Viviana Díaz developed a great passion for the instrument that she defines as an extremely versatile one. The whisper of its voice opens a flow of feelings transformed into music. Between pauses, the Puerto Rican flutist Viviana Díaz spoke of her love for the sound that aroused passions from very early in her life: the flute. From a few beginnings along the classic path; natural or organic steps for the popular, Cuban rhythms, typical, tropical, and even jazz, her fervent passion and delivery exposes her to continue jumping high rungs within the musical staff.
“When my parents moved me-in the sixth grade at the age of 12- from a Catholic school to a public specialized school, I was given the opportunity to delve into art or music. I decided for music did not hesitate to choose the flute. My ear was tuned to sounds or music for relaxation, meditation, spiritual… that sound of the flute captivated me”, highlighted Viviana Díaz.
After doing her high school at the Puerto Rico Conservatory of Music; Viviana earned a master’s degree from Miami University in Oxford, Ohio. (Photo Mayda Gomez) As she learned the first melody at the age of 12, she dedicated herself to playing in church with her mother. “My mom sang beautifully and had a ministry in the church. On Sundays we would arrive an hour earlier at the temple to practice. She improvised and I felt very safe. I was the girl from church who played and everyone welcomed my participation in a good way. I have always had that connection with God, asking for direction…”, she expressed with great feeling.
The opportunities began to arrive little by little, to continue entering the pentagram; and being part of the Bayamón Symphony Orchestra was a key piece of the musical puzzle. “The Bayamón Symphony Orchestra was directed by Ángel Mattos, father – he was her teacher at the Ernesto Ramos Antonini Free School of Music – and he knew me. He knew and had seen me practicing among the trumpets in the Libre de Música, and the opportunity came to me at the age of 16, in grade 11. I started playing piccolo (piccolo) and I kept playing in the orchestra for 11 years”, remembered.
The Puerto Rican flutist, a native of Guaynabo, knew clearly from the age of 16 that she wanted to dedicate herself to music, despite the fact that, at one point, she envisioned herself as a chemical engineer. It was then she focused her effortsto head towards the Puerto Rico Conservatory of Music. Her goal, to complete her Bachelor’s Degree. When she stops to think about her journey through music and how quickly time has passed, she greatly appreciates the teachers who forged seeds that germinated for good; teachers who injected passion, dedication, effort and encouraged her to give her best, and develop her own style.
The artist had the opportunity to work with Hermes Croatto. (Photo Mayda Gomez) “Professor Ángel Marrero (saxophone teacher who offered her flute classes) at the Escuela Libre de Música despite the fact that there was no space. He opened the space and she gave her best. Iván Mariani -in grade 11-was another great educator who taught me how to achieve a good sound on the flute, technique and I remember that I began to sound differently. A big defining moment. Similarly, at the Conservatory of Music Rubén ‘Piccolo’ López, my guru at the university; and in my last year, I was taught by Josué Casillas. What a blessing”, said the flutist, admirer of Néstor Torres and Dave Valentín.
Finally, se completed a master’s degree in Classical Music from Miami University in Oxford, Ohio after auditions in Chicago and Canada.
“Thanks to the help of God and the good audition I had at Miami University in Oxford, Ohio I got a full scholarship, which resulted in a great opportunity. There I became the main musician of all the musical ensembles: Symphony Orchestra, Concert Band, Opera Orchestra and Woodwind Ensemble; a time of a lot of work, but at the same time, of many opportunities. This was a great moment in classical music. My flute teacher in Ohio was Randolph Bowman, principal flutist of the Cincinnati Symphony Orchestra,” said Viviana, who had to return to Puerto Rico to battle the terminal illness of her mother.
Viviana’s development in other musical genres has risen naturally. Her great receptiveness, eagerness to continue learning; and her experiences within her daily musical work lead her to maintain a permanent and notable presence.
Before the pandemic, she made her way alongside the singer Hermes Croatto. Her flute is even heard on the single ‘Madre Tierra Bendición’. An experience that she classified as “divine”, highlighting that Hermes is heir to the energy of his father (Tony Croatto) and the greatness of being an extraordinary person.
“Thanks to the initiative of a friend, during the pandemic I played from the balcony of my apartment to bring joy to people. When the time came, people were already waiting for me. There was confinement and no one left their house. It was something very special”, pointed out the flutist.
Among other collaborations, there is her participation with the Cuban musician Mucho Manolo (José Manuel Borio); a musician and composer of the urban genre who makes fusions with flamenco rumba, rock and the tropical.
In the same way, after getting on stage during a presentation by Andrés Jiménez in Arecibo, she was later invited by ‘El Jíbaro’ to be part of his show “Mis Maestros”, at the Centro de Bellas Artes in Santurce in December 2022..
Vivian has also been successful with musicians like Pablo ‘El Indio’ Rosario –her guide within jazz- with whom she has played on several occasions; together with Néstor Torres -where she also took the stage in C-Note- Humberto Ramírez; and Julito Alvarado.
Viviana Díaz’s talent can be seen in various restaurants (El Terruño, Don Pepe and Boronía) where she often plays with her colleagues Javier Oquendo (percussion), Joseph Ramírez (bass) and César Coté (guitar); and every Friday she will be at the Hotel San Juan with a group of modern Cuban beats, accompanying the singer Danny Lozada.
