From a young age, I learned that accompanying a singer is an art distinct from solo performance. My mother, a professor of vocal accompaniment at the Instituto Superior de Arte in Cuba, would always remind me: being a great soloist is not enough—you must understand the voice, the breath, the phrasing, and the poetry behind every line. Singing is a natural act, but it demands preparation for each phrase, and a pianist who truly listens can learn from that discipline.

One of my earliest inspirations was the recording of Amores de Poeta, a cycle I would later perform to graduate in Lied accompaniment in Berlin with the Chilean tenor Álvaro Zambrano, a friend since we were teenagers. My formal studies in Lied with Wolfgang Rieger, along with deep explorations of Schubert’s songs with baritone Thomas Quasthoff, opened a world of subtlety, color, and intimacy that continues to guide my approach.

Over the years, I have developed lasting projects with singers such as mezzo-soprano Katarina Morfa and tenor Benedikt Kristiansson, performing in spaces steeped in history—like the Mendelssohn House in Leipzig—where the music itself becomes a dialogue between centuries. Accompanying a singer often requires me to stop thinking as a pianist and instead follow the text, the poetry, and the voice, seeking colors, textures, and phrasing that serve the song above all.

While my foundation is in the German repertoire—cycles by Schubert, Schumann, Mendelssohn, Brahms, Strauss, Hugo Wolf, and Mahler—I also embrace Britten, Ravel, and the richness of Hispanic and Latin American song, including Montsalvatge and Manuel de Falla. This journey has been central to my artistic development, shaping my understanding of interpretation, collaboration, and the shared intimacy that only music for voice and piano can convey.