Before the
first note.
My passion for music grows from how I experience and understand everyday life. A good conversation, a shared meal, a drink with a friend, a walk in the mountains.
Listening helps me make sense of those experiences.
All of this comes with me when I play.
Learning
to listen.
Way before I knew what a trombone was, its sound had caught my attention. I heard it on the records my dad played at home, without knowing which instrument it was. Something of that sound stayed with me.
Years later, when I heard a trombone live, I recognised it immediately. That familiar impression finally had a name.
Memory can hold on to something we cannot yet explain. Hearing it again can give it a new meaning. That was what captivated me: discovering something new and feeling, at the same time, that I already knew it.
To play is
to take part.
My understanding of music changed when I began to recognise its social and political dimensions. Music carries collective memory. It can give voice to dissent, offer comfort and bring people together.
The trombone became a vehicle for that conversation. Playing became a way of being present in the world, and of saying something about it.
to the world I want to live in?
(Wien Modern, 2025)
I breathe.
The room answers.
It might be too much, but here is a reflection that I come back to often:
The air trnasformed into sound leaves the bell, meets a room, and shares the space with the silence or noise already there.
Each context changes how I listen, how I move and how I play. These are the questions that keep me exploring.
Questions I ask myself... ↓
I A venue
What happens between my breath and the furthest seat? How do the room and the people waiting to listen become part of the music?
II A public square
How the music I make interactes with an audience?
III An empty room
How do I listen to what was here before me? What can I hear when I give the space time to answer?
A path shaped
by encounters.
My musical path began at the Conservatorio Nacional Germán Alcántara in Guatemala. It led me to Costa Rica and Austria, and into conversations across classical music, contemporary performance and recording.
Places of learning
I completed my Bachelor’s degree in Music at the Universidad de Costa Rica in 2018, followed by a Master’s degree in classical music at MUK in Vienna in 2022.
People, ensembles, shared stages
My collaborations have included Klangforum Wien, The Black Page Orchestra, Neue Oper Wien and the national symphony orchestras of Guatemala and Costa Rica. In January 2025, I performed with The Limitless Orchestra in Dubai in Global Waltzing – from Johann Strauss to Hans Zimmer, led by Aleksey Igudesman.
Another kind of stage: the recording studio
My recording work with Synchron Stage Orchestra includes soundtrack projects such as Loki – Season 2, X-Men ’97 and Dune: Prophecy. Recording brings another dimension to the same curiosity: how a sound becomes part of a larger story.
What do you hear
from where you are?
I keep returning to that exchange, curious about what the next encounter might let us hear.
Let's start a conversation