Bio
Andrés sings regularly with conductors such as Rinaldo Alessandrini, Jörg-Andreas Bötticher, Francesco Cera, Flavio Colusso, Fabio Lombardo, Marco Mencoboni, Alessandro Quarta, Jordi Savall, Stefan Steinemann, Walter Testolin e Michele Vannelli and alongside with La Capella Reial de Catalunya, Concerto Romano, Micrologus, Concerto Italiano, Ensemble Arte Musica, Seicentonovecento, Cantar Lontano, L’Homme armé, Dramatodia, De Labyrintho and Voces Suaves.
Born in Venezuela, started his musical training at Niños Cantores del Zulia with Juan Carlos Bersague. Studied singing with Alessandro Quarta, earning a degree in Baroque Singing with Gemma Bertagnolli and Teresa Chirico (Conservatorio L. Refice), pursuing studies in Chant semiology with Alberto Turco and Franz Praßl and Vocal Chamber Music with Anthony Rooley (Schola Cantorum Basiliensis). Besides music, Andrés also earned a Ph.D. Political Philosophy under the direction of philosopher Paul Gilbert.
Core programme
Liturgical Monody at the Court of Federico da Montefeltro
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Aim: Explore the sound of Chant/liturgical Monody that could be heared and sung by Duke Federico during services at the Court Chapel in Urbino. The final aim is to study and -especially- sing artistically a less performed repertoire in modern times.
Plan and sources: The Lab will explore how to perform chosen pieces from a 15th century Chant Codex still preserved in Archivio Capitolare di Urbino (libri corali, seg. 6, 9 e 10, ss. XI e XV). This laboratory will be split into two different levels according to previous knowledge and/or personal interest:
I Level | Beginner
Syllabic or semi-ornated style | Schola chants (Antiphons, Introits, Communions)
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on Text: relationship between text and melody: cantillatio, frasing, rhetorical aspects
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on Mode: structural notes vs ornamental notes according to the Mode in which the piece is composed
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Sources: a comparison between Urbino Codex and earlier sources
II Level | Advanced
Ornated style | Soloist chants (Resposory-Graduals, Tractus, Alleluja, Offertory)
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on Text: relationship between text and melody: cantillatio, frasing, rhetorical aspects
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on Semio-Mode: structural notes vs ornamental notes according to the Mode in which the piece is composed, compared with the earliest sources available
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on Semiology: squared notation in Urbino Codex as an introduction to the study of some of the earliest notation systems (Sankt Gallen, Metz/Laon, Benevento)
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on Rhetorics: analysis of possible ante-litteram rhetorical figures
Working material: Singing from facsimile is preferable, but transcriptions will be also available for first approachings and easier performing. A secondary bibliography will be also available for every topic.
Supplementary programme
Lagrime d’amante al sepolcro dell’amata
Monographic workshop on the Sestina by Claudio Monteverdi/Scipione Agnelli
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Objective: The Sixth Book of Madrigals (1614) is undoubtedly a formidable rhetorical work. Its pages call for direct communication that transcends correct performance to total recitation. Within it, the sestina Lagrime d'amante al sepolcro dell'amata (Lover's tears at the tomb of the beloved) acts as a pivotal point in a dramatic unity of action, place and time where every affection is mastered and set to music by the composer: despair, anger, joy, sorrow, resignation, love.
This workshop therefore intends to verify the status quo in the performance of the Italian madrigal in our times, starting with the recitation of the poetic text, moving on to the study of the rhetorical-musical figures enacted, and ending with an actual dramatic performance.
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Aimed at: Aimed at Urbino Musica Antica 2025 singers and continuists as an optional workshop
SSTTB or SATTB + BC
Participation regulated by audition. If necessary, a parallel course with other madrigal cycles from the Sixth Book can be activated.
Duration: 5 days. 1 hour per day.