B i o g r a p h y
Sofia Oriana Infante (Santiago de Compostela, 1989) is a transmodern composer that nowadays lives at Ferrol (A Coruña).
She courses her composition studies at the Conservatory of Oviedo 'Eduardo Martínez Torner’, specializing in general and audiovisual composition with a final research about the main aesthetic tendencies among the Spanish young composers. Simultaneously, she completes the degree in Primary Teaching, being trained, in this way, in her two main passions (2013). Later, she studies a Master of Education at the University of Oviedo (2014) and a ‘Master in composing for film and TV' (2015) at the Kingston University of London with distinction in her Final Project about the New York Times' 14 actors acting'.
She reaches a very complete educational training in Oviedo thanks to composers like Edson Zampronha, Jorge Carrillo, Fernando Blanco, Miguel Fernández and Fernando Agüeria. During this period of time she also had the opportunity to learn from great composers like Krzysztof Penderecki and Nico Muhly.
Among her musical productions different types of work can be found, from pieces for the audiovisual world to academic-contemporary compositions. Although it is hard to label her musical style due to its diversity, two main concepts can be used to describe it: multidisciplinar thinking and the representation of a transmodern reality.
During her first steps into the composition world, she attends to the recordings of soundtracks by the Goya nominated composer Sergio Moure, like 'Todo es silencio' by Jose Luis Cuerda and 'Time Rojak', by Isaac Kerlow, where she works as an orchestration assistant for Alejandro Román. In addition, she participates as a professor in two occasions at the Leonardo da Vinci project "European Art Confluence".
Premiered works during this training time were the Lied 'O cazador de libros' (2008) (Jose Manuel Yañez Carballeira and Maite Bárbara), with lyrics by the poet Ramiro Fonte, at Ferrol; 'Telestai' (2009) for the enssemble 'Tempo Catro' (Javier Cedrón, Suso Iglesias, Antonio Romero Cienfuegos and Andrés Pazos) in ‘Teatro do Andamio’ at A Coruña and 'Se la están cepillando todos los días' (2013) for flute, violin, electric guitar, bassoon and electronics in Oviedo.
During her staying in London, she receives a commission from the 'Kingston 3A Orchestra' for the composition of 'Panta Rhei', a symphonic piece premiered at Kingston Upon Thames in 2015 conducted by David Ward.
Her attendance to the Bergerault International Festival (2017) should be noted, where she received personalized lessons from Alberto Bernal, Michael Maierhof and Yiran Zhao. Also, the contact with percussionist as important as Lucía Carro, César Peris, Luis Tabuenca, Philippe Spiesser and Mika Takehara keep awake in her the interest for the contemporary, real and virtual, composition. 'Relative Time' (2017) and 'Backwards Tape' (2017) are the resultant compositions of this contact, with a more personal style.
Moreover, she composes the soundtracks for shorfilms like 'Asco' (2013), 'Foto de Familia' (2014) and 'La Pelota' (2017) by the director Fernando G. Pliego, 'Backwoods' (2016) by Liam Bellamy, 'Operation Freedom' by Kevin Ghee, 'CARNE' (2019) by Camila Kater, 'Souvenir' (2019) by Cristina Vilches and Alina (2021) by Néstor López and Óscar Romero. Her first soundtrack for film is 'Elisa y Marcela' (2019) by Isabel Coixet and produced by Netflix.
Nowadays she courses her PhD about Artificial Intelligence as a compositional tool and the degree in Music History and Sciences.
Photo by Amapola Machuca