Bertrand Chavarria-Aldrete

​Selected Press Highlights

 

“A magnificent performance… engaged in his art and absolute master of his instrument.” — ResMusica

“A hypnotic and embodied ritual of gesture and sound.” — Bachtrack

“A piece as much to be seen as heard… kata inspired choreography, quartertones, whistlebow sounds, and a mysterious poetic language.” — ResMusica

“One of the most significant interpreters of the new generation of contemporary guitarists.” — Quincena Musical

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"A strange humus magnified by music that coils and abolishes directionality — rare and attractive phonetic poetry" — Scherzo

“Intense whispering, shared pulse and breathing — the true treasure.” — Sydsvenskan

“A truly impressive guitarist with stunning stylistic and technical skills.” — Neuguitars

“Music can not only be heard but also felt. This is what Bertrand Chavarría-Aldrete explores” — Lund University

“A fascinating perspective… giving the visually impaired a functional role in translating music for the deaf.” — Sveriges Radio (Kulturnytt)

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REVIEWS BY WORK

 

kinamárabâfrena

Bachtrack describes the work as a magnetic, kata inspired ritual, performed standing in a choreographic posture with incantatory monologues and a hypnotic atmosphere.

ResMusica calls it “a piece to be seen as much as heard,” rich in gestural choreography, quartertones, whistlebow sounds, and poetic mysterious language.

Chloë Rouge (Printemps des Arts, Monte Carlo) offers an indepth analysis, highlighting how Kinamárabâfrena catalyzes the rapidity of karate katas into musical gesture. By linking the speed of a strike to the speed of the bow, she describes the work as producing “a raw harmonic color carrying an irradiating energy.” This energy intertwines with a spoken poem in an invented language, articulated in small fragments by the performer. Rouge emphasizes how harmonics, double stops, and quarter tones become privileged expressive tools, situating the piece within a contemporary landscape of gesture driven, microtonal, and corporeal virtuosity.

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serehaganades
 

Scherzo (Ismael G. Cabral): “The most important work of the program… a strange humus magnified by music that coils and abolishes directionality… rare and attractive phonetic poetry.”

Sydsvenskan (Tobias Lund): “It was the intense whispering, shared pulse and breathing that were the true treasure.”

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ALBUM REVIEWS

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Bypass 2.1 (3D classics)

Michèle Tosi (ResMusica): Offers an extended critique of Chavarría-Aldrete’s contemporary guitar artistry, praising his work with composers such as Campana, Estrada, Tamez, Pautrot, Lopez, and Ponce. She emphasizes his investigation of resonant possibilities, his sensitive and inspired interpretation, and his ability to deliver “a magnificent performance… engaged in his art and absolute master of his instrument.”

Neuguitars: “A really impressive record… expands musical time and employs a physical, virtuosic and gestural use of the guitar.”

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Carpere Fide(s) (Odradek Records)
 

Neuguitars: “A remarkable work… eight highly structured pieces performed with sensitivity, perfection, and intent.”

Laurent Bergnach (Anaclase): Highlights the virtuosity, microtonal writing, trancelike textures and vibrant contemporary Spanish repertoire.

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[p]ers[on]a mis[ce]lanea (Odradek Records)

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Guitare Classique (Ivan Adriano): Bertrand Chavarría‑Aldrete’s rare sensitivity and delicacy from the opening of Sonata No. 3. The Mexican repertoire is played with sweetness, joy, and impeccable refinement, while the six short preludes receive the meticulous care of a master jeweler. In the Variations on La Folía de España, he demonstrates full command of large‑scale works.
Intimate, refined, and deeply moving — an album destined to become an essential reference.

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ARTISTIC RESEARCH & INSTITUTIONAL FEATURES

 

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Lund University — “Musik för döva – är det möjligt?” (2025)

 

“Music can not only be heard but also felt. This is what Bertrand Chavarría-Aldrete explores in his doctoral thesis Plastic Extension of Music.” Highlights research on how deaf and blind individuals experience music through tactile and visual media. Features Chavarría-Aldrete’s exploration of clay, textile, metal, wood, and bodybased musical forms.

Sveriges Radio — Kulturnytt (2022)
 

“He creates a tactile translation of music that deaf individuals can experience… a fascinating perspective.” Describes the tactile and material dimensions of Plastic Extension of Music, including collaborations with visually impaired participants.

Konstnärliga Fakulteten (Lunds Universitet) — Interview
 

“If your music was a sculpture, what would it look like?” Plastic Extension of Music lets musicians perform music in space instead of time. The method has become an official university course, merging sculpture, movement, painting, and musical structure.

Royal Swedish Academy of Music (2021) — KMA 250 år (Research of the month)
Official feature highlighting Chavarría-Aldrete’s interdisciplinary practice: Extends sound into parallel plastic forms. Bridges performance, sculpture, and visual art

 

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ADDITIONAL PRESS QUOTES

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“One of the great guitarists of contemporary music.” — El Porvenir

“Timbral versatility… meticulous interpretation… complete and profound performance.” — Diario Vasco

“Revealed his soloist qualities in Erkoreka’s Fantasia through timbral versatility.” — Schneekloth, Valencia

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