Musicians Heading West, Minus The Pianist

By Britton Jacob-Schram

How, in a few weeks’ time, will classical musicians of international acclaim, from Aspro Dolce to Berlin Brass, come to Costa Rica to play more than dozen concerts… and not get paid a dime?

“We offer them something special in exchange for concerts,” laughs Director of the Credomatic Music Festival, Jordi Antich, referring to a touring schedule that’s likened more to a vacation than a grueling concert calendar. “And this is a successful idea. It’s been working for 18 years now.”

Groups and soloists now book about four years in advance for billing with Costa Rica’s claim to the classical.

“It’s nice for them to, let’s say, spend three to four days in a place like Rincon de la Vieja, another three to four days in Tamarindo at Hacienda Pinilla, and then to Sarapiquí — the reserve there is a very beautiful place.”

With the exception of one returning composer this year showcases entirely new musicians. Aspro Dolce, says Mr Antich, is one particular duo not to be missed.

“They play and sing music from the Renaissance and the beginning of the Baroque period. It’s not frequent in Costa Rica, with most of it being music written by the Italian composer [Claudio] Monteverdi.”

Monteverdi, he continues, is arguably “the most important musical personality in that time period”.

“His music developed a new type of melody, which is the foundation of opera and even probably songs we listen to in pop music — the independence and expressiveness of the melody was, I think, what Monteverdi developed first.”

Aspro Dolce is New-York-based duo Jolle Greenleaf and Nell Snaidas bring in tow the baroque guitar, theorbo (a plucked string instrument) and their voices.

© Photo Courtesy

IN TUNE: New York-based duo Aspro Dolce is soprano Jolle Greenleaf and Hank Heijink, who will be touring the country, interpreting the works of Italian composer Claudio Monteverdi during this year’s 18th Annual Credomatic Music Festival. Shows begin August 2 and run till August 17. ( Photo Courtesy of Aleksandra Renska)

The marquee also includes Cuarteto Doelen of Holland, interpreting music of the 20th century; and Costa Rican soprano, Iride Martínez, who recently made her debut at Milán’s Teatro La Scala.

“It allows us, for a few weeks, to feel like a great music metropolis,” says Mr Antich.

The seminal idea for the concert series, explains Mr Antich, was to infuse high-culture into the country.

In its debut the festival presented just nine musicians, who performed at the Teatro Melico Salazar in downtown San José, while the country’s National Theater was being restored due to earthquake damage.

Today there are more than 40 musicians performing at 17 different venues — and not just in San José. Performers now take to stages set against the beaches and volcanoes of venues in Guanacaste and the South Pacific.

“The most important thing is to invite everyone to collaborate in the development of culture in Costa Rica.”

It’s a crying shame, he says, Guanacaste doesn’t have a decent piano — at least not one built to sate the hands of high-level musicians. Because when concerts head to Northwestern province all musicians travel… except the pianist.

Like the Atlantic side of the country, Guanacaste remains without a high-quality piano — something Mr Antich assures is just a matter of time.

“Costa Rica is a whole country and we cannot present concerts just where it’s easy. It’s important to try and integrate Guanacaste, because with the distance and the difference in environments it’s easy to have it become isolated from the rest of the country.

“We want the idea of a whole country with culture in common.”