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APPLICATIONS ARE NOW OPEN FOR OUR 2027 NEW YORK RECITAL DEBUT PROGRAM

Opus TWO

OPUS 4

Camila Meneses de Pamorskis,
coloratura soprano.

AN ART SONG RECITAL

February 26, 2027
Merkin Hall at Kaufman Music Center, NYC

camila meneses de pamorskis

KANTUTA CONCERT OP. 4 — Recital Program
Camila Meneses de Pamorskis, soprano

I. Eduardo Caba — Aires indios

Romancillo
Crepuscular
Flor de Bronce
Pollera nueva
Kapuri
Khantutas
Kollavina
Kori Killa
(Spanish · Bolivia)

Alberto Villalpando — Tres canciones

Al calor
Una sombra
En tu mirar
(Spanish · Bolivia)

II. Theodor Kirchner — 3 Lieder, No. 3
Gott hilf (German)

Richard Strauss — Vier letzte Lieder, No. II
September (German)

III. Balys Dvarionas — Selected works

Lankoje Žvaigždutė
(Lithuanian)

Claude Debussy La Romance d’Ariel
(French)

IV. Joaquín Turina — Op. 87, Las musas de Andalucía, No. V
Melpomene (Spanish)

Teófilo Vargas

Diusllawan
Era Pampa Palomita
(Quechua/Spanish · Bolivia)

V. Camila Meneses de Pamorskis — Melodías (original compositions)

Melodía del Águila
Melodía de los Andes
Melodía viva
(Spanish · Bolivia)

This recital follows one life in the order it happened, and each composer marks a specific turn in that story. Eduardo Caba’s Aires indios opens where I began: Cochabamba, where classical music belonged to no one in my family, an idiom I had to discover was mine to claim. Villalpando’s Tres canciones carries the disorientation of what came next emigrating to Switzerland, learning a new language and an unfamiliar system from nothing. Kirchner’s Gott hilf and Strauss’s September hold the loneliest season of that adjustment, and the faith that carried me through it. Dvarionas’s songs mark a turn toward wholeness, the vision I held for my life as a musician settling into place when I met my husband. Debussy traces a deepening of purpose during a formative season in France, which sent me back toward home: Turina’s Melpomene restores my connection to South America, and Teófilo Vargas’s songs carry my resolve to bring Bolivian art song to wider audiences. The program closes with my own compositions, Melodías, the moment I found my voice again, no longer only interpreting others’ music but writing my own. Before an encore, Mein Schatzli, an ode to Switzerland: the country that changed my life and is now the base from which I carry out that mission. The connecting thread is not style but chronology: this is not a survey of eras or languages, but one story, sung in order.

Opus two

“an outstanding pianist who will be well worth following”

Rorianne Schrade for New York Concert Review; New York, NY

José Navarro-Silberstein
February 28, 2025
Merkin Hall at Kaufman Music Center, NYC

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  • Sergio Escalera Soria, piano

    "

    Kantuta Concerts Op. 1 was a terrific experience. Very seldom do I have the opportunity to curate and perform a program in front of an audience that has so much to do with my Bolivian background and personal life story. Doing so at such a wonderful venue, surrounded and supported by top-notch music colleagues was definitely a highlight in my musician life."

    Sergio Escalera Soria, piano

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Anna Tonna, Mezzo Soprano

FINALISTS

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