Ricardo Llorca
Some of Ricardo Llorca's sources for his thematic inspiration are taken from his Mediterranean roots, mixed with elements of contemporary music.
Throughout his career, Ricardo Llorca has fostered partnerships with public and private institutions to advance the appreciation of contemporary and classical music.
Since 2008 he has been working as Composer-in-Residence and deputy director at The New York Opera Society, collaborating with Jennifer Cho in organizing concerts and cultural events, seeking sponsorships, programming and selecting artists, etc.
Examples of this are the four seasons in which he has organized, through NYOS, the Christmas Concerts of the Italian Embassy in Washington DC; various chamber music recitals at the Smithsonian Museum and the National Gallery in Washington DC; the World Financial Center in New York City; the United Nations Dag Hammarskjold Auditorium; the Chicago Cultural Center; the Teresa Carreño Auditorium in Caracas; the Sao Pedro Theater in São Paulo, the Tapia Theater and the Ibero-American Festival of Arts in Puerto Rico, among others.
[5] Also since 1994 he has been a music programmer and member of the Cultural Committee of the Queen Sofia Spanish Institute in New York City where he has organised recitals and concerts with figures such as Giuliano Belotti,[6] Mac McClure, Nancy Fabiola Herrera, Veronica Villarroel, Rosa Torres- Pardo, Carmen Bravo de Mompou, Alex Garrobé, etc.
In the words of the author: "We composers do not necessarily have to explain what we do, since many times what we write is nothing more than a mere product of our intuition and not of reflection.
I also try to move away from composing "collages" or any other obvious form of "eclecticism" trying to achieve a unity of language, a solid structure from the beginning to the end of the work.
Looking back, specifically to the 1980s, one can recognise a wide movement towards a more traditional and conservative orientation among composers of different temperaments and stylistic ideas.
[7] Rubén Jordán writes in his essay "An Approach to Transfigured History": “Ricardo Llorca's music also stands out for its duality.
The duality of clear formal structures and the development of materials based on intuition and traditional compositional techniques, all filtered by a hint of minimalism in which everything is relevant, fresh and brave.
His are the lyrics of "The Dark Side" and "Tres sombreros de Copa", and the original libretto of "Las Horas Vacías".
[9] Since "The Dark Side", premiered in 1993 by the mezzo-soprano Cheryl Marshall at Paul Recital Hall (The Juilliard School, New York City), or "El Combat del Somni", the work of Ricardo Llorca has left its mark in the audiences and with the critics.
[10] Later came "Three Pieces for Piano and Orchestra", a work premiered in 1999 by the Orquesta de la Radiotelevisión Española at the Monumental Theater in Madrid; the "Concerto Italiano, for flute, guitar, harpsichord and string orchestra", a work commissioned by the Centro Para La Difusión de la Música Contemporánea and premiered in 2002 at the National Auditorium in Madrid; "Three Academic Pieces for Piano": I "Sarao", II "Coral", III "Fuga", a work commissioned by the Queen Sofía Spanish Institute of New York in 2000 and premiered by Mac Maclure in the Carlos IV Hall of the Spanish Institute in New York City.
[14] His first opera "Las Horas Vacías"[15] was premiered during the "XII Setmana de Música Sacra de Benidorm" in 2007, it has subsequently traveled to Berlin, Saint Petersburg, New York,[16] São Paulo and Lithuania, and has been premiered[17] in a stage version in November 2021 at the Teatros del Canal in Madrid, in co-production with the Teatro Real.
This work was premiered at the Sergio Cardoso Theater in São Paulo on 26 and 28 November 2017; and later performed at the Teatro de la Zarzuela in Madrid in 2019.
The critics referred to it in the following terms:[19] “…the illusion, tenderness, absurdity, impossible love, indecision, brilliant madness.
All this fits into the delicious work of Miguel Mihura, which is now perfected with the serious, important, well-executed music of a prestigious composer and which demonstrates his undoubted quality…" or [20] "Tres piezas para piano y orquesta" ("El Tiempo Malherido") /"RTVE Música"/ 2004[21] "Concierto Italiano" /"Columna Música"/2005 "Tres Piezas para Piano Académica" /Columna Música/2005 /RTVE Música /2005 "The Dark Side"/Columna Música/2005 "Las Horas Vacias - The Empty Hours" / Columna Música/ 2011 "Handeliana"/ Naxos/ 2013 *Recorded by Columna Musica for the record "Concierto Italiano" ( August 2005 .)
(Commissioned by Rosa Torres-Pardo) "Combat del Somni" for soprano, violin and strings orchestra.
Music and lyrics: Ricardo Llorca Dialogs: Miguel Mihura European Premiere: Madrid, Teatro de la Zarzuela.
A new production of Teatro de la Zarzuela in collaboration with the New York Opera Society, Inc. Musical direction: Diego Martin-Etxebarria.
