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, whose concerts usually combine classical repertoire with performance proposals, seeking a special approach with the public.
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 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.
“Brahms’ first Sonata was played with certainty. Having an ample and mellow sound and using
a certain technique in addition to an admirable artistic sense the clarinettist […] showed
aptitudes for a successful career. The young pianist exhibited assurance, a good grip on the
keyboard and a good knowledge of the play. And taking into account the considerable scope of
the play, he can be forecasted as a brilliant instrumentalist.»
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