Piano en Canto Venezolano
Pianist, composer and arranger Prisca Dávila was born in Caracas, Venezuela. This remarkable instrumentalist and vocalist, an outstanding representative of a new generation of Venezuelan musicians, spent six months touring Europe in her mother's belly. It was, thereafter, that her father christened her Prisca Okarina, the second one being after a Latin American wind instrument of sweet and delicate sound, a blessing in disguise. Prisca grew up in a bohemian surrounding where her parents (Eduardo and Marieva), both architects, where frequently visited by musicians, sculptors, painters, writers and beatniks who took time to share their talents, so it was only natural that her artistic leanings towards the arts began with singing, drafting and writing poetry at an early age. At that time, she used to wear improvised costumes to act out as a Garota de Ipanema too. She also played melódica, marimba, piano, vibes and ocarina at Dalcroze Rhythmic School that was directed by María Luisa Stopello, a well-known teacher. It was at the age of eight that her grandmother gathered Prisca´s poems into a book to publish them. Later on, her father registered her in SACVEN (Venezuelan Authors And Composers Society). She developed her musicianship amidst two complementary and passionate worlds, the academic one and the popular one. Tutored by prestigious teacher María Auxiliadora Díaz, she was given the degree of Piano Performer Professor in July 2001, an act that was followed by her graduation concert at José Félix Ribas Hall at Teresa Carreño Theater, Venezuela´s most prestigious concert hall. Prisca also found herself surrounded by the subtleties of the opera under the guidance of Flor García and Rubén Malnéz during nine years after which she obtained her degree of Lyric Singing Performer Professor in 2004. Prisca was also a piano teacher at Pablo Castellanos Music School, an institution adjoined to The Culture National Council (CONAC, for it's Spanish initials), from 2002 until 2006. However, her everyday life in the academic world soon found the pianist embracing the fantasy and looseness of popular music. It was then that she became a student of three of the foremost jazz teachers of her country: pianist Olegario Díaz, internationally acclaimed pianist composer Gerry Weil and guitarist Gonzálo Micó who taught her the difficult art of the improvisation and the jazz style. She also studied popular singing and scat with professor Cesar Muñoz and she is currently under the teachings of beloved singer and composer Marisela Leal, one of the leading musicians in Venezuela. In order to complement her musical education, she decided to study History at Universidad Central de Venezuela. Shortly after that, she unified History and Music to write her thesis entitled ¨The Pianistic Movement in Caracas (1870-1920)¨, a work she often refers to as a methodically written banter¨. This work earned her Honorific Mention and Recommendation for Publishing in 2004 when she was given the degree of Bachelor in History. She has been encouraged by her family to love Venezuelan music, a passion she's embraced since childhood and a pursuit she has committed herself to enhance by her musical work. She was awarded Honorific Mention For Best Merengue Interpretation in the First National Contest of Venezuelan Piano in December 2003. Her composition entitled Lydiando Merengue is part of the CD recorded at the Closure Concert. Prisca´s musical language is based on the fusion of jazz, academic music and Venezuelan popular music, a fact stated in her three recordings to date: Piano Jazz Venezolano (2003), Estoy Aquí (2005) and Piano En Canto Venezolano (2007). These works have been praised by notable Venezuelan musical personalities such as Aldemaro Romero, Carlos Moreán, Guiomar Narváez, Marisela Leal and Otmaro Ruiz. In recent years, Prisca has worked intensively performing live at some of the most important concert halls in Venezuela. During the years of 2004, 2005 and 2006, she participated in various musical festivals and events. Most notoriously the opening act for the legendary Spanish singer Raphael in May 2004 and the honor of playing with infamous salsa singer/composer Gilberto Santa Rosa at his request in 2006, both of which were given at the Ríos Reyna Concert Hall, one of the most important in the country. 2004 found Prisca at Auditorio del Aula and Jazz Jamboree in Barcelona, Spain where her worked was acclaimed by the prestigious Spanish newspaper El País. In September 2004, she represented Venezuela at the world festival ¨World Culture Open 2004¨ in Soul, Korea. She continues to work extensively in 2007 and plans to do so for the years ahead. PIANO EN CANTO VENEZOLANO REVIEW "With a confident pianistic technique far from free ornaments, she endeavors into a highly contagious latin jazz strongly rooted in her native Venezuela..." This is how one of the most recognized newspaper in Spain, El Pais, praises venezuelan pianist Prisca's latest recording entitled Piano En Canto Venezolano. This award-winner offers us 12 songs written by some of the most renowned venezuelan composers such as Aldemaro Romero, Simón Díaz and Otilio Galindez. The CD features Prisca as singer in each song where a clear interest for various venezuelan rhythms stands out with a pleasant ease that touches almost every region of one of the most musical countries in the world. One can listen to the opening song Lucerito, a soft song composed by Luis Mariano Rivera interpreted here in a heartfelt manner by Prisca on both voice and piano. San Pedro, an anonymous song often sung to kids, is an evocative piece for venezuelans of all regions. Once again, Prisca is cleverly accompanied by some of the most celebrated musicians in today´s venezuelan musical scene. Among them bassist Roberto Koch, percussionist Alexander Livinallli and arranger/backing vocals William Sigismondi. Piano En Canto Venezolano epitomizes Prisca´s musical concept since she entered the musical arena with the highly acclaimed Piano Jazz Venezolano which includes a repertoire that earned her a prize for Best Merengue Venezolano Interpretation. The CD culminates with Joropordiós, a tricky made-up word of the most popular music form the venezuelan plain lands, the joropo, and the word God, Dios. The word sounds as saying swear of God and it is a scatted joropo showing the best of both worlds, Jazz and folk venezuelan music.