Patricia’s brilliant career has already given rise to a considerable amount of concert tours throughout the world attracting the interest of the press, that has described her performances as “set apart by consummate musicianship, confident technique and elegant interpretation that manifested itself across the wide range of repertoire on her program”, “tremendous energy and precision”, “clean, sensitive playing”, “originality, genius, mastery, virtuosity, interaction with the listeners”.
In Spain, she is a fortepiano artist in the roster of Youth Musicians (after winning the first edition of their well-stablished annual competition that included the fortepiano in the category of Early Music instruments and ensembles), have taught fortepiano masterclasses and her concerts have been showcased by the National Radio and Radio Catalunya; in France, she is a regular guest of the Early Music series at Royaumont and L’Abbaye aux Dames, where she has been artist-in-residence during the summer of 2023 (through the Odyssée Art Residencies supported by the French Ministry of culture); in the Netherlands, she is regularly invited to perform at the Geelvinck Fortepiano Festival; in Italy, where she specialized in fortepiano, she frequently performs at the Bartolomeo Cristofori Academy, the Villa Bossi, the APM Saluzzo, and the Karl Jenkins Association; in China, she has performed and recorded for the radio at the Hong Kong Baptist University; in the USA, she has performed and presented at the conferences organized by the American Musical Instrument Society (AMIS), the Historical Keyboard Society of North America (HKSNA), the Westfield Center for Historical Keyboard Studies, the Sigal Music Museum, and the online series International Fortepiano Salon.
As a fortepianist she has been awarded prizes at “Juventudes Musicales 92º Competition (Early Music)” “Romantic Fortepiano Mario Calado”, “Premio Crescendo to the best performance of Mozart’s Music”, “Premio Ferrari”, “Paris Music Competition” and “Xixón Early Music Competition”. 2022 highlights include her performances of Marianne Martines’s Concerto in C and Joseph Haydn’s Concerto in G with the Orchestra of New Spain, and her presentation at the Berkeley Early Music Festival as an Early Music America Emerging Artist. EMA was also incredibly generous by awarding her the Summer Scholarship to attend the Academy of Fortepiano Performance. In May 2023 Patricia’s applied research was showcased at the Bloomington Early Music Festival, performing music from manuscripts found in Latin-America that belonged to women, from which an article will be published in the EMA magazine as part of the “Early Music: The Americas” series; future projects with the same organization involve two presentations at the EMA Summit.
Patricia believes to be a complete musician one must extend themselves in many forms of art. In addition to fortepiano, she plays a wide repertoire of modern piano, including solo, chamber, and orchestral music. She is also an actor, appearing in plays regularly, and she helps create shows which combine music, painting, and theatre. With her repertoire choices and research, she strives for inclusion, diversity, equity, and accessibility by enhancing the profiles of underrecognized female composer-pianists, outreach to audiences who tend to connect rarely with classical music, the integration of verbal and musical modes of informing listeners, and the harnessing of video and internet media to reach a potentially unlimited online audience. Her philosophy is reflected in initiatives such as the development of a piano method that incorporates theater components, the production of the mini-documentaries series “The Piano: Past and Future”, the creation of a documentary about Hélène de Montgeroult, Pauline García-Viardot, and Marguerite Labori funded by the European Union (Creative Europe- i-Portunus), a CD featuring the complete Piano works by García-Viardot including unedited pieces, and her contributions to the website ||:HerClassical:|| that provides accessible editions and recordings of eighteenth-century women composers.
From Fall 2021, she is a Teaching Assistant and now DMA candidate in Historical Keyboards at the University of North Carolina at Greensboro under the tutelage of Dr. Andrew Willis. She contemporarily pursues a PBC in Organ performance and a minor in Theatre. Patricia has received a Research Assistantship and has been named a Minerva Scholar, the highest recognition a doctoral student can receive at UNCG. She has also been awarded repeatedly with the IDEA grant to develop projects such as an upcoming event celebrating diversity within Hispanic heritage. She is a member of the Board of Directors of the Historical Keyboard Society of North America, and the Emerging Professional Leadership Council of Early Music America.
My Curriculum Vitae can be downloaded at: https://drive.google.com/file/d/1HHIX2RqSnR2f_O2Rm_CPMKVojKVTITjI/view?usp=sharing