Bio:
Berta Rojas ranks among today’s foremost classical guitarists. She has been praised as “guitarist extraordinaire” by the Washington Post and by Classical Guitar Magazine as “Ambassador of the classical guitar.”
Berta has been nominated three times for Latin Grammy Awards; in the category of Best Instrumental Album for Día y Medio - A Day and a Half, a duet with Paquito D’Rivera (2012), in the category of Best Classical Album, for her album Salsa Roja (2014), and more recently in the category of Best Tango Album, for her album History of Tango (2015), recorded with the Camerata Bariloche.
Berta’s acknowledged warmth and musicality have earned her the admiration of audiences at major venues worldwide: the Weill Recital Hall at Carnegie Hall and the Frederick P. Rose Hall of Jazz at the Lincoln Center, in New York, London’s South Bank Centre, the Kennedy Center in Washington D.C., the National Concert Hall in Dublin, where she performed as a soloist with the Irish Radio and Television Orchestra, and the Flagey Studio 4 in Brussels, where she performed with the Brussels Philharmonic Orchestra for Belgian National Television.
In 2011, with guest Paquito D’Rivera, Berta initiated the four-year tour “In the Footsteps of Mangoré” which followed the travels of Agustín Barrios, pioneer of the classical guitar in the Americas. The duo performed in 20 Latin American and Caribbean countries, concluding the journey at the national theater of the capital of El Salvador, final resting place of the celebrated composer.
Berta takes her audience on a colorful journey of sound, embracing new works by composers in diverse genres. The journey is echoed in recordings such as Cielo Abierto (2006) and Terruño (2009), as well as the duo with Carlos Barbosa-Lima on Alma y Corazón (2007) and the celebrated Intimate Barrios (2008) featuring works by the great Paraguayan composer and guitarist. On her latest recording, Felicidade (2017), she pays tribute to Brazilian music, with guest artists including Gilberto Gil, Toquinho and Ivan Lins.
In addition to continually enriching her own career through international tours and master classes, Berta Rojas is firmly committed to furthering and disseminating the classical guitar. A particular focus is on promoting the music of her country, Paraguay, as well as Latin American music more widely, and her ongoing support for the careers of young, upcoming guitarists.
With this aim, she created the first online classical guitar competition, the Barrios World Wide Web Competition, in 2009, and was the Artistic Director of the Ibero-American Guitar Festival at the Smithsonian Museum in Washington D.C., She also co-founded the young persons’ Beatty Music Scholarship Competition for Classical Guitar, offering winners the opportunity to perform at the John F. Kennedy Center in Washington, D.C.
After initial studies in her native Paraguay with Felipe Sosa and Violeta de Mestral, Berta studied in Uruguay under Abel Carlevaro, Eduardo Fernández and Mario Payseé, and at the USA’s Peabody Institute under Manuel Barrueco, Ray Chester and Julian Gray. She has recently joined the prestigious Berklee College of Music as Associate Professor, sharing her knowledge and love of music with a select group of young guitarists from all over the world.
Berta Rojas has been ranked amongst the most influential women in the Hispanic world (EFE and EsGlobal 2014; 2017). She has been named a Fellow of the Americas by the US Kennedy Center for the Performing Arts for her artistic excellence, and honored by her country with the title Illlustrious Ambassador of Musical Art. In 2015 she was awarded the National Order of Merit of the Comuneros, and the title of Doctor honoris causa by two national universities. In 2017, in recognition of her outstanding contribution to culture, she received both the National Order of Merit Don José Falcón and the Carlos Colombino Award.
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).