362 / 540
361
THE ITALIAN LEGACY IN DOMINICAN MUSIC AND CULTURE
In the 1940s, the outbreak of European wars would bring a wave of Spanish exiles, including figures from
the highest cultural echelons (composers, writers, journalists). During this same period, the United States of
America, for its own strategic reasons, would lavishly send the best of its art to its neighbors in the south.
These exchanges would soon be reflected within the Dominican cultural context.
On July 1, 1940, the Dominican government created the General Directorate of Fine Arts, under the di-
rection of Dr. Rafael Díaz Niese, and on August 5, 1941, the National Symphony Orchestra conducted by the
Spanish pianist and composer Enrique Casal Chapí. On March 1, 1942, by means of an Ordinance of the Na-
tional Council of Education, the Musical Lyceum (founded by Ravelo in 1908) would close, and the National
Conservatory of Music and Recital was created, which, beginning on January 13 1942, would be directed by
the renowned German maestro Edvard Fendler. On January 29, 1942, Luis Rivera took the reins as new di-
rector of the Administrative Council Band (former Municipal Band) to replace José de Jesús Ravelo, who had
directed it for over 25 years.
At this new juncture in the cultural arena, and following his retirement, the revered José de Jesús Ravelo
would go on to be considered one of the most significant figures in Dominican music history, not only for his
works, but also his important contributions to education. A major street in the capital bears his name, and the
recital hall of the National Theater was designated as the Sala Ravelo in 1973.
Mary Siragusa
Mary Siragusa studied music at the Liceo Musical and was later a student of the German-Cuban teacher and
pianist Manuela Jiménez, who was based in Santo Domingo in the 1940s.
She was named as professor at the National Conservatory of Music and Recital, following its creation on
March 1, 1941. There she carried out commendable work as an educator and was considered one of the most
fruitful. She served as a teacher for Floralba Delmonte and Miriam Ariza, the two most prominent pianists the
country has produced.
Her performances as a pianist inspired exceedingly enthusiastic comments from critics, who came to con-
sider her as one of the legitimate promises in the art of the keyboard, in which the Dominicans had already
achieved authentic strides. With her limpid, truly virtuous style, she had proven herself a consecrated artist
who knew how to interpret the great classics with evident virtuosity.
In 1947, she performed on the terrace of the Dominican Library in a historic duo recital with her teacher
Manuela Jiménez. Both received generous praise from critics in the field. A year later, in 1948, at the Instituto
Dominico Americano, she returned to play alongside Jiménez and the young pianist Ramón Díaz, Jr. Her last
appearance as a pianist was a four-hand recital for the Music Club, with the pianist Aida Bonnelly, in 1950.
The Spanish critic Alfredo Matilla—who became a resident of Santo Domingo in 1941—
commenting on one of her interpretations of Franz Schubert’s extremely challenging
Impromptu in B-flat
Major
, published the following in his column: “Simple in expression and achieving perfectly all the effects,
Mary Siragusa is now no longer a promise but an evident reality.”
Her disappearance from the stage was probably due to her admirable dedication to married life, which
has given her the satisfaction of transmitting her artistic gifts to two of her children and seeing them become
prominent figures in the Dominican cultural scene.
María de Fátima Geraldes Siragusa
(Pianist)
(Ciudad Trujillo, May 7, 1953). A Dominican pianist and educator. She was a student of Vitalia Félix and Man-
uel Rueda. On August 14, 1973, she presented her graduation concert as a student of piano and advanced mu-
sic courses at the National Conservatory of Music. She completed advanced music course in Florence under
Orazio Frugoni, and at the International Academy of Music and Performing Arts in Vienna under E. Mazek
and H. Medjimorec, specializing in chamber music and accompaniment of the art song and German oratorio.