Silvia Iriondo
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Silvia Iriondo

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"Silvia iriondo Salva un dia mediocre en el Vic"

Silvia iriondo Salva un dia mediocre en el Vic - La Vanguardia Barcelona

"THE WIRE-Adventures in Modern Music Issue 260 October2005"

Social worker turned singer Silvia Iriondo presents a musical journey across a beautiful Argentina. “Tierra Que Anda” is “Land That Walks”, and Iriondo gathers songs from every corner of the country, including Indian chants from Patagonia and anonymous “handkerchief dances”. Guitar, cello, bass and percussion play intimate and sophisticated arrangements, and the whole is translucently co-produced for ECM by Brazilian composer Egberto Gismonti. There’s another charming goat moment, a bleating Patagonian cameo on the folk song “The Beards of My Goat”Chivato. Iriondo’s voice is attractive in its simple, understated approach, and when she springs a bouquet of delicate vocal harmonies on the listener, it’s a luxurious surprise. “Zamba De Ambato” is particularly moving. - The Wire


Tierra que anda (walking land), coproduced with Egberto Gismonti and released by ECM. "Ojos negros" "Silvia Iriondo", "Río de los Pájaros", "Coplas para la luna", released by Epsa Music




Silvia Iriondo is definitively recognized as one the most important and significant musician in Argentina. Composer, arranger and interpreter, she redefined the way to interpret Argentinean folk songs. In the last twenty years many new singers and composers followed her path. Her interest in popular music leads her to look for a language of her own strictly bound to folk song from her land, Argentina. As ethnomusicologist, composer, singer, she develops a style starting from technique and vocal experimentation. The spoken voice, the sung voice, silence, movement, resources where sensibility chooses its way of expression, sometimes in a clear emission, on other occasions as a refined whisper, or rustic and ancestral when she interprets ballads of the indigenous repertoire. Silvia concentrates all her work on the development of a concept dedicated exclusively to reinterpret the folk song of her country. Search she defines as "fugitive music" that remains in constant change, flight, fugitive, impossible to seize, always promoting a new state, another possibility.
The stage is a ritual space where each song takes place in a singular way, sometimes accompanied by a guitar, or a piano, a capella, or with a set of pans or other unconventional objects, to make music.
The folk song is thus presented this way, in other ways, looking for its contact with everyday things, with the urban stuff, and without neglecting the same essence of its center, its depth and the sensuality of its gender.
Text from Egberto Gismonti:
After that I knew and I discovered, with total happiness, your music I feel that your greatest objective (the music that you makes) is to coexist, in peace, without no preconception, with the past and the future. Years already had been passed and my sensation of happiness continues surprised for your voice, that reveals the magic of the junction of the past and the future.
You have been a carrier of good new, e I am thankful to you very therefore. Your musical conception, in the arrangements and the rank of your voice, surprise me for the constant presence of a hope expectation, of faith and deep belief in the music of your country.
By the way, in my opinion the faith and belief are the main "key" for the survival between the differences of the peoples. While I write you these comments, I listen to your music and experiences one more time. I do like all your ideas and I am very happy in being able to participate of your new album. I do not have doubts to consider that the main reason for you to make a music with flavor of "cool thing, new and without vices " is your happy and deep proximity with the folk music of your country.
I am very optimistic with your new record because I am totally certain of your quality, of your respect and your seriousness with music.
Egberto Gismonti