(Arg.) Télam
ESPECTÁCULOS
25-03-2023 16:12 - MÚSICA
Lucía Caruso: piano, innovación y feminismo, de Argentina para el mundo
El próximo 14 de octubre, la compositora y pianista se presentará como solista junto a la Filarmónica de Buenos Aires en la Usina del Arte del barrio porteño de La Boca.
La innovadora pianista y compositora mendocina Lucía Caruso, creadora de la Manhattan Camerata e impulsora de la participación de las mujeres en los géneros clásicos y cinematográficos, destacó, tras su paso como la única intérprete sudamericana en el último concierto de las Naciones Unidas por el Día Internacional de la Mujer, la importancia de la colaboración y el apoyo mutuo "en un ámbito tan poco abierto" e históricamente dominado por varones.
"Justamente también tiende a haber mucha competencia, aunque es normal, pero hay que cambiar un poco el eje. Yo las recomiendo, ellas me recomiendan, porque compositoras hay, pero ¿quiénes son las que reciben oportunidades y trabajo?", reflexionó Caruso en diálogo con Télam durante un encuentro en el CCK y a menos de un día de su vuelta a su Argentina natal, de donde partió a los 19 años y preparada por su maestro, Gustavo Gatica, con rumbo a Nueva York para formarse y radicarse.
Translation:
On October 14th, the composer and pianist will perform as a soloist alongside the Buenos Aires Philharmonic at the Usina del Arte in the La Boca neighborhood.
The innovative composer and pianist from Mendoza, Lucía Caruso, creator of the Manhattan Camerata and advocate for women's participation in classical and film genres, highlighted, after her role as the only South American performer in the latest United Nations concert for International Women's Day, the importance of collaboration and mutual support 'in such a closed environment' historically dominated by men.
"There tends to be a lot of competition, which is normal, but we need to shift the focus a bit. I recommend them, they recommend me because there are female composers, but who are the ones receiving opportunities and work?" reflected Caruso in a conversation with Télam during a meeting at the CCK, less than a day after her return to her native Argentina. She left at the age of 19, prepared by her teacher, Gustavo Gatica, heading to New York to train and establish herself.
(Arg.) Los Andes Interview: March 5th 2023
ESPECTÁCULOS / MÚSICA
Lucía Caruso: “Sueño con hacer la música para la Fiesta de la Vendimia”
La artista mendocina que triunfa en el exterior fue convocada por la ONU junto a otras mujeres música para conmemorar el día de la mujer en la asamblea del 8 de marzo.
Lucía Caruso es mendocina. A los 19 años se fue a Nueva York y desde allí conquistó el mundo. Es compositora, pianista y junto a su marido, Pedro Henriques Da Silva, fundó la Manhattan Camerata, una innovadora orquesta de cámara. Caruso, además, acuñó el término música transclásica, para definir un estilo único de composición. Basado en la técnica clásica, sus composiciones mezclan la improvisación con elementos de diversas culturas e incorporan instrumentos del mundo en una variedad de estilos y géneros.
Lucía Caruso es mendocina. A los 19 años se fue a Nueva York y desde allí conquistó el mundo. Es compositora, pianista y junto a su marido, Pedro Henriques Da Silva, fundó la Manhattan Camerata, una innovadora orquesta de cámara. Caruso, además, acuñó el término música transclásica, para definir un estilo único de composición. Basado en la técnica clásica, sus composiciones mezclan la improvisación con elementos de diversas culturas e incorporan instrumentos del mundo en una variedad de estilos y géneros.
Translation:
The artist from Mendoza who triumphs abroad was invited by the UN along with other female musicians to commemorate International Women's Day at the assembly on March 8th.
Lucía Caruso is from Mendoza. At the age of 19, she went to New York and from there conquered the world. She is a composer and pianist, and alongside her husband, Pedro Henriques Da Silva, she founded the Manhattan Camerata, an innovative chamber orchestra. Caruso also coined the term "transclassical music" to define a unique style of composition. Based on classical technique, her compositions blend improvisation with elements from various cultures and incorporate instruments from around the world in a variety of styles and genres.
Lucía Caruso is from Mendoza. At the age of 19, she went to New York and from there conquered the world. She is a composer and pianist, and alongside her husband, Pedro Henriques Da Silva, she founded the Manhattan Camerata, an innovative chamber orchestra. Caruso also coined the term "transclassical music" to define a unique style of composition. Based on classical technique, her compositions blend improvisation with elements from various cultures and incorporate instruments from around the world in a variety of styles and genres.
Stratford-upon-avon Herald (U.K.) review:
Lyrically speaking
Shakespeare Songs, Orchestra of the Swan, Holy Trinity Church, 25th June 2019
By Peter Buckroyd
THERE were two unusual features of this concert: two world premieres of music by Lucia Caruso and Pedro H da Silva and a very enthusiastic reception for them - not so common for an audience response to contemporary music in Stratford.
[…]
[The program was] followed by what sounded to me like a major new work: Caruso and da Silva's Nine Shakespeare Songs for orchestra, soprano (Laetitia Grimaldi) and chamber choir. The text and its order was interesting in itself, particularly as some of the songs were interpreted in a striking and unusual way, drawing the listener's attention to the position of women in the songs, the ubiquity of death and the twin features of madness and sex.
The music brought out the melancholy aspects of “Sigh no More”. In contrast, Titania's rather sinister lullaby was much less sinister than might have been expected with a rich sweeping refrain. But there was a sense of darkness at the end when the music dissolved rather than resolved. The dotted orchestral rhythms of “When Daffodils Begin to Peer” contrasted with the even measured gait of the chorus which slowly changed into dotted unanimity at the end before coming to a rousing dissonant conclusion.
Madness was amazingly caught in the fragments of Ophelia's songs as the soprano's line only coincided harmonically apparently by the chance with the orchestra. Yet there was some sense of closure and harmony at the end begun by the harp (impressively played by Daniel de Fry) and then caught up by the wind and strings with the result that the despair and fragmentation of Ophelia’s mind at the beginning reaches some resolution in the acceptance of “he’s gone”. “Pardon Goddess of the Night” with a kind of Greek chorus, formed a musical response to the madness of Ophelia’s songs. The climax of the cycle was “Double, Double Toil and Trouble” with all kinds of musical allusions and Indian tonalities. I had never heard anything like it and can't wait to hear it again. The concluding “Ariel's Song”, beginning as the first song had done with Portuguese guitar and moving to harp and soprano referenced elements from the whole work bring it to a stunning and satisfying close.
[…] The programme ended with the other world premiere, Caruso and da Silva’s “Echoes of Nature”
[…] it was fascinating to hear how Caruso and da Silva used voices - both soprano and chorus - as instruments in their works.
(Arg.) infobae
CULTURA
infobae
De Mendoza a Nueva York, Lucía Caruso brilla en el primer mundo de la música y el cine
La pianista argentina que participó del concierto de la ONU por el día de la mujer, dice que todavía falta para llegar a la igualdad de género en el arte. Pero, “la tendencia está cambiando”, se esperanza
Lucía Caruso es pianista y compositora mendocina, con numerosos premios internacionales.
Hay una mendocina que tiene brillo propio en Nueva York. Se trata de Lucía Caruso, pianista y compositora, actual directora artística y cofundadora de la Manhattan Camerata, junto a Pedro Henriques Da Silva. Además, realiza composiciones para cine. Ha obtenido numerosos premios internacionales (entre ellos, en el Concurso Internacional de Piano, y también fue reconocida por la World Piano Teachers Association) y también fue distinguida por la ASCAP (Sociedad Estadounidense de Compositores, Autores y Editores, por sus siglas en inglés). En 2021, recibió nominaciones al Grammy 2021 por la música original del documental Forte, de David Donnellyde, que ella misma protagoniza junto a las violinistas Tatiana Berman (Rusia) y Eldbjørg Hemsing (Noruega).
Desde que tiene 19 años Caruso vive en Nueva York, lugar al que llegó para estudiar. Así lo cuenta: “Estudié música durante muchos años en Mendoza hasta que tomé la decisión de venirme a Nueva York. Ahí me anoté en el Manhattan School of Music donde hice mi licenciatura en piano; y luego estudié maestría en composición y música de cine en la New York University”. Sobre su tarea profesional, destaca que trabajo mucho “en Europa, sobre todo Inglaterra y otros países”. “Pero mi base es Manhattan, junto a mi marido –el también compositor y guitarrista portugués Pedro Henriques da Silva– con quien formamos la Manhattan Camerata”.
Translation:
Lucía Caruso is a pianist and composer from Mendoza, with numerous international awards.
There is a woman from Mendoza who shines in her own light in New York. Her name is Lucía Caruso, a pianist and composer, the current artistic director, and co-founder of the Manhattan Camerata, along with Pedro Henriques Da Silva. In addition, she creates compositions for film. She has received numerous international awards, including the International Piano Competition and recognition from the World Piano Teachers Association. She has also been honored by ASCAP (the American Society of Composers, Authors, and Publishers). In 2021, she received Grammy nominations for the original music of the documentary "Forte," directed by David Donnelly, in which she herself stars alongside violinists Tatiana Berman (Russia) and Eldbjørg Hemsing (Norway).
Since the age of 19, Caruso has been living in New York, where she arrived to pursue her studies. She recounts, "I studied music for many years in Mendoza until I made the decision to come to New York. There, I enrolled at the Manhattan School of Music, where I completed my bachelor's degree in piano, and later pursued a master's degree in composition and film music at New York University." Regarding her professional work, she emphasizes that she works a lot "in Europe, especially England and other countries." "But my base is Manhattan, alongside my husband – also a composer and Portuguese guitarist, Pedro Henriques da Silva – with whom we formed the Manhattan Camerata.
(Esp.) cinemagavia
ESPECTACULO
Lucía Caruso: "Mujeres superhéroes"
Por Micaela Carballo -4 noviembre, 2021
Junto a la directora y escritora Sabrina Odoguardio entrevistamos a la compositora Lucía Caruso para nuestro Podcast Música para tus ojos en el año 2020. Este año, la banda sonora que compuso para el documental Forte, dirigido por David Donnelly, y producido por él mismo y Anastasia Boudanoque está siendo considerada para los Grammys 2021 en seis categorías. Es por esto que decidimos hablar nuevamente con ella y compartir este momento en Cinemagavia.
Biografía de Lucía Caruso
Lucia Caruso es una compositora y pianista argentina nacida en Mendoza, que reside en Nueva York. Es licenciada en piano egresada de la Manhattan School of Music, y estudió la maestría en composición y música de cine en la New York University. Ha recibido numerosos premios como el segundo premio en composición en el Concurso Internacional de Piano y Composición de la World Piano Teachers Association en 2021, tres premios ASCAP, entre otros.
Como compositora ha recibido encargos para orquesta, danza y películas. Compuso la banda sonora de la serie de TV y realidad virtual “Metro 20” para Arte Francia. También es la protagonista y compositora de la banda sonora del documental “Forte”.
En los Abbey Road Studios de Londres, grabó su concierto para piano y orquesta “Luz y Viento” junto a la Academy of St. Martin in the Fields. Como pianista se ha presentado en las principales salas de concierto del mundo incluyendo el Weill Hall at Carnegie Hall, Lincoln Center, entre otros. Lucía patentó el término “Música Transclásica”, co-fundó la “Manhattan Camerata” y la compañía de música de cine “Light & Sound Film Scoring”.
Translation:
Alongside director and writer Sabrina Odoguardio, we interviewed the composer Lucía Caruso for our podcast 'Música para tus ojos' in 2020. This year, the soundtrack she composed for the documentary 'Forte,' directed by David Donnelly and produced by him and Anastasia Boudanoque, is being considered for the 2021 Grammys in six categories. That's why we decided to talk to her again and share this moment on Cinemagavia.
Biography of Lucía Caruso
Lucia Caruso is an Argentine composer and pianist born in Mendoza, currently residing in New York. She holds a degree in piano from the Manhattan School of Music and pursued a master's degree in composition and film music at New York University. She has received numerous awards, including the second prize in composition at the International Piano and Composition Competition of the World Piano Teachers Association in 2021, three ASCAP awards, among others.
As a composer, she has received commissions for orchestra, dance, and films. She composed the soundtrack for the TV and virtual reality series 'Metro 20' for Arte France. She is also the protagonist and composer of the soundtrack for the documentary 'Forte.'
At the Abbey Road Studios in London, she recorded her piano and orchestra concert 'Luz y Viento' with the Academy of St. Martin in the Fields. As a pianist, she has performed in major concert halls worldwide, including Weill Hall at Carnegie Hall, Lincoln Center, among others. Lucía coined the term 'Transclassical Music,' co-founded the 'Manhattan Camerata,' and the film music company 'Light & Sound Film Scoring.
"La compositora y pianista mendocina Lucía Caruso y su esposo, el guitarrista portugués Pedro Henriques da Silva, fueron elegidos como compositores residentes de la Orquesta del Cisne, en el pueblo natal del gran dramaturgo inglés. Un sueño con firma cuyana."
“It is like giving a soul to things that have been lost,” declares Lucía Caruso, artistic director and co-founder with her husband Pedro H. da Silva of the chamber ensemble Manhattan Camerata. She is speaking of one of their most recent projects: composing and recording original scores for two early 1900s silent films by pioneering French filmmaker Goerges Méliès.”
“Caruso and da Silva have created a score which conveys both the martial and spiritual themes of the piece, and they have skillfully managed the transitions—which are rather abrupt in the film—from scene to scene, smoothing these over and creating a seamless whole.”
“The Manhattan Camerata plays with finesse and passion; the Voices of the Ascension navigate the complex textures and harmonies of the score effortlessly, and the sound engineering cleverly creates a far larger soundscape than the realities of the numbers. Overall, this is a masterful creative effort and one which some recording firm should decide to issue on DVD, both for its innovative film values and its masterful music.”
(U.S) Fanfare Magazine Feature Article: "Giving a Soul to Things Lost: An Interview with Lucía Caruso and Pedro H. da Silva of the Manhattan Camerata
By Carla Maria Verdino-Süllwold
“The composers chose wisely…in not trying to compose music that sounds as if it were written in 1902. They were equally wise in not making it too modern, or dependent in any way on “spacey” electronic effect.”
“This is a good example of film music that supports the film very well—it doesn’t compete with the images.”
(U.S) Fanfare Magazine Feature Review: "Le voyage dans la lune"
By Raymond Tuttle
“…da Silva and Caruso…have used a chamber ensemble and chorus that brings us grippingly into Joan’s life, and at the same time wrote a through-line for their score that perfectly suits the subject matter.”
“The resulting score is a gem, fulfilling the classic tradition of Hollywood scoring in its emotional excitement and uplift while also incorporating the dignity of a classical music background.”
“Jeanne d’Arc has no title cards or scene transitions, and da Silva and Caruso appropriately change color and mood quickly while using motifs to provide continuity. Altogether, their ingenuity and musical talents have added a new dimension to Méliès’s art, coming as close to restoring the wonder of early cinema as we are likely to get.”
(U.S) Fanfare Magazine feature review: "Jeanne d'Arc"
By Huntley Dent
“Coupling this video with the newly scored Jeanne d’Arc on a commercial release would not only preserve Caruso and da Silva’s fascinating musical accomplishment, but would serve to honor two masterpieces of early cinema and win for them modern audiences.”
“Once again the Manhattan Camerata demonstrates its elegance and versatility, and the sound engineering magnifies the impact of the 16-person choral ensemble to lend another, more encompassing dimension."
(U.S) Fanfare magazine feature review: "Le voyage dans la lune"
By Carla Maria Verdino-Süllwold
“It’s very welcome that da Silva and Caruso have added such a large measure of delight to the viewing experience and, as with their score for Jeannne d’Arc, this one is well worth hearing on its own, too."
(U.S) Fanfare magazine feature review: "Le voyage dans la lune"
By Huntley Dent
"Despite a piano setup which lacked a degree of clarity, Caruso delivered a wonderfully witty and loving account of Mozart's comparatively rarely-performed Piano Concerto in C, K415. This has long been an OOTS favourite, with a CD recording by Mark Bebbington, and here it came up fresh and new, Caruso's hands well-balanced and articulate, and delivering some delightful spontaneous interjections."
"But the greatest joy was the little encore from Caruso and da Silva, a set of variations on the ancient La Folia bass-line, jointly composed by the couple and featuring Caruso's piano and da Silva's fascinating Portuguese guitar...Within a handful of minutes we moved through half a millennium of musical history, and a good time was genuinely had by all on both sides of the stage."
(U.K) Birmingham Post Review: "Orchestra of the Swan at Birmingham Town Hall"
By Christopher Morley
"...mañana se realizará una misa que honrará a Shakespeare en la propia iglesia donde fue bautizado y donde descansan sus restos: la Holy Trinity Church. Frente a una importante audiencia, que incluirá a la familia real británica...las manos de la mendocina Lucía Caruso harán respirar los tubos del órgano del recinto; la acompañarán su esposo con su guitarra portuguesa y la Orchestra of the Swan, junto al coro de la iglesia, dirigidos por David Curtis. Así estrenará su “Titania’s Lullaby”.
“…tomorrow, a mass honoring Shakespeare will take place in the very church where he was baptized and where his remains rest: the Holy Trinity Church. In front of a significant audience, including the British royal family, the hands of the Mendoza-born Lucía Caruso will breathe life into the organ pipes of the venue. She will be accompanied by her husband with his Portuguese guitar and the Orchestra of the Swan, along with the church choir, directed by David Curtis. This event will mark the premiere of her composition 'Titania’s Lullaby.”
(U.S) OSBURNT.COM REVIEW:
THE TANGO FADO PROJECT
by John Osburn
"At the heart of the project… is Amor é Fogo (Love is Fire), written on Valentine’s Day 2013 by Couple #1, Caruso and da Silva. ... Nathalie Pires’ lilting vocals and Caruso’s keystrokes converge in a sonnet-lullaby of romantic love, going from tender spark to effulgent flame. February 15 will mark three years and a day since its composition.”
“… the most convincing use of the piano as a fado instrument, with Caruso on the pedals and keys, that I have heard."
"The sound it produces, live or recorded, is luxuriant: Caruso’s intensity on the piano, so commanding as to leave an imprint; Ferman’s lighter touch, classical and reflective; the plunge and ascent of da Silva’s fingers on the guitar; the gasp, bellow and slow complaint of Binelli on the bandoneón. Pires is at her best with them…"
“Listening to the CD, one is most aware of the richness of the whole. Live, the musicians add the auras of their presence: the robust Caruso, the scholarly da Silva, the elegant Ferman, the earthy Binelli."
(U.S) FANFARE MAGAZINE REVIEW
TANGO FADO PROJECT
By Dave Saemann
"Tango Fado Project is a delectable mixture of these two popular musical genres of Argentina and Portugal.”
"...world-class talents.”
"Their music director, Pedro H. da Silva, in addition to being a deft hand at composing, arranging, and conducting, is a spirited performer on the Portuguese guitar .... Artistic director Lucia Caruso, also a composer and conductor, creates soulful piano solos. Daniel Binelli is a bandoneón player par excellence; this album owes much to his arrangements and performing skills. Polly Ferman is a stylish pianist. Lastly, the fado singer Nathalie Pires is a major presence here, performing vocals with elegance and passion.”
"The CD’s sound engineering is excellent.”
"This is music of emotional seriousness and technical sophistication. It is deeply enriching.”
(U.S) FANFARE MAGAZINE REVIEW
TANGO FADO PROJECT
By Phillip Scott
“… stunningly performed and thoroughly entertaining. The secret behind this music is that it has to make you want to dance, and it has to bring tears to your eyes. The musicians of Manhattan Camerata know the secret, and they know how to make it happen. They also understand the virtuoso aspect: There is a level of showing off your chops that is shared by the whole ensemble, not merely the guest artists, yet it never veers toward parody. When they get into a groove,as in 1=3=7 and Non- absolutist Universal Anthem, the joie de vivre is irresistible.”
"After 10 years of writing for Fanfare I am now in the enviable position of being able to request the releases I wish to review. Occasionally our editor still sends me something unexpected and, more often than not, it turns out to be something special that I would not have known about otherwise. This disc absolutely falls into that category. Manhattan Camerata has made my day.”
(U.S) FANFARE MAGAZINE FEATURE ARTICLE: "FATE BROUGHT US TOGETHER: THE DAWN OF TRANS-CLASSICAL MUSIC"
By Robert Schulslaper
"Hearing their Tango Fado Project CD, it’s the visceral impact of this powerful, dramatic, soulful music that seduces and transfixes the listener."
"The music here is wistful and smoky at times, sensual at other times, and dark and even tragic at others. The performances are technically superb and emotionally gripping, virtually ideal."
(U.S) Fanfare Magazine Feature Review: Tango Fado Project
By Henry Fogel
"[The Manhattan Camerata] seeks to expand the classical genre by incorporating elements from different cultures around the world in a variety of styles. The diverse backgrounds of the Camerata’s musicians point out the group’s eclectic and inclusive nature."
(U.S) Fanfare Magazine Feature Review: Tango Fado Project
By Maria Nockin
"The arrangements of these pieces are intricate and play to the strengths of the ensemble, allowing for a rich palette of instrumental textures and moments of virtuosic playing, especially by the guitar, bandeón, and piano."
"Among the highlights are Pires’s singing of Minha Lisboa Guerida by Carlos Gardel with its hints of Moorish melody, the lively dance tempo of Viejo Buenos Aires Tango by Raoul Portela, Lucia Caruso’s complex Modernist composition Tanguito Cordobes with da Silva’s supple playing on the Portuguese guitar, and da Silva’s own composition Non- Absolutist Universal Anthem with its dexterous guitar parts. And then Piazzolla’s Suite Troileana, which allows all the resources of the soloists and the Manhattan Camerata to come together and play with passion, crowns the recording."
(U.S) Fanfare Magazine Feature Review: Tango Fado Project
By Carla Maria Verdino-Süllwold
(U.S) Fanfare Magazine Feature Review: Tango Fado Project
By Raymond Tuttle
"It isn’t about presenting a genre, or two, with custodial seriousness. It’s more like introducing two of your friends to each other at a party, knowing that they have commonalities, and being delighted when you see them hit it off. The pleasure is both theirs and ours. Recommended!"
"Of all the discs I have been sent by this august publication of this kind (that is, ones that include tango and/or fado) this is by far the finest from every angle."
"This disc breathes life, while taking on an important exploration of the relationship between two related forms, tango and fado. Even if you think you don’t like this type of music, it is worth trying. If any disc can win you to their cause, this is it."
(U.S) Fanfare Magazine Feature Review: Tango Fado Project
By Colin Clarke
"Siento que en este momento, mi misión es la creación de nueva música y soy mas creadora que otra cosa.”
“I feel that at this moment, my mission is the creation of new music, and I am more of a creator than anything else.”
(Arg.) Clubhouse Magazine Interview
Edition No 95 (Spanish)
By Mariana Di Leo
La prestigiosa mendocina Lucía Caruso -y su esposo, el músico Pedro Henriques da Silva-, acaban de recibir el premio ASCAP 2015, otorgado por la sociedad de autores y compositores más importante de Estados Unidos. “Nuestro estilo va más allá de lo clásico, incorporando todos estos elementos del mundo”.
The prestigious artist from Mendoza, Lucía Caruso, along with her husband, musician Pedro Henriques da Silva, has just received the 2015 ASCAP award, granted by the most important society of authors and composers in the United States. 'Our style goes beyond classical, incorporating all these elements from around the world.'
(Arg.) Los Andes Interview
Sábado, 14 Febrero 2015
La era de la Música transclásica (Spanish)
By Marianna Guzzante
