Hector Olivera - Internationally Acclaimed Concert Organist

On March 9, 2007, Hector performed in Sherman Oaks, CA at the Saint Francis de Sales Catholic Church. Mr. George Boerstler writes:

I so enjoyed hearing Hector perform again, as it had been several years. My wife has heard me speak of his talent frequently, though last Friday was her first time hearing him. Every time we think back to last week’s concert, she exclaims, “It was MAGNIFICENT!” In addition to sharing his music with us that night, Hector also gained a tremendously enthusiastic new fan!

My in-laws, Bill and Frances Wood, had traveled with Hector on his Hawaii cruise a few years back. Bill really piqued my curiosity when he mentioned that Hector played an organ that sounded just like an orchestra. Well, I know organs, and even though Bill is an audiophile and knows what orchestras sound like, I figured he was referring to the Rodgers sound and maybe some of its MIDI capabilities. I was surprised when he said he wasn’t referring to the Rodgers, but rather, the Roland Atelier. That was my first introduction to the Roland, and when I heard Hector perform at the Philly AGO 2002 convention the following summer, I was blown away by its incredible sound and his remarkable talent.

Mr. Boerstler continues .... in review that was e-mailed to members of the Rodgers Users Group

Hello List,

Last night my wife and I attended Hector Olivera’s concert at St. Francis de Sales Catholic Church in Sherman Oaks, CA. I first saw Hector a few years back at the Philadelphia AGO convention (2002) where he performed twice, first at Irvine Auditorium at Penn State on the Roland Atelier alongside another organist on the auditorium’s newly restored 4/162 Austin, exciting the audience with his symphonic orchestrations, then at the convention’s gala dinner event where he again played the Roland, dazzling everyone with a mesmerizing performance, which included, among other pieces, Flight of the Bumblebee. That Bumblebee performance is something I’ll never forget. Anyone who has been at a performance where Hector featured this piece on his program will know what I mean… simply astounding! He brought down the house with that piece, bringing every convention attendee to a standing ovation!

The free concert last night, sponsored by Rodgers Organs, was introduced by Dennis Houlihan, CEO of Rodgers Organs, Roland Corp, USA, and NAMM Chairman. Host for the evening was Dr. Bob Tall, our Rodgers dealer for So. CA. We were in for an evening of technical wizardry and superb musicianship on both the Rodgers and Roland instruments. The instruments were set up in the front of the church, along with extra lighting for the performance. The rear choir loft is already home to a Rodgers 4-manual pipe combination. At one point in the evening Bob Tall joked with the church’s organist, Steven Parks, that arrangement$ could be made to keep the touring black 4-manual in the front, giving the church an enviable status of duo 4-manual Rodgers instruments fore and aft! <grin>

Among Hector’s selections for the evening, performed on the organ were a medley of Henry Purcell trumpet tunes, Bach’s Jesu, Joy of Man’s Desiring and Toccata and Fugue in d minor, Marcel Dupre’s Prelude and Fugue in g minor, his own arrangement of Londonderry Air, and the Widor Symphony No. 5 Toccata. From soft lush strings to full throated diapasons, and tender flutes to triumphant festival trumpets, Hector ably showed off his pride and joy in the touring 1038. Hector’s narration abounded between pieces, describing the console as being designed specifically along lines of the Notre Dame, Paris, Cavaillé-Coll organ. He remarked that it was 90% that of the Paris instrument, lacking only the 5^th manual, noting amusingly that because of his size, he had enough trouble reaching manual IV at the top of the 1038, so a fifth manual would be a waste (not really, though)! We heard the Roland just prior to intermission, and what an amazing sound the Atelier puts out!

After a brief intermission Hector again took to the bench of the Roland for Leonard Bernstein’s Magnificent Seven movie theme and music from Puccini’s Madama Butterfly. There were other selections played too, but as Hector put it, he sometimes likes to make spur-of-the-moment decisions on what he plays, so not having a printed program gives him that luxury, and gives me to rely on my all-too-fleeting memory. I was so overwhelmed with the authenticity of orchestral sounds from his newest touring Roland Atelier, The American Classic, that I just can’t remember each piece he played, but play he did, and the sounds were amazing! Some tunes were just snippets of pieces, like Bach’s Wachut Auf, a-la-Swingle Singers style (remember that vocal group from years ago?). Hector used these vocal samples to demonstrate the velocity sensitivity of the Roland’s keyboards, enabling the performer to get differently-voiced sounds from the same key and stop, depending on how firmly and quickly a key was pressed. That just made us all the more appreciative of his artistry on this unique and remarkable instrument. Think of the dexterity necessary to get several voices simultaneously sounding ooohs and aaahs, doobies, doowaps and doowows that almost had us searching for where a vocal group in the church was being mic’d from — it was that authentic!

To end the concert, Hector returned to the 1038 bench to demonstrate the flexibility of the touring organ. He showed off some sampled sounds, even playing a bit of theater style that was the most authentic reproduction of that style I’ve ever heard on a digital instrument (I played a 3/15 Wurli back in my high school days [late sixties] for Saturday matinees before/after movies)! For his ending piece, Hector used an Apple laptop to merge the Rodgers and Roland instruments on the 1038, playing his orchestral rendition of Ode to Joy, starting with an improvisation that graduated to his Ode arrangement, bringing us all to our feet with tremendous applause and shouts of approval.

Hector’s energy is extremely vibrant, from his trotting out to stage-front following his introduction, to his clenched fist’s “GOT IT!” at the end of demanding pieces, to his anecdotes from performances and notable encounters. He brings an intimacy to his concerts where everyone present feels a connection with him and the music, but most of all one hears in the music and sees in Hector that he SO enjoys what he does. Meeting him again briefly in the reception line afterwards showed him to be gracious and friendly, even after almost 3 hours (yes!!) of performing.

What a night to remember. BRAVO, Hector! BRAVO Rodgers and Roland!

George Boerstler
Sunland, CA
Rodgers Providence 330 and WurliTzer 1921 grand player piano

Hi Hector,

We wanted to a huge thank you for coming to Lodi - what a delightful concert! You had a wonderful mix of melodies and your interjections were funny and kept things moving along nicely. I came with my daughter who has listened to your CD's but never live and she loved it too. Best wishes to you and your "Belgian Waffle". Gratefully, Joan Limnell, Stockton CA

Hi Hector,

As always your concert in San Luis Obispo was fabulous!! I especially loved "Danny Boy", "Rhapsody in Blue", "Don't Cry For Me Argentina". and "Body and Soul" (and your remarks about Bill Clinton). My brother, Don and Helen his wife, were quite impressed. Don is into a lot of music with his clarinet and many of the different saxophones. He couldn't believe that you did all of the drumming. In fact he tried to argue with me about it. But I insisted. I've seen you do it too many times. He commented that you are quite a showman. I agree. That's one of the things that endears you to your audience. I don't blame you for being thrilled with the new organ that you designed. It is fabulous. I know that you will love playing its inspiration in Paris.

Thank you so much for being YOU and sharing your wonderful talent with all of us. I understand that you gave some tremendous workshops on the Hawaii cruise. I'm sorry that I missed them.

'Til next time, Doris Ziegler

It was my privilege last evening to attend an organ recital by Hector Olivera on the new Rodgers 1038 at Union Avenue Christian Church in St. Louis. As always, Hector presented a powerful program that was both diverse and interesting to both organists and those who do not play. He is truly an outstanding organist and communicator, and I'm sure I was not the only one who was sorry to have the evening come to an end.

This 1038 is a wonderful instrument. With basic installation by Dan Hatter and voicing by Gerry Oehring and Ken Kohler, the organ sounds first-class in every respect. It is an excellent testimony to the skill of the Rodgers design team at the factory and to the tremendous abilities of these three men. I did not hear a single sound that I thought could be improved.

Thanks to everyone who had a part in making this event possible. Ken Williams, St. Matthew UMC, Belleville, IL

I just returned from Hector's concert and I'm still feeling the music moving within me. Hector is such a tremendous performer and entertainer. Many people told me Hector was the best organist they have ever heard; others said they were so impressed with his talents, his ability to bring out so many sounds so effortlessly; others like his varied selections. Hector was entertaining, I haven't heard an audience be so responsive and engaged with a performer in a long time. I know I went away feeling like I spent my evening in the best way possible. May your day be bright. Blessings to you, ........ Nancy, Roseburg, Oregon

‘Lieve and Hector are to be commended for planning and executing a near perfect week of classical pipe organ recitals and organ site viewings, coupled with visits to nearly all the most-wanted attractions, topped off with delicious meals amid the wonderful companionship of fellow travelers’
Dr. Phil and Mrs. Nancy Cochran, Paris Tour 2007

I wanted to thank you one more time for the miraculous job you did at organizing such a wonderful whirlwind tour of Paris as well as to make, for your dear husband, such a wonderful experience. It was enough to bring tears to one's eyes to see such artistry and artistic happiness.
Dr. Larry Cook

It was a great way to end a fun tour with really nice people and superb hosts Hector and Lieve. Lieve did most of the organizing and kept the tour people together. She did a fantastic job, it was a most memorable and once in a lifetime trip.
Murry Bubar

For those unable to make the trip, perhaps you will have some understanding of the faraway look that comes to our eyes when talking about "THAT WONDERFUL WEEK IN PARIS"!
Dr. Phil Cochran

Tino and I had a wonderful time with all of you in Paris. Your gracious hostessing was much appreciated.
Dr. William Worden

We're so happy we had the opportunity to experience this memorable event. We thoroughly enjoyed all the "first class" touches that you gave to all segments of the tour. We just can't thank you enough for making this an incredible trip and a great memory forever.
Ray and Judy Gabler

Grant and I had a great time on the Paris trip. You did a fantastic job of preparing for each day. We truly received a royal treatment.
Dr. Grant and Dorothy Bowbeer

I so enjoyed the Paris experience, and what an experience it was. It was a wonderful adventure, and I'm so glad I had the privilege to join you and Hector (and Harry, as well). Not being a professional (or even good) musician, I had wondered if I'd be able to fully enjoy the experience. I can promise you that my fears were totally unfounded.
Mary Jane Morrison

The Washington Post:
"Olivera...entertained his audience with a dazzling display of sonic and technical marvels...the balance and ensemble were fine...Olivera is an engaging performer who clearly has found his particular niche and fills it splendidly"

Marie Maazel, Pittsburgh Youth Symphony:
"...one of the most gifted artists now before the public"

International Organ Festival, Manchester, England:
"It is totally impossible, in print, to adequately describe and do justice to the brilliance of his technique"

La Prensa, Buenos Aires:
"...his interpretation of the 1812 Overture of Tchaikovsky showed his full knowledge of the orchestral score worthy of comparing him to the most celebrated conductors"

American Guild of Organists Magazine:
"...Hector Olivera brought the house down with a stupendous performance. From the moment the organ console rose to the stage, the audience was spellbound"

Portland Press Herald:
"...the audience surged to its feet even before the last chord died away, applauding wildly till Olivera obliged with two encores..."

The Des Moines Register:
"What Victor Borge does for the piano, Hector Olivera does for the organ world."

From the Director of the Massillon, Ohio, Washington High School Vocal Music Department following an April, 2000 concert that the School Chorus & Hector jointly presented to the community - please click here.

From a fan:
"Long Island is still dancing in the aisles after your fantastic concert on Sunday. I knew that you were GOOD but you really outdid yourself on Sunday. The audience was motionless during your performance. No one breathed!!! There are not enough superlatives in the language for people to express their awe of your performance! Truly!, a Hector Fan."

From a fan in Virginia:
"...When the applause and cheers failed to subside, Hector returned to the console and played what might be the encore to end all encores. At the conclusion I turned and looked at faces all around me. People had ear-to-ear grins, some were uttering verbal admiration, and many were simply shaking their heads in disbelief. To call Hector an "organist" is an understatement. He is an extraordinary virtuoso and musician as well as a wonderful entertainer." Rich Blacklock, Reston, Virginia

From the Director of the Massillon, Ohio - Washington High School - Vocal Music Department, and students. Click here

Few artists paint a picture the way Hector Olivera does. Just as an artist's brush strokes help give a picture its form and meaning, Olivera's hands and fingers help create a unique musical "picture" full of sounds and colors. His musical palette includes lush strings, warm bass and woodwinds, timpani and unique special sound effects from his Roland Atelier® organ. When Hector plays his arrangement of "Crown Him With Many Crowns," the orchestra swells and dips dramatically with every moving section. During "I Love Paris," images of motorcars rush by on a cobblestone streets; birds sing and dogs bark, making you feel as if you are actually there. At the point in the movie where William Wallace is sentenced to die in Braveheart, you can see and feel the pain of the moment as Olivera "paints" the scene using his Atelier. When he plays the theme from Titanic, you sense the chaos onboard the sinking ship, amidst the steady pulse of the fateful SOS Morse code cry for help.

As with any true artist, Hector strives to convey the inherent message in the music, no matter what the cost or time commitment. He doesn't just recreate the scores - he studies the parts like an actor would for a leading role. "I have always taken music so seriously that I do as much investigation and study for the recording as possible," says Olivera. "As a matter of fact, when I was recording the Titanic music, I spent three days learning Morse code, because I wanted to recreate exactly the nature of the music from the ship as it sank. The Morse code message tone used on my recording, played from a Roland Atelier, is reproduced exactly as the message was transmitted the night the Titanic sank"

The Argentinean-born Olivera began playing the pipe organ at the age of three, and by the age of five was appointed organist for the Church of the Immaculate Conception. "My father played the organ, and he was my first real influence on the instrument." says Olivera. "At three, I was really too young to make a conscious decision to play the organ on my own, but I was just trying to be like him." But, by the age of six, it was clear the young Hector had a profound musical gift. At that age, he entered the Buenos Aires Conservatory. At 12, he was the youngest student at the University of Buenos Aires, and at 18, he headed the University's organ department. Shortly after that, he served there for three years as the senior improvisational accompanist for the Collegium Musicum in Buenos Aires. In 1965, he was offered a scholarship to the Julliard School of Music in New York.

After finishing school, his reputation began to spread around the globe, and he began a touring and recording schedule that still rivals that of any professional musician. Demand for his dynamic live performances grew, prompting reporters to write reviews such as, "An event, a happening, a joyful celebration of the sheer power and pressure that a true virtuoso like Hector Olivera can unleash in a concert hall."

"I prefer playing live over recording," says Hector, "because, in the recording process, I put myself through extreme agony just to get the music right, and it is very hard work. Playing live is such a joy - it appeals to me because of the feedback and the interaction that I get from the audience. It's still very hard work, but more enjoyable because of the audience." And, in connecting with his audiences, he clearly connects with those who report on and review his performances. Of a recent concert, the Portland Herald said, "He is a born showman with a devastating wit - he works the crowd with a masterful touch most stand-up comics would die for." Of a recent concert in that city, the Atlantic Journal reported, "Olivera swept the audience with absolute Olympic virtuosity, and that still doesn't say it . . . Hector Olivera is in a class by himself."

I have always dreamed of being a conductor," says Hector. "The Roland Atelier Model AT-90R allows this dream to be realized. Every sound of the instrument is pure, uncompromising, and literally puts an entire orchestra at my fingertips. I have toured privately with the AT-90R and have had the opportunity to perform on it at some of the most prestigious concert halls in the world. In addition, the realism of the classical organ sounds have opened many doors to perform classical compositions, written for orchestra and organ, with major symphony orchestras. Indeed, I am honored to say that the Roland AT-90R is my dream organ." (Editors note: Hector endorses and performs on a Roland Atelier organs throughout the world. Check with your Roland Atelier dealer or Hector's Website at www.HectorOlivera.com to learn of Hector Olivera concerts in your area.) While his touring schedule is often quite grueling (last year alone he spent over 300 days on the road traveling around the world to perform), he values the time that he can spend at his new home in Sarasota, on Florida's beautiful Gulf Coast. Just minutes from the beach, Hector and his wife Lieve enjoy the temperate climate afforded by this scenic location. "I really don't like snow, and I'm not a 'winter person," says Hector. "Our home in Sarasota is the perfect place to relax when I'm not on tour."

Even when relaxing at home, Hector remains in the "creative" mode, turning attention to his passion of woodworking. "I love to work with wood, building and creating things" says Hector. "I build things like cabinets and speakers for my home, and this brings me great joy. I recently built a maple cabinet for my home entertainment center, and I'm doing a lot of woodworking for the rooms in our new house myself."

And, believe it or not, he also finds time to pursue another major passion - that of small gauge model railroad trains. "I've found that there is some sort of affinity between people that play the organ and also play with model trains," says Hector. "Don't ask me to explain it," he says, laughing, "because I can't."

Like most of us, Hector also enjoys some of the little pleasures in life. "Possibly one of my greatest joys, especially when I'm traveling, is to go to the hotel room after a concert, kick my feet up and watch a good movie on cable. It's a great way for me to unwind. I really like the action movies and epic movies - I must have watched Bun Hur and The Ten Commandments thousand of times!"

And his overall philosophy of life? "There is always a better way to do something, there is always something better ahead," says Hector. "This keeps me striving for perfection."

What Hector Olivera can do with his feet practically defies verbal description. I heard it live and witnessed it from perhaps seven feet away, and it's still difficult to comprehend. For his final scheduled piece in the tribute concert to Virgil Fox Saturday night at St. Paul the Apostle in New York City, Hector was given the theme from Our God, Our Help In Aged Past and asked to play an improvisation. When he saw the page in the hymnal, Hector smiled and said, "Vigil Fox is going to love this." What followed was approximately 12 minutes of some of the most incredible organ playing I've ever heard. During the last three or four minutes Hector worked in the Middelschulte Perpetuum Mobile that sounded more like variations on that tune than on the stated theme. I was literally seven feet from Hector, just to his right, and had the best possible view of the pedal board. His feet were nearly a blur as they raced up and down the pedals with incredible speed and precision. At the finale Hector was playing the big chords from "Our God" in the hands, pausing between each note, while his feet were racing over the pedals winding up the Middelschulte. With the organ at full tilt, and the magnificent "Paulisten Posaune" singing over top of it all, Hector brought it all together in a brilliant and absolutely stunning climax. Yeah, I had goose bumps !

The jacket notes accompanying Virgil Fox's Christmas Album recorded on the St. Paul Möller in 1965 say that the organist has to play the building as much as play the organ. Well, after all these years and visiting St. Paul's for the first time, I understand that statement. As glorious and magnificent as the Möller sounds in with all that reverberation, it's just too much for most music. Sounds get lost. But Hector truly made the most of it, often pausing at strategic moments in the various pieces to let the just-played chords die out a bit before introducing the next ones. Still, it was an absolute delight to hear that organ in that building.

Hector began the concert with a quite Bach chorale prelude, Beloved Jesus in what seemed to me to be a prayer offered in memory of Virgil. Hector mounted the bench, bowed his head for a few seconds, then began the chorale. Without applause Hector went right into the Passacagaglia and Fugue in C Minor. About half-way through that piece I realized that I was watching Hector too much from my ground-zero position and had to close my eyes in order to concentrate on the music. The next piece, which led to intermission, was Caesar Franck's Grand Piece Symphonique - all 28 minutes of it as Hector said. We must have heard every voice on that organ during this magnificent rendition.

The first piece after intermission was the Liszt Fantasy and Fugue on Ad Nos Ad Salutarum Undam which is probably my all-time favorite organ composition. Virgil Fox credited Camille Saint-Saëns as saying this is the greatest composition ever written for organ. Virgil adds, "...since Bach !" But I think I agree with Camille. Hector's performance was a stunning "presentation" in every sense of that word. The pedal work on this piece is incredibly demanding, and Hector really nailed it. You simply have to see him up close and hear it to appreciate it fully. With the organ running full and the eight-foot Paulist Post Horn blazing through the other ranks, Hector (and Franz Liszt and that Möller) produced one of the most fantastic climaxes anyone could ever hope to hear.

	Critical Acclaim
In the background (depending on your bandwidth) you can listen to Hector's arrangement of the Trumpet Tune - Air - Voluntary. Available "Encore Hector" CD - Click here for information For a complete CD/DVD listing, Click Here