonata in D (Allegro). nº84 Samuel Rubio edition
Sonata in G m (Allegretto). nº87 Samuel Rubio edition
Fandango in D min

Isaac Albéniz (1860-1909)
Iberia, vol 1:
Evocación-El Puerto- El Corpus en Sevilla

Ricardo Llorca (1962)
Chorale ( from his 3 academic pieces for piano)

Manuel de Falla (1876-1946)
El Amor Brujo, Centenario de su estreno en Madrid en abril de 1915
Danza del terror
Romance del pescador
Canción del fuego fatuo
Danza ritual del fuego

The Juilliard School / Fall Semester 2015
The Juilliard School / Fall Semester 2015

The Juilliard School

The rise and much-deserved renaissance of World music in the last few years has created an increasing interest in Sephardic music and has given the Sephardic traditional, popular and liturgical music an unprecedented interest worldwide. 

Sephardic music was born in medieval Spain and comprises the music and songs, mainly ballads; cantigas; coplas (calendar cycle songs); canciones (songs performed at the royal courts); romances (Hispanic narrative ballads) and wedding song lyrics, preserved by communities formed by the Jews expelled from the Iberian Peninsula at the end of the 15th century. The term Sephardic refers to those Jews who left Spain and Portugal before or at the time of the Inquisition or even afterwards, living as converted New Christians or resuming their Jewish identities where it was safer to do so. 

Sephardic music varies considerably since most of the Spanish Jews set up house in Mediterranean countries, primarily in Greece, Morocco, Turkey and later in Argentina and Israel.

Because so many centuries have passed since the exodus, a lot of the original music has adopted the melodies and rhythms of the various countries where the Sephardim settled in. As a result of this, Sephardic music can be heard with different tunes, languages and different performance styles. Currently, there are many musicians in Israel, Spain and North America who are performing and researching Sephardic songs and even developing new music with elements of Hebrew, Turkish, Arabic, even mixing it with Andalusian flamenco. 

This class is intended for musicians as well as those with no musical background. With live performances, using audio and visual material, and concentrating on specific examples, this course will give the students the opportunity to learn and enjoy, as well as listen and analyze some of the historical trends that have shaped the richness and variety of the Sephardic tradition. 

2015 “Borderline / Al límite”
Rosa-Torres Pardo, Ricardo Llorca y la JORCAM
(Joven Orquesta de la Comunidad de Madrid)

4 de Julio de 2015 / Auditorio de El Escorial
Rosa-Torres Pardo, Ricardo Llorca y la JORCAM

Rosa-Torres Pardo, Ricardo Llorca y la JORCAM

Notas al programa:

“En Borderline (Al límite), el compositor Ricardo Llorca y la pianista Rosa Torres-Pardo proponen la incorporación de la música urbana dentro de la música contemporánea. El interés en acercar elementos de la cultura popular a las salas de concierto ha sido una preocupación manifiesta en la trayectoria del compositor alicantino residente en Nueva York y profesor en The Juilliard School. Por otra parte, Rosa Torres-Pardo ha planteado en numerosos trabajos la aproximación a la música popular a través de la danza, la poesía y el teatro para contribuir a una mayor expresión y sentido de la música clásica, aportando una visión más fresca con un lenguaje más directo y comprensible dirigido a un público más heterogéneo. Ambos artistas han trabajado de forma exitosa en varios proyectos presentados en el Lincoln Center y The Juilliard School (Nueva York) y en la Sala Filarmónica de San Petersburgo. 

El proyecto Borderline (Al límite) recoge el germen de su predecesora Borderline, ampliando la presencia de elementos urbanos al incorporar grupos de batucada (profesionales y/o amateur) en la escena. La disposición de las obras persigue el contraste y diálogo: 

I. El fin de la inocencia (piano, gran orquesta sinfónica y percusión) 
II. Batucada popular 
III. Borderline (piano, orquesta de cámara y grupo de batucada)

2015 Recital / Fundraiser at 5h Avenue
Private residence of the General Consul of Spain in New York City

March 4th 2015

The New York Opera Society and the Consulate General of Spain in New York City announce the commission of a new opera: “Three Top Hats” , by spanish american composer Ricardo Llorca (based on the play “Tres Sombreros de Copa”, by spanish author Miguel Mihura.

“Three Top Hats”, A New Commission for Ricardo Llorca.
Press release: New York Opera Society UPCOMING Commission

“Three Top Hats”, A New Commission for Ricardo Llorca.

Ever wished you could live another life? Even just for one night? It’s the eve of Dionisio’s wedding and he is spending it in a little hotel. He has a huge decision to make – which of his beautiful three top hats will he wear to his nuptials? Holding all three hats in his hands, Dionisio stands in his hotel room, deliberating. Suddenly Paula, a dancing girl from a circus troupe also staying in the hotel, bursts into his room. Seeing Dionisio with the three top hats she mistakes him for a juggler. So, for one night only, Dionisio experiences the fun and madness of being part of the circus troupe. Tres sombreros de copa (Three Top Hats) presents two different existences. Paula lives unconventionally in a world of parties; Dionisio is about to embark on married life. Yet both characters find their respective lifestyles monotonous. The opera asks whether true happiness is ever achievable, or whether the grass just appears greener on the other side.

Invitación: Tres sombreros de copa (pdf)

2015 Estreno de “El Combat del Somni” (para Violin y Piano)
de Ricardo Llorca

Madrid / Museo Nacional Reina Sofía / Auditorio 400
Piano: Rosa Torres-Pardo
Violin: Anne Marie North

9 de Febrero de 2015 7.30 PM
Estreno de “El Combat del Somni” (para Violin y Piano)

"El Combat del somni" ("El Combate del sueño") es un ciclo de poemas de Josep Maria Janés -20 sonetos de amor- en su mayoría basados en la desesperanza y el amor no solicitado, algunos de los cuales fueron musicados en 1948 por Federico Mompou, quedándose otros poemas en el tintero. En el año 2004 Mac Maclure y Carmen Bravo (viuda de Federico Mompou) encargaron al grupo de compositores catalanes y valencianos mas representativos del momento (Albert Guinovart, Albert García Demestres, Miquel Ortega, Moisés Bertran, y Ricardo Llorca) la finalización del ciclo de los poemas de Josep Maria Janés -aquellos que Federico Mompou no había compuesto- asignando series de tres poemas a cada uno de estos compositores, con lo que el ciclo de “El Combat del Somni” de Josep Maria Janés quedaba finalizado definitivamente. 

Ricardo Llorca músicó 3 poemas de este ciclo de Josep María Janés. 

1) "Mai més" ("Nunca más"),
2) "La Llum" (“La Luz") 
3) "En du-te'm" ("Llévame contigo"). 

“Siempre he encontrado los poemas de Josep María Janés perfectamente aptos y apropiados para ser traducidos en lenguaje músical, debido a su profundo significado y a su caracter nostálgico y entristecido, casi rayanos en la desolación, y tambien por la forma en que las palabras y las frases se han estructurado”. 

“El Combat del Somni” de Ricardo Llorca, que en un principio fueron canciones compuestas para soprano y piano, se adaptaron posteriormente para violin y piano, por sugerencia de Rosa Torres-Pardo, otorgando a esta nueva version un lenguaje mas virtuosístico para los instrumentos y añadiendo cadencias y nuevos compases que aportan un mas interés rítmico a las canciones originales”.

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