Soprano Mónica Marziota announced today her participation in the 32nd edition of the Festival of Contemporary Music and in the third edition of classical Havana, events scheduled in the Cuban capital for next November.
Born in Havana to a Cuban mother and father calabrés, Mónica Marziota proudly bears her binational heritage and habanera status, being where she grew up and received her basic artistic training from the age of six, at the Alejandro García Caturla, Manuel Saumell and Amadeo Roldán conservatories.
In dialogue with Prensa Latina, the young artist pointed out that she will participate in the Festival of Contemporary Music invited by maestro Guido López Gavilán, who welcomed her proposal to perform the work ‘Cinco canciones negras’, by the Catalan composer Xavier Montsalvatge (1912-2002).
In that work composed in 1945 for the soprano, also Catalan, Mercedes Plantada, Montsalvatge musicalized five poems by the Spanish Rafael Alberti, Néstor Luján; the Uruguayan Idelfonso Pereda Valdés and two by the Cuban Nicolás Guillén.
‘Cuba inside a piano’, by Alberti; ‘Punto de habanera’, by Luján;’ Chévere’, by Guillén;’ Canción de Cuna para dormir un negrito’, by Pereda Valdés; and’ Canto negro’, also by Guillén, was the sequence conceived by Montalsvatge, first for voice and piano, and later for voice and orchestra.
To this initiative about a Spanish author with musicalizations in which Cuban poetry predominates, notes Mónica, Master López Gavilán suggested adding two of his works ‘composed when he was very young’ in which ‘he musicalized Federico García Lorca’.
At the end of the Festival of Contemporary Music, Mónica will enter the third edition of “Havana Clásica”, invited for the second consecutive year by the artistic director of the event, Marcos Madrigal.
With evident emotion, he referred to the meaning of the invitation, not only to participate in the festival, but to close it at the Teatro Martí on November 24, with a concert of traditional Cuban music with jazz sounds from a classical perspective, dedicated to Havana on the occasion of the 500 years of its foundation.
She also recalled that in 2018 she had the ‘privilege’ of performing in classical Havana, in the world premiere, an opera written for her by the composer Girolamo Deraco, in the Calabrian language, occasion in which she represented Italian culture, while in this one she will represent Cuban culture through a concert that will have Havana as protagonist.
However, he specified that they will not only be songs ‘that have been dedicated to our city, but also to how Havana has universalized musical tendencies in other parts’, through the genres known as ’round trip’, a term with which they are called those of continuous feedback.
In this sense, he cited as an example the habanera, whose authorship is claimed by both Spanish and Cuban, being ‘genres that were born perhaps at sea’, because after their emergence they migrated from one place to another where they were nourished by different influences until they reached their present configuration.
Thus, he said, it happens with the tango, considered by many direct son of the habanera, genre after the contradanza, which will include in the concert along with the danzón and the mambo which-he specified – greatly influenced the Italian discography in the 1950s and 1960s, ‘particularly in the cinematographic field’.
For the presentation at the Teatro Martí, Mónica will have as guests the jazz musician Emilio Martiní and her Natural Trio, talented musicians who believe ‘they are rescuing that tradition cuban of the late NINETEENTH and early TWENTIETH centuries, which is very little heard and should be more a protagonist of our culture’.