“Beautiful music from France in praiseworthy translations”
 La Nación, December 23rd, 1986

(…)  Around twenty young people of both sexes make up the Adrogué Chamber Choir.  They demonstrated their talent and effectiveness.  The level of all the voices, as well as their performance, is sound, cohesive, balanced and flexible, and evidence of serious, responsible work.  As for the direction, it is clear that there is musicality, a firm hand and expertise.  Marcelo Ortiz Rocca, also a young man, proved he is well prepared for this kind of undertaking.  His work confirms his authority and experience.

Alberto Emilio Jiménez

“Excellent translation”
 La Nación, January 9th, 1995

(…) Marcelo Ortiz Rocca proved himself to be effective in the preparation and direction of the voices, making Schumann and Mendelssohn’s beautiful pieces ring out in a pleasing manner.
        But it was with the splendid, moving “Advent Song”, by Kodály, one of the really outstanding composers of our century, that this first part of the concert reached its peak.

Alberto Emilio Jiménez

“Two recordings”
“Clásica” magazine, July 1996

(…)  As for the Adrogué Chamber Choir, its twenty-two year old presence in the music media, with works written and designed for choirs, makes it one of the most outstanding current independent groups.
 
… a live recording during the 20th anniversary concert of the choir, in the German Evangelical Congregation’s Centre, on November 26th, 1994.  The repertoire demanded a two-year preparation by the Choir, during which they studied the pieces, the composers and the historical time during which the works were created.  This allowed the choir members to identify with the essence of the texts and their musical aesthetics, a fact that is clear and evident from the exquisite beauty of the voices interpreting the proposals of these three great romantics.
 
(…) This chamber production explores, with the Adrogué Chamber Choir, the exact spacing, circles and aesthetics that allow us to enjoy the essence of the romantic composers’ ideological and musical characteristics.

Ana María Ottaviani

13. Internationaler Chorwettbewerb “Franz Schubert”
Wien 14-17 November 1996
Bewertungsbogen der Jury

Coro de Cámara Adrogué, Buenos Aires (Argentinien)
 Leitung: Marcelo Ortiz Rocca
 Punktezahl: 94 (max. 100)

Beurteilungskriterien: Intonation, Stimmkultur, Rhythmik, Dynamik, Stilempfingen, allgemeiner Gesamteindruck
Im Pflichtprogramm ist die sehr gute Aussprache bei den deutschen Textenehervorzuheben. “Gott der Weltschöpfer” wurde “Maestoso”interpretiert, im Graduale von Bruckner waren die dynamischen Abstufungen manchmal fast übertrieben und wirkten daher unnatürlich, dasWeihnachtslied von Kubizek wurde in der Stimmung sehr gut erfaβt und war dynamisch und tempomäβig – im Sinne der Angaben des Komponisten – exzellent. Allgemein muβ die hervorragende Intonatiossicherheit bei allen Werken als besondere Qualität des Chores genannt warden.
Ein Kompliment auch für das interessante Wahlprogramm. Der Chor präsentierte ein empfindsames, etwas dunkel gefärbtes Klangbild mit groβer dynamischer Breite. Die stimmlich geschulte Basis der Tongebung aller Stimmgattungen kann als professionell bezeichnet werden, umso mehr, als empfindsamer Ausdruck und legato-Kultur in der Phrasierung als vorbildlich gelten können. Die chorische Virtuosität bei “La muerte” beeindruckte besonders. Ein bewundernswertes  Ensemble.

ENGLISH TRANSLATION:
13th International “Franz Schubert” Choir Competition
Vienna, Austria.  November 14-17, 1996.
Jury’s Verdict

Coro de Cámara Adrogué, Buenos Aires (Argentina)
Director: Marcelo Ortiz Rocca
Points awarded: 94 (max. 100)

Judging criteria: intonation, vocal culture, rhythm, dynamics, style and overall impression.
The very good pronunciation of German texts in the mandatory program should be remarked upon.  The interpretation of “Gott der Weltschöpfer” was truly “maestoso”.  In the Bruckner gradual, (at times), the nuances and dynamic graduations were almost over-exaggerated and therefore seemed unnatural. The spirit of Kubizek’s Christmas piece was well understood, and it was excellent in terms of dynamics and tempo (in keeping with the composer’s indications).  Overall, we should mention the accurate pitch, outstanding in all the pieces, as a particular attribute of this Choir.

It should also be praised for the interesting open program, “the choir presented a delicate and sensitive sonorous image, with dark keys and great dynamic breadth”.  The basis of the preparation and vocal training of every voice is professional, and furthermore, the delicacy of expression and the cultivated legato can be called exemplary.

The choral virtuosity in “Death” (La muerte del ángel) was particularly impressive.
An admirable group.

Vienna, Austria
November 17th, 1996

“Important Austrian award for Adrogué (Chamber) Choir”
El Cronista, September 25th, 2000

“The Adrogué Chamber Choir, directed by Maestro Marcelo Ortiz Rocca, obtained one gold and three silver medals at the First Choral Olympics 2000, in the Austrian city of Linz.”

(…) The competition at Linz was a multitudinous event in which 412 first rate choirs from 89 countries participated, a contest in the true Olympic spirit and, historically unparalleled in size.”

“At the heights of choral singing”
La Nación, April 26th, 2001

Inaugural Concert of the 2001 Chamber Music Season
San Rafael Auditorium
Our opinion: EXCELLENT

(…)”the Adrogué Chamber Choir can truly be proud of having reached the heights of the art of choral interpretation to become, in these past few years, one of our most prestigious vocal ensembles.”

“A glance over the program (…) speaks clearly of the broad range of styles included in their repertoire”.

(…) one enjoys the beautiful voices (trained and mellow) of the choir members and their excellent placement”.

“Choral cohesion, flexibility and respect for style can be appreciated in these works…
Mezza voce and the mellow timbre are a few of this concert’s delights”.  

“One of the most well known pieces by Brahms, “Im Herbst” (opus 104, No.5) is translated here with all its enveloping beauty, which only the best choirs in the world can convey. (…) it is interpreted with subtle nuances and surprising ductility in its sonorous planes.”

(…) a flawless example of the sensitivity and refined spirit of director Ortiz Rocca and his choir”.

René Vargas Vera

“Solid Adrogué (Chamber) Choir justified its prestige”
Ámbito Financiero, June 20th, 2001

 “In the splendid main hall of the Errazuriz Palance (housing the National Decorative Arts Museum) 40 voices resounded: the Adrogué Chamber Choir; a group that has brought great prestige to our country.”
 
 “…representing Argentina in the difficult Austrian competition, (…) they won one gold and three silver medals.”
“On hearing it, one understands that these awards are not given lightly, they are the just compensation for discipline and honest vocation”.

“Its members are formidable fingers. The balance of the ranges is perfect; the sfumature make the audience hold their breath, and the alternating or crossing voices demonstrate the solid preparation and finishing of the pieces, up to the smallest details.”

“Director Marcelo Ortiz Rocca crowns his solid professional training with this choir…”

Abel López Iturbe

“The Category of the Adrogué Chamber Choir”
La Nación, April 17th, 2002.

Concerts at San Rafael. 2002 Season
Our opinion: EXCELLENT

“It is a whole new discovery to listen to this Renaissance madrigal (Claude Le Jeune “O signeur j’espars”), which seems to expand surreptitiously from the female voices until it is taken up by the entire choir in a euphonic ensemble of velvety voices and exquisite phrasing.  And it is a new source of delight to welcome the three female voices in the Spanish anonymous work “Si la noche haze escura”, where subtleties are expressed as if there were just one single instrument” (…)

“As if to prove its eclecticism and vigour of style, the choir renders Schumann’s “Am bodensee”, its rhythmic instances and calm melancholy, with remarkable flexibility” (…)

“Director Ortiz Rocca has known how to shaped, chisel, and render the most substantial articulations and phrasings of his choir members to transmit the spirit of the pieces, within each style.  Because of this, the Adrogué has become, over these past few years of steady artistic growth, one of the best choirs in the country.  Its presence at the inaugural concert of the San Rafael auditorium’s season was a true spiritual luxury”.

 René Vargas Vera

“Habaneras by Basque and Argentine voices”
La Verdad newspaper, Alicante, Spain (online edition www.laverdad.es), July 27th, 2010.

…”The same heights were reached by the Adrogué Chamber Choir of Buenos Aires, and experienced a sweet feeling.
 The audience enjoyed the Argentines’ performance, particularly in the polyphony category, with two tangos by Astor Piazzolla, “Fuga y Misterio” (Fugue and Mystery) and “La Muerte del Ángel” (Death of the Angel). They also excelled in the habaneras, directed by Marcelo Ortiz.”

“Torrevieja. International Competition of Habaneras and Polyphony.”
Información newspaper, Vega Baja, Torrevieja, Spain, July 30th, 2010.

“The jury’s task was harder than other years because of the great quality of all the choirs. In fact, in the polyphony category, the Adrogué Chamber Choir from Buenos Aires was the best 10.000 euros and a trophy), followed by the Nyirgyhaza Pro Musica Female Choir from Hungary...”