Alessandra Rombolá is a musician involved in different aspects of music making. One of the most active flutist in Spain, working in the field of contemporary music and improvisation.
A versatile interpreter of notated, graphic and highly complex scores and an improviser with a unique language. Her camaleonic personality and her flexibility with all kinds of techniques allow her to switch with much ease between interpretation and improvisation.
Classical trained musician, (Flute Professor at the Conservatoire in Madrid, Postgraduate and Master in Performance at Trinity College of Music in London, Specialisation in Contemporary Music at Strasbourg Superior Conservatoire) her main interest is experimental music as well as sound installations, video art, dance and poetry.
She has collaborated with some of the most significant musicians on the European scene of improvisation and has been invited to different festivals in Europe, USA, México and Lebanon. At present she plays in duo with Michel Doneda (sax), in the trío O3, with Ingar Zach (percussion) and Esteban Algora (accordion) and in duo with the percussionist Nuria Andorrà.
In the field of contemporary music she has collaborated with Plural Ensemble, Proyecto Guerrero, Cosmos XI, Ensemble Madrid, Nou Ensemble, Espai Sonor, Vertixe Sonora and Neopercusión in different projects, both as soloist and as chamber music musician.
She has premiered music by many composer of the new generation such as Joan Arnau Pámies, Ramón Souto, Mauricio Pauly, Fran Cabeza de Vaca, Lula Romero, Januibe Tejera, Henrik Denerin, Victor Ibarra…
She is Flute Professor at the Professional Conservatoire of Madrid and Chamber music professor at the Superior School Katarina Gurska.
She has recorded for the labels: Confront, Teñidos, Sillón, Sofa, Another Timbre, Al-Maslakh and Con-v.
“…an involving experience, a kind of music whose corporal character almost exceeds the technical details – which themselves are worthy of the maximum attention.” Massimo Ricci / Touching Extremes
“Entre souffle doux et fureurs animales, on s’aperçoit qu’une flûte peut rugir comme un fauve.” Quentin Daniel
“Tuneless playing, arguably experimental music’s most elegant gesture, was a feature of Rombola’s approach to her flute – sounding at one point like a fair approximation of the rumbling indigestion of some large carnivore.” Jim Quilty / The Daily Star
“Soberbia, la italiana, en todos los apartados, ya sean técnicos, expresivos o relacionados con la performance, donde se ha mostrado sobria, con una contención muy comunicativa de los estados anímicos que sugiere la propia partitura: un ejemplo de entrega y vivencia de la obra musical como realidad trascendente.” Paco Yáñez/Mundo Clásico