Osvaldo Golijov, born December 5, 1960, grew up in an Eastern European Jewish household in La Plata, Argentina. Born to a piano teacher mother and physician father, Golijov was raised surrounded by classical chamber music, Jewish liturgical and klezmer music, and the new tango of Astor Piazzolla. After studying piano at the local conservatory and composition with Gerardo Gandini he moved to Israel in 1983, where he studied with Mark Kopytman at the Jerusalem Rubin Academy and immersed himself in the colliding musical traditions of that city. Upon moving to the United States in 1986, Golijov earned his Ph.D. at the University of Pennsylvania, where he studied with George Crumb, and was a fellow at Tanglewood, studying with Oliver Knussen.

In the early 1990s, Golijov began to work closely with two string quartets, the St. Lawrence and the Kronos. Both ensembles were the earliest to project Golijov's volatile and category-defying style in its true, full form. In 2002, EMI released Yiddishbbuk, a Grammy-nominated CD of Golijov's chamber music, celebrating ten years of collaboration with the St. Lawrence String Quartet, featuring clarinetist Todd Palmer. The Kronos Quartet released three recordings featuring their collaborations with Golijov: The Dreams and Prayers of Isaac the Blind, featuring David Krakauer, as well as Caravan, and Nuevo. Kronos also expanded Golijov's musical family through collaborations with artists such as the Romanian Gypsy band Taraf de Haidouks, the Mexican Rock group Café Tacuba, tablas virtuoso Zakir Hussain, and legendary Argentine composer, guitarist and producer Gustavo Santaolalla, with whom Golijov continues to collaborate. For the past decade Golijov has been inspired by the voice of Dawn Upshaw, for whom he composed several works, including the Three Songs for Soprano and Orchestra, the opera Ainadamar, the cycles Ayre and She Was Here, and a number of arrangements.

In 2000, the premiere of Golijov's St. Mark Passion took the music world by storm. Commissioned by Helmuth Rilling for the European Music Festival, to commemorate the 250th anniversary of J.S. Bach's death, the piece featured the Schola Cantorum de Caracas, with the Orquesta La Pasión. For the premiere of Ayre, Golijov founded another virtuoso ensemble, The Andalucian Dogs. Together with Dawn Upshaw, they premiered the piece at Zankel Hall in 2005. The 2006 recording of the opera Ainadamar earned two Grammy awards, one for best opera recording and one for best contemporary composition.

Golijov has received numerous commissions from major ensembles and institutions in the U.S. and Europe. He is the recipient of a MacArthur Fellowship and the Vilcek Prize among other awards. He collaborates closely with directors Francis Ford Coppola and Peter Sellars who staged sold-out and critically acclaimed runs of Ainadamar at the Santa Fe Opera and Lincoln Center.

In 2007, he was named first composer-in-residence at the Mostly Mozart Festival. He is currently co-composer-in-residence, together with Marc-Anthony Turnage, at the Chicago Symphony. He has also been composer-in-residence at the Spoleto USA Festival, the Los Angeles Philharmonic's Music Alive series, Marlboro Music, Ravinia, Ojai, Trondheim and Holland festivals. Golijov is Loyola Professor of Music at College of the Holy Cross in Worcester, MA, where he has taught since 1991. He also taught for several years at Tanglewood, has led workshops at Carnegie Hall with Dawn Upshaw and teaches in the summers at the Sundance Composers Lab.

Recently completed compositions include the soundtracks for Francis Ford Coppola's Youth Without Youth and Tetro; Azul, a cello concerto for Yo-Yo Ma and the Boston Symphony; Rose of the Winds, premiered by the Silk Road Ensemble and the Chicago Symphony under Miguel Harth-Bedoya; and She Was Here, a work based on Schubert lieder premiered by Dawn Upshaw and the Saint Paul Chamber Orchestra. Future works include a new song cycle for Emanuel Ax, Dawn Upshaw and Michael Ward-Bergeman; a new opera, commissioned by New York's Metropolitan Opera; a violin concerto for Leonidas Kavakos, co-commissioned by the Los Angeles Philharmonic, Berlin Philharmonic and London Symphony, to be premiered under Gustavo Dudamel in Los Angeles and Simon Rattle in Berlin; a new work for the St. Lawrence String Quartet, and a chamber orchestra piece commissioned by a consortium of 35 American orchestras in honor of Henry Fogel.

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Production underwritten by Ms. Barbara Augusta Teichert.
Additional support provided by the General Director's Council.
Co-production from the Fundación Ópera de Oviedo, Festival Internacional
de Música y Danza de Granada, and Festival Internacional de Música de Santander
Audio excerpts from Osvaldo Golijov’s Ainadamar (Prensa Festival de Granada, 2011; Corrado Rovaris, conductor). Featuring Marina Pardo (Lorca), Maria Hinojosa (Margarita Xirgu), Carmen Romeu (Nuria), Alfredo Tejada (Ramón Ruiz Alonso). Excerpts include: the opera’s opening Water and Horse Prelude; Young women sing the open chorus from Lorca’s play Mariana Pinedaas Margarita Xirgu reminisces about the play as we hear guitars strum in the orchestra. Margarita says “What a tragedy when young flesh is torn and gushes a torrent of hot blood.” In “A La Habana” (To Havana) Margarita tries to entice Lorca to join her theatrical troupe on a tour to Cuba. “A la Habana, y yo” (To  Havana, you and I), they say.  Then, we hear a portion of the “Interludio de Balazos y Lamento por la Muerte de Federico” (Interlude of Bullets and Lament for Federico’s Death) as a flamenco singer cries “Oh my God, what a great shame! Federico died!”  Margarita sings to Federico’s spirit that she has kept him alive in Latin America although his works have been banned in Spain. The excerpts end with rhythmic determined music of the opera’s final scene. Selections courtesy of Prensa Festival de Granada.