Patrícia de Almeida Ferreira Lopes

Bachelor's at Música from Universidade de Brasilia (1989) and master's at Music from Universidade Federal do Rio de Janeiro (2002). Has experience in Arts, focusing on Musical Composition.

Patrícia Lopes (1967) é pianista e compositora brasileira, e iniciou seus estudos de piano aos 6 anos de idade em Londres, cidade onde nasceu. Suas mais recentes composições são O feminino em Pessoa, sete canções para voz e ensemble, apresentadas pelo Ensemble da Orquestra de Câmara da ECA/USP, e Hortênsia para ensemble de cordas e madeiras. Em 2015, realizou um ciclo de concertos em Nova Iorque com composições próprias. Em outubro de 2017 apresentou, em Portugal, o concerto O feminino em Pessoa no Festival de Jazz de Caldas da Rainha e na Casa da América Latina de Lisboa com participação especial da violista Lyda Chen Argerich.A pianista, que concluiu o curso de Doutorado sobre o universo musical de Tom Jobim na Universidade de São Paulo (USP), apresentou em 2016, ao lado de Dori Caymmi e a Orquestra de Câmara da ECA/USP a canção Matita Perê (1973) de Tom Jobim e Paulo Cesar Pinheiro, sob direção artística do maestro Gil Jardim.Ao longo de sua formação, estudou com a concertista Linda Bustani e concluiu o Mestrado em Composição Musical na Universidade Federal do Rio de Janeiro, sob orientação da compositora Marisa Rezende.World Music Report CD O FEMININO EM PESSOA review by Raul da Gama in 21 March 2019https://worldmusicreport.com/reviews/cds/patricia-lopes-o-feminino-em-pessoa/This album o feminino em Pessoa by the Brasilian composer and pianist Patrícia Lopes is inspired by the poetry of Portugal?s premier poet Fernando Pessoa. It is unlike anything any other musician has attempted to do although with her album Echoes ? Fernando Pessoa, English Poetry & Prose Sofia Vitória set Mr Pessoa?s verse in English to music with magical results. Miss Lopes? recording, while seemingly narrow in scope in that it focuses ostensibly on the post?s work dedicated to what might be called his feminine music, is impossibly epic and grand in both scope and effect.Firstly, of course, it is impossible to envision anything ?narrow in scope? when it comes to the incomparable Mr Pessoa, who is unlike almost any poet in the modern, Latin-speaking European realm [...] Still, Miss Lopes has telescoped his work into the lens with which he viewed women. As it turns out much of these lyrics that Miss Lopes has set to music go well beyond the realm of love poetry. And like the poetry and other texts Miss Lopes follows the complexity of the impulse of Mr Pessoa?s hetronyms when peering into that ?feminine lens?.The texts for the music are based on the writings of three hetronyms: as Fernando Pessoa and Alberto Caeiro who wrote O guardador de Rebanhos, O Pastor Amoroso and Poemas inconjuntos, and was considered subordinate to his ?masters?, Fernando Pessoa, and also Ricardo Reis ? the other hetronym ? from whose Odes the song ?A Flor Que És?. Mr Caeiro, it should be said, is responsible for the poems ?Passei Toda a Noite Sem Dormir?, ?Já Não Sei Andar Só Pelos Caminhos?, ?Todos Os Dias?, ?Vai Alta No Céu a Lua da Primavera? and ?Quando Eu Não Te Tinha? which Miss Lopes has set to music so gloriously miraculous that it literally stops the breath [...] And Miss Lopes captures all of this in all its romanticism and even ? at times ? drenched the poet?s carnal desires. To do so she makes the music hang heavy with dense clusters of notes, or ripple with playfulness ? depending on the nature of the love and desire that the lyric lines suggest. Instrumentation is masterfully used ? the strings often conveying much joy and a tinge of melancholia. The latter emotion is also exquisitely captured by the use of the forlorn sound of the clarinet and the basset horn [...] Miss Lopes? vision and artistry has attracted the best musicians to undertake the journey with her and she also shows her complete mastery of the poet?s work with almost insolent brilliance on the final two instrumental songs that close out the album, the poetics of both of which need no words to capture the spirit and lyricism of Fernando Pessoa?s enduring work [...]