December 7 Abdiel performs at ENARTES, a gathering of artists, programmers, and managers in Mexico City that showcased the best young talents in Mexico for music, dance, and theater. The prograrm consisted of works by Mozart, Chopin, Verdi/Liszt, Tchaikovsky/Pletnev and Ginastera.
December 6 Abdiel performs a benefit recital for the non-profit foundation El Mexico que Queremos (the Mexico that we want). Among other things, this foundation provides college scholarships for outstanding students all over the country.
The program consists of Chopins 3rd Sonata, Rachmaninoff's 2nd Sonata, and Ginastera's 1st Sonata.
December 4 Another memorable concert with the Philharmonic Orchestra of Jalisco, this time performing the local premiere of Juan Pablo Contrera's THE SUN PYRAMID, piano concerto written for Abdiel himself. The conductor was maestro Enrique Radillo.
November 29 On this Monday night Abdiel had the privilege of performing for the fourth consecutive year at CARNEGIE HALL. This time as part of the amazing program REDES USA, a non-profit organization with roots in Mexico that provides music education for kids.
October 28 In a very special evening in Guadalajara, Abdiel performs a memorable chamber music recital with the principal members of the Philharmonic Orchestra of Jalisco and its artistic director Marco Parisotto playing the violin. The principals are outstanding musicians from Venezuela that emerged from the Simon Bolivar Symphony Orchestra and toured internationally with Gustavo Dudamel. The works performed were Schubert's "Trout" Quintet and Schumann's Eb major Quintet.
October 8 Abdiel returns to Opera Company of Brooklyn to conduct a performance of Poulence's Dialogues of the Carmelites.
September 29 In Monterrey, Mexico, Abdiel presents with Maria Katzarava the work by Poulenc La Voix Humaine to great acclaim.
September 10 Abdiel conducts Verdi's Simon Boccanegra for Opera Company of Brooklyn.
Also, a featured article appears on the magazine Pro Opera about Abdiel's work with singers and especially as part of the project La Voix Humaine with Maria Katzarava.
August 3 A new review of Abdiel's debut album Love & Death appears on Musicweb-International.
Brian Reinhart writes: "Judging from this album, he’s an artist to watch... technical skill is something Vázquez has in spades: his playing here is dazzling... I was impressed by Vázquez’s thunderous commitment."
July 7 and 9 Abdiel Vazquez and Maria Katzarava reprise their performance of Poulenc's La Voix Humain in Culiacan. This production will be taken extensively on tours nationally and internationally in the upcoming seasons.
July 4 - Abdiel Vazquez and star soprano Maria Katzarava team up to render a superb rendition of Poulenc's La Voix Humaine in Mexico City's Bellas Artes Palace to rave reviews.
The staging is realized by Stefano Poda, the acclaimed italian director, and his assistant Paolo Giani Ciei. The packed hall rewarded the performers with a thunderous standing ovation.
June 22 Abdiel is featured in the newspaper Excelsior, and the article's headline quotes Abdiel as saying "one never reaches the top". It focuses on his demand for excellence and hard work every day, and how one must always strive for perfection without ever attaining it.
You can read the article in Spanish here.
June 23 - Abdiel is invited as a guest conductor of the Philharmonic Orchestra of Sonora. The program includes the participation as a soloist of the Mexican clarinet player Socrates Villegas, who recently won a post at the world renowned Philadelphia Orchestra. They perform Luigi Bassi's Fantasia on Themes from Verdi's Rigoletto.
The rest of the program includes Mozart's Overture to the Marriage of Figaro and his Symphony No. 41.
June 14 - The Spanish classical music magazine Codalario publishes another wonderful review of Abdiel's CD Love & Death, written by F. Jaime Pantin.
He writes: "It is not enough to play very well the piano. Besides virtuoso hands, it's necessary to have the mind of a conductor, the imagination of an orchestrator, the spirit of an improviser, and the heart of a singer, something very difficult to put together, specially while giving the appearance of naturality; this is why the appearance of the first recording of Abdiel Vazquez, a formidable Mexican pianist, has been such a pleasant surprise."
May - Two sensational reviews of Abdiel's new CD, Love & Death, appear in the May/June issue of Fanfare Magazine (US).
Colin Clarke writes: "Vázquez plays with a golden tone... Tenderness shot through with latent eroticism is the key to the success of Vázquez’s rendition of the Wagner/Tausig Tristan Paraphrase. This is nearly 20 minutes in duration (18:20 to be precise) and so is a perfect fit for Vázquez’s strengths of longterm thought, a trait not usually, perhaps, associated with repertoire of this ilk. That it all works so perfectly is a testament not only to Vázquez’s intelligence as a musician, but also to the inherent strength and integrity of these pieces. The shaping of the “Transfiguration” final segment of the opera (Mild und Leise) is splendid, as is the sheer beauty not only of Vázquez’s tone but also of his articulation and voicing."
And Huntley Dent goes even further: "I’d anticipate a virtuoso program of piano transcriptions and paraphrases to be an impressive display, but Abdiel Vázquez goes considerably further. This panoply of Wagner and Verdi for the piano amounts to one of the most entertaining recitals in memory for a genre that is often long on fireworks and short on feeling. Vázquez, one of the most prominent pianists in Mexico (and a national treasure to judge by his phenomenal technique), has a gift for warmth that wins the listener over. Nothing is coldly hammered out, and his rounded tone reminds me of early Jorge Bolet far more than, say, Georges Cziffra or Lazar Berman. To declare that his technical command of this fiendishly difficult repertoire stands on the same level as those famous names isn’t an exaggeration. None of them, however, can make the keyboard sing as naturally as Vázquez does throughout his belated commemoration of the VerdiWagner bicentennial."
May 4 - Abdiel makes his long-awaited Chicago debut! The recital is part of the Dame Myra Hess Memorial Concert Series, sponsored by the International Music Foundation. It takes place at the beautiful Preston Bradley Hall in the Chicago Cultural Center. It was broadcast live on national radio and online.
The recording will be available online through WFMT radio: http://blogs.wfmt.com/hess/2016/05/04/abdiel-vazquez-piano/
March 30 - April 10 Abdiel travels to Williamsburg, Virginia, to work as assistant conductor and rehearsal pianist for their production of Rossini's La Cenerentola.
Opera has always been an essential element of Abdiel's musical life, and he is planning to return next season with this company to work on Verdi's Rigoletto and Mozart's The Marriage of Figaro.
February 12 Abdiel is invited as a guest conductor and soloist with Coahuila's Chamber Orchestra, in the northern Mexican city of Torreon. The program consists of Beethoven's 8th Symphony and Piano Concerto No. 4.
The press called it a great performance in which Abdiel left everything on stage.
January 22 Abdiel performs a recital with star mexican mezzo-soprano Cassandra Zoe Velasco, who made her Metropolitan Opera Debut in 2014 in Tchaikovsky's Iolanta, alongside Anna Netrebko under Valery Gergiev's baton. The recital is the opening event for the International Ortiz Tirado Festival in Alamos, Sonora, and it features Wagner's Wesendonck Songs, four songs by R. Strauss, Ravel's Madecasses songs, and Montsalvatge's Black Songs.
The press calls it "a first class riecital because of its well chosen and combined repertoire, the stylistic inteligence and vocal quality of Cassandra Zoe Velasco, and for an impeccable, respectful, and at the same time participatory accompaniment by Abdiel Vazquez."
January 20 Abdiel perforrms a recital at the University of Sonora for a full hall. The concert is broadcast live on TV, radio, and internet. The program is called Dreams: Piano transcriptions of works by Rachmaninoff and Tchaikovsky.
The next day, Abdiel offers a masterclass for the students of the University.
January 16 and 17 Abdiel kicks off the new year with a performance of Rachmaninoff's 4th Piano Concerto with the Philharmonic Orchestra of the Nacional University of Mexico and famed conductor Enrique Arturo Diemecke.
As an encore, they perform together the 18th Variation of Rachmaninoff's Paganini Rhapsody.
The press writes: "The concert pianist played wonderfully with captivating subtlety."
January 2 and 4 Abdiel's debut album is featured in two of the most important newspapers in his home country - El Universal and Excelsior.
The article of Excelsior features an interview with Vazquez where he talks about his reasons for bringing this album to life and other reflections on his carreer and music making.
The article of El Universal is a rave review, the first published review. The writer observes that in this selection of operatic paraphrases Vazquez not only shows his ample and robust palette of technical possibilities, but also a profound musical instinct.
Mozart's The Magic Flute
Guest conductor - Abdiel Vazquez
Manhattan Opera Studio
Di Capo Opera Theater
New York, NY
Solo recital - piano transcriptions of operas by Wagner and Verdi
Seminario de la Cultura Mexicana
Solo recital - works by Beethoven, Schubert, Chopin and Rachmaninoff
Palacio de Bellas Artes
View full calendar here