Zaida Saiace

She starts piano lessons at the age of six and before long she plays in public for the first time. Her formal studies are carried out in Argentina. She graduates as Superior Piano Professor at the Juan José Castro Conservatory, at La Lucila. At the same time, she studies harmony and counterpoint with Sergio Hualpa and musical analysis with Francisco Kröpfl. But Fedora Aberstury, who created the Conscious System for the Technique of Movement - a discipline that resumes the relationship between thought and action starting from the conscious development of energetic centers - is the decisive presence in her formation.

In her country, she is awarded several scholarships for further training - by the Leonor Hirsch de von Busch Foundation to study under Alfonso Montecino of the Bloomington School of Music, Indiana University, U.S.A.(1985/1986); by Festivales Musicales de la Argentina to study under Rosalyn Tureck (Instituto Goethe, Buenos Aires) and by the Fundación Antorchas for the Chamber Music Course given by Menahem Pressler (l989 / 1990) at the Camping Musical Bariloche.

In l987, she continues her training abroad with Montecino at the Bloomington School and she is awarded a scholarship by the Brazilian Vitae Foundation, in l988, for a Seminar on Bach's works, again with Rosalyn Tureck.

Since l980, her performances both as a soloist and as a member of chamber music ensembles, in festivals and recordings - Radio Rivadavia cycle Los Intérpretes - cover a repertoire where stand out authors like Chopin, Bach, Beethoven, Schubert, Schumann, Ravel and Brahms, whose Valses d'Amour Op.52 she performs as a member of the Camerata Vocale, at the Virrey Loreto Auditorium, at the Colón Theatre and other concert halls, under the lead of Guillermo Opitz, together with Víctor Torres, Bernarda Fink, Virginia Correa Dupuy, among other well-known singers of the musical scene.

In l985, she participates in the homage organized by the Agrupación Nueva Música, at the Museo Nacional de Bellas Artes, on the 50th anniversary of Alban Berg's death.

In l990, as a pianist and interpreter of Arnold Schönberg's Pierrot Lunaire, she participates in the opening of the Centro de Experimentación del Teatro Colón CEOB), conducted by Gerardo Gandini , with Pina Benedetto and Horacio Pigozzi's joint régie.

In 1991, also for the CEOB, she plays the piano and the harpsichord in the opera El Milagro Secreto, which had its premiere at the Instituto Goethe, Buenos Aires, conducted by the author himself, Martín Matalon.

In 1993, she begins her presentations in Germany, France and Spain, where she continues developing her professional activity. At the same time, she actively engages in the organization of concert cycles at the Centro Cultural Recoleta, covering classical music, tango and jazz. Already in l984, she had organized the Música al Mediodía cycle for the University of Buenos Aires, at the Ciencias Exactas, Arquitectura and Odontología Colleges.

Keeping pace with her evolution as an interpreter of classsical and contemporary music, Saiace veers towards a different repertoire highlighted by the presence of 20th century Argentine, Brazilian and French composers and opens the border between classical and popular music. Her Diario de Pianista (Melopea Records,1992) is an anthology for piano solo showing her position. It is precisely with this Diario that she participates in the First Festival Musical de Bariloche, at the Llao-Llao Hotel, in l993.

A show called De Corea a Mozart, with Brazilian tangos by Nazareth, Piazzolla's milongas, Children's Songs by Chick Corea and Mozart's Concert No.23, K.288 took place in l994 in various concert halls of Buenos Aires. In the same year, at the Centro Cultural Recoleta, she was musical director and interpreter of Noche Corta, a contemporary dance and song spectacle, created by Ricky Pashkus.

During this lapse, as part of her expressive research, she plays with musicians coming from jazz, tango and folklore - Horacio López, Enrique Sinesi, Luis Borda, Marcelo Moguilevsky,Alejandro Santos, Jorge Cumbo -.

Música de Buenos Aires y otras Tierras was a presentation in l995, at the Teatro Municipal General San Martín, along with the guitarist Luis Borda. For the CEOB, of the Colón Theatre, she played the Diario de un Desconocido, by Léos Janácek, a remarkable success, under Emilio Schejtman's régie, at the Museo de Arte Moderno. This play was repeated in l997, at the Colón Theatre(CETC) , with the same cast and pianist, under the direction of Oscar Araiz with costumes by Renata Schussheim.

In l996 and 1997, her activity develops mostly in France and Germany. At the Cité Internationale des Arts, Paris, sponsored by the Mozarteum Argentino, she devotes herself to composition and to multiple presentations of her Diario de Pianista (at the University of Saint Denis, for the cycle Midi et Demi, held at the Salle de la Légion d'Honneur of the Saint Denis Mairie, at the Cité Internationale des Arts, under the auspices of the Argentine Embassy, etc.). She plays in Germany, as a soloist and together with guitarist Luis Borda, at Köln, Koblenz, Herdecke, Erfurt, München and in Berlin's Passionskirche.

Also in Germany, together with the Argentine guitarist and composer Luis Borda, the Dutch flutist Thijs van Leer and the Chilean drummer Mario Argandoña, she records her first CD Nouveau Tango, that gathers fresh versions of classics like Salgán, Laurenz and Piazzolla, compositions by Borda and her own. Nouveau Tango was published by the German seal Hammermusik.

In 1998, in Argentina, in the Ciclo de Música Contemporánea at the Teatro General San Martín, she plays for the first time Three Monotypes for Piano Solo, by Martín Matalon, who dedicated the piece to her and Blunt Music by the Canadian Peter Hatch, for two pianos, marimba and vibraphone along with Haydée Schvartz, Angel Frette and Luis Favero.

In March l998, she performs at the Jazz Club Tonne, in Dresden, a new version of her Diario de Pianista, called Round Tango, which received an excellent critique from the local press. It is there that the Societätstheater commends her with the creation of the original music for the new theatre play Nostalgias.Tango für Vier, by dramatist Jorg Wolf, which was released in 1999 during the Semana Internacional de la Danza, also in Dresden.

In 1999, in the Fundación La Caja, she performs this last production and in the year 2000 , with Edgardo Cardozo, guitar, Fernando Galimany, double bass and Sebastián Petrossini, drums, offers the material of her last CD - Amores de Argentina. Diario de Pianista, recorded in Paris - which includes themes by Piazzolla, Salgán, Guastavino, Gismonti, Nazareth, Satie, Villalobos and her own compositions, in a series of concerts at the Centro Cultural Recoleta and at Sala AB of the Centro Cultural San Martín, etc.

Since l980 and through all these years, she has been giving private piano lessons, committed to the transmission of the Sistema Consciente para la Técnica del Movimiento to musicians and artists devoted to different disciplines.

Between l987 and l990, she works together with Alcira Merayo and Raquel Zone in the compilation of Fedora Aberastury's writings, an effort which culminates with the edition by Editorial Catálogos, of the book "Escritos, Sistema Consciente para la Técnica del Movimiento".