History

MARINA LÓPEZ

Clarinet player, born in 1967 Buenos Aires, Argentina.

Marina López is a member of the Orquesta Estable del Teatro Argentino de La Plata as piccolo clarinet soloist, and second clarinet.

She has been a member of the Banda Sinfónica de la Ciudad de Buenos Aires for twenty five years, as a soloist piccolo clarinet and she has been part of the Morón Symphonic Band for several years, as bass clarinet. She has also held the post of main clarinet in the U.C.A. Orchestra (Argentine Catholic University Orchestra).

  She has a wide repertoire of chamber music that she has performed in important auditoriums in the city of Buenos Aires, and throughout Argentina. The Golden Room of the Teatro Colón, Belgrano Auditorium, Centro Cultural Kirchner, Usina del Arte, the Auditorium at the Recoleta Cultural Centre, and Astral Theatre. She has performed at Teatro Argentino de la Plata and other localities of Buenos Aires. Around the country, in Bariloche, Córdoba, Bahía Blanca, Rosario, Mendoza and Neuquén. Since 2016 most of her chamber music work has been as part of MasTrio.

She has performed concerts as a soloist accompanied by diverse orchestras of Buenos Aires and San Juan (Argentina) and Paris (France).

 

She received the first prize in the Youthful Biennial Contest of Chamber Music 1993– 1994 organised by Buenos Aires Musical Festivals, as well as the first prize in the woodwind instrumentalists contest of 1994 organised by the Musical Promotions Association.

 

In 1991 she was awarded a grant by the Teatro Colón Foundation to study clarinet with maestro Guy Deplus in Paris and she was selected as a substitute for the Young People World Orchestra.

She also received a scholarship to attend the renowned Bariloche  Musical Camp on four occasions, for chamber music courses given by Maestros Ljerko Spiller and Nicolás Chumachenco. She was also a fellow at the Las Leñas Musical Camp and the Jerusalem Academic Camerata.

In 2003 López released the CD “Otro Cantar” alongside pianist Eduardo Waisbein.The album received excellent reviews from the specialized press. It includes an important repertoire for violin and piano as well as the Sonata for Clarinet and Piano by Carlos Guastavino.

She was part of the Syrinx Wind Quintet with which she performed numerous concerts and participated in the recording of the CD «Chamber Music for Saxophone» by María Noel Luzardo.

She was selected along with the Euterpe Trio by Pierre Boulez to participate in the 2007 “A Tempo” International Chamber Music Festival in Venezuela.

  She has been invited to take part in concerts with different orchestras, among them the Buenos Aires Philharmonic Orchestra and Orquesta Estable of the Teatro Colón, National Symphony, and the orchestras of Santa Fe, San Juan and Bahía Blanca.

Graduated from the Juan José Castro Conservatory with the second highest average of her promotion, López was trained by maestros Eduardo Ihidoype and Martín Tow (Teatro Colón Philharmonic Orchestra) and she took part in courses taught by maestros Stanley Drucker and Peter Simenhauer (New York Philharmonic Orchestra) David Weber, Michael Arrignon, Luis Rossi, and Jonathan Cohler.

She also developed an intense personal and chamber music work  for several years with Prof. Susana Bonora, who being a great piano and chamber music teacher, has also developed, deepened and enriched the Conscious System for the Movement Technique of  Fedora Aberastury, creating the CAPTO Method (Correct Perceptual Attention for the Total Ordering of motor skills) which constitutes the basis and core of her work.

Prof. M. Del Carmen Aguilar qualified Marina López for Musical Analysis and Audioperceptive, and maestro Ljerko Spiller fit her for Chamber Music. She complemented her studies with piano, guitar and singing courses. 

Between 1987 and 1989 she performed the play  «Visita Mimada» at Teatro Nacional Cervantes, alongside the mimes Pía Castro y Carlos Martinez.

PRESS

«…la primer Sonata de Brahms fue ejecutada con seguridad. La clarinetista, de sonido amplio y pastoso, segura técnica y buen criterio artístico […] demostró aptitudes para una carrera exitosa. El joven pianista exhibió aplomo, dominio del teclado y buen conocimiento de la obra, que siendo de tanta envergadura, permite vaticinar un instrumentista brillante…» 

Juan Carlos Montero – Diario La Nación

“… Marina López delighted us in an exemplary handling of sound in addition to a phrasing combined with a notable breathing technique… Eduardo Waisbein led the piano part in an impeccable way; his digital clarity is outstanding. He does not play routine intervals and he is always attentive to the ensemble. His piano sound is categorical like on stage”…

“… They showed that youth’s treasure consists in knowing that one has time to begin great things…”

October 16th 1994 – Diario La Nueva Provincia – Bahía Blanca.

“… A concert applauded with fruition. Something to remember among the good nourishment of the spirit…”

August 21st 1996 – Diario Río Negro.

 

“A tuned-in duo: Marina López and Eduardo Waisbein have formed a high quality couple”.

May 29th 1996 – Diario La Nueva Provincia de Bahía Blanca.

… two works with a lot of jazzy atmosphere, humor and good music,… in a word, a whole series of diverse situations, more serious, more joyous, etc. but always in good taste and with elegant interpretations.

August 2017, The New Era – Tandil

 

A delicious ensemble that knew how to color the night with the warm colors of the wind and the enveloping harmonies of the keys.

August 2017, Eco de Tandil