Country Chile

Discipline Music

Recomended for +7

Language Spanish

Dates January 3, 20:30

La Regia Orquesta Sextet and Valentín Trujillo present De la pérgola a la negra, a musical journey involving two Chilean twentieth century musical theater classics: La pérgola de las flores (1960) by Isidora Aguirre and composer Francisco Flores del Campo and La negra Ester (1988) by Roberto Parra, adapted and directed by Andrés Pérez and with music by La Regia Orquesta. These two love stories aim to give a voice to the underprivileged, who want to bring hope to the country by force. Songs such as La pérgola de las flores, Yo vengo de San Rosendo and La revuelta share the stage with Jazz guachaca, La Negra Ester, Japonesita and many other melodies that run the gauntlet of Chile’s theater history. Both pieces dignify the marginalized, exposing their complexities, simplicity and beauty, constructing identity and referencing popular Chilean music from the past. The participation of Valentín Trujillo is fundamental to this piece, since he was privileged enough to have lived through the musical and theatrical periods that are referenced.

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Mariana Muñoz


An actress, director and teacher, her work has been influenced by her collaboration with the masters Andrés Pérez Araya, Andrés del Bosque and Juan Radrigán. Her work as a director has been characterized by research based on the alignment between theater, music, working-class environments and humor. One of her most outstanding pieces is Amores de cantina by Juan Radrigán.


Regia Orquesta Sexteto

With an original line up of Cuti Aste, Jorge Lobos and Álvaro Henríquez, this group created the original score for the play La negra Ester (1988), which included songs by Roberto Parra and a selection of popular Latin American music. This play caused a change in Chilean music and theater as Parra’s work became more well known, including his huachaca style of jazz and cueca chora dances. The current lineup includes original members Guillermo Aste and Jorge Lobos, as well as Marcelo Salinas, Roberto ‘Titae’ Lindl and Juan Pablo Bosco.


Valentín Trujillo

(Chile, 1933)

A pianist and arranger, in the words of journalist Marisol García, he’s considered “one of the key popular Chilean musical arrangers, both of recordings and large-scale concerts”. His work has ranged from classical to popular and he has collaborated on records by important artists, including Cecilia, the Ángel Parra Trío, Vicente Bianchi and Arturo Gatica. His involvement in television programs such as Pin Pon and Sábados Gigantes has made him a household name.

Musical director

Guillermo “Cuti” Aste

(Chile, 1965)

A player of multiple instruments, as well as a composer and arranger, he’s had a long career as part of the local music scene. He’s been a member of bands such as Javiera y Los Imposibles, Los Mismos and Electrodomésticos and is currently a member of Los Tres. He’s also done musical theater, with his work on La negra Ester particularly standing out, in which he directed and was a member of La Regia Orquesta. His career has been highly versatile: he’s explored genres such as electronic music, pop, background music and rock.

General director and script Mariana Muñoz | Accordion, singer, arrangements and musical director Guillermo Aste | Trumpet, accessories, coordination and production Jorge Lobos | Double bass Roberto Lindl | Drums Juan Pablo Bosco | Guitar Marcelo Salinas | Piano Valentin Trujillo | Sax and clarinet Andres Perez | Trombone Alfredo Tauber | Cello Angela Acuña | Violin Daniela Rivera | Singer Ema Pinto | Singer Omar Lavadie

  • This is a concert that brings together Chilean musical from the past, reinterpreting two of the most important Chilean musical theater plays of the twentieth century. La pérgola de las flores was created by Isidora Aguirre and composer Francisco Flores del Campo that was premiered on April 9, 1960 at the Teatro de Ensayo at the Catholic University and was directed by Eugenio Guzmán. La negra Ester is a play by Roberto Parra that was adapted and directed by Andrés Pérez Araya with music by La Regia Orquesta, premiered at the Gran Circo Teatro on December 9, 1988.

  • These emblematic shows will both be celebrating in 2019. First of all, a hundred years since the birth of Isidora Aguirre, one of the most important figures in Chilean national theater, will be commemorated in March 1919. At the same time, it will be 30 years since the premiere of La negra Ester in December 1988, a play that managed to bring folklore closer to young people at the time and create a new sense of cultural identity.

  • This piece revisits two creations that are linked by the need to return to our working-class roots in two different dramas that tackle social problems in the context of a love story. On one hand, there’s the story of Chile’s San Francisco flower market, which was at risk of being demolished in 1929, leading to social unrest at the same time as Carmela and Tomacito fall in love. She’s from a southern town and he’s from the north, both places where the flowers sold in the market come from. On the other hand, there’s the impossible love story between a prostitute called Ester in the port of San Antonio and Roberto, who plays his guitar in bars.

  • Both pieces make reference to popular Chilean music from the past, such as the cuplé (imported from Spain), sentimental tunes, the zamacueca, the cueca, the charleston, guachaca jazz, the fox-trot, the tango and the bolero. All these are played by an orchestra comprising of a piano, accordion, trumpet, double bass, drums, percussion, guitar, sax, clarinet, trombone, cello and violin, as well as singers.

  • The musical soirée involves a program divided into two parts, each one corresponding to one of the plays. It includes a selection of songs chosen to remember and celebrate the common ground between the two productions. The original compositions from each show have been adapted to merge the two, so that the musical journey moves freely from one memory to the other - from La pérgola to La negra and vice versa.

  • The great Valentín Trujillo was privileged enough to live through these musical-theatrical periods, being closer to their sources than anyone else. An example of this is his close friendship with composer Francisco Flores del Campo, from whom he inherited the piano on which he composed La pérgola de las flores. For this reason, the show allows Trujillo to be consulted by the other musicians present and to respond either in words or music.
  • La pérgola de las flores. As well as being a milestone in local theater history, this musical play, premiered in 1960, was also one of the first pieces of its kind to enjoy success abroad. Written by Isidora Aguirre with music by Francisco Flores del Campo and starring Carmen Barros, Ana González and Silvia Piñeiro, the play fuses a love story with the social and urban unrest of 1920s Chile, marked by the clashes between the underprivileged and the upper class. It has been adapted for film and television and is still one of the most successful and popular pieces in theater history.

  • La negra Ester. A Chilean theater classic premiered in 1988, this tells the love story between guitarist Roberto and Ester, a prostitute. Directed and adapted by the great Andrés Pérez, the play was inspired by the poetry of unforgettable Chilean folklorist, Roberto Parra and marked a milestone on the local scene because of its poetic nature and specific esthetics. Set in a brothel in the port of San Antonio, La negra Ester not only went down in history for its unprecedented theatrical success but also because it recognizes the value of working-class culture. Over its 30 year history, it’s been performed throughout Chile, as well as in countries such as the United States, Mexico, Argentina, Cuba, Canada and England.