About Cristina Pato
Cristina Pato is one of the foremost talents in the world on the Galician gaita, a Northern Spanish variety of bagpipe. Internationally acclaimed as a Gaita master and classical pianist, Cristina Pato enjoys an active professional career devoted to both Galician popular and classical music. Her dual careers have led to performances throughout major stages throughout the world, including USA (Carnegie Hall, Lincoln Center), India (Kamani Auditorium), Jerusalem (Jerusalem Festival), Angola, China, Corea, Portugal (Festa do Avante), Brazil (Liszt Festival), UK (Celtic Connections), France, Italy (Etnofestival), Germany, Mexico (Palacio de Bellas Artes) and her native Spain.
An active recording artist and performer since age 12, Ms. Pato has released four solo Gaita recordings, two as a pianist and has collaborated in more than thirty recordings as a guest artist, including the Grammy award winner “Yo-Yo Ma and Friends; Songs of Joy and Peace” (SONY BMG 2008), the “Miles Español: New Skectches of Spain” album and the Grammy nominated Silk Road Ensemble album “Off the Map”(World Village 2010). Ms. Pato has given more than 500 concerts with her own band many of them recorded and broadcasted by television stations such as BBC, TVG, CNN and RTVE, and she has been praised by newspapers as The New York Times, El Pais, La Voz de Galicia or The Scotsman.
Check two of her songs on her Recording Label, Sunnyside Records’ website
What Other People Have Been Saying...
“the Galician bagpipe diva” – BBC
Ms. Pato’s sound is unlike any bagpipe playing you’ve heard: imagine the timbres of an oboe, a metal-ready electric guitar and a screaming trumpet rolled into a single, virtuosic burst of energy” – New York Times
“Pato certainly represents the most futuristic face of Galician traditional music” -The Scotsman
“Ms. Pato will amaze you. Her playing dismisses any notion of a square, martial quality, infusing almost constant exotic coloration, finding entire ranges of microtones between pitches and bending one into another…” -New York Times