What's the range of a viola? 35 yards if you've got a good arm.
The official website of Rita Porfiris, viola and chamber music

Audio samples and Rita Radio!

Some tracks from our CD “Divertimenti”:

“Miller and Porfiris soar through this varied program. During the Fuchs, we note their smooth, rich tones and their two-can-play-as-well-as-one unanimity. Come Toch and Martinů, we hear their color, their fire, their passion. All these aspects are aided by ideal recorded sound; surely, this is how these artists sound. “

— Fanfare Magazine July/Aug 2016

Ernst Toch, “Vivace” Divertimento Op. 37 No. 2, with Anton Miller, violin

Bohuslav Martinu, “Allegro” Duo No. 2, H. 331, with Anton Miller, violin

A few movements from our duo CD  “Eight Pieces:”

“Russian composer Gliere wrote his collection for violin and cello, with the latter’s dark timbre often giving the music a decidedly melancholic tint.  That said, Porfiris’s version for the two higher instruments is also satisfying, especially when violin and viola lightly dance Gliere’s Bach-inspired Gavotte or sing with beautiful warmth in the Russian-tinged Canzonetta.”

— Gramophone magazine, May 2014 –

See more at: http://millerporfirisduo.org/recent_press/#sthash.rcrYBtLJ.dpuf

Gliere, arr. Porfiris “Gavotte,” from Eight Pieces Op. 39 with Anton Miller, violin


 “Confrontacion” for Viola and Orchestra

Lifchitz “Confrontacion”  with North/South Consonance

“Finally there is Max Lifchitz’s Confrontación, composed for and premiered by violist Rita Porfiris in 2006. The powerful single-movement but clearly sectional work packs quite a punch. There’s a long opening viola statement, and successive incidents recall music from the Baroque, though this is in no sense a pastiche. Certainly there may be concerto grosso elements but they’re handled in a sophisticated way. It’s alternately terse, brusque, reflective, and clement. There’s also plenty of percussive vehemence.
Lifchitz is the conductor of the North/South Chamber Orchestra, and directs throughout with admirably persuasive assurance, helped by a fine, unspectacular recorded balance, but one that allows the dynamics of his own piece, for example, to register with clarity. There are good notes, too, and expert performances all around”

—Fanfare magazine, Jan/Feb 2012 –

Live concert recordings

Live at the Tel Aviv Museum, June 2016

Dvorak Piano Quintet,  with Anton Miller and Guy Figer, violins; Hillel Zori, cello, Tal Samnon, piano


Brahms Sonata Op. 120 No 1, Allegro Appassionato, with Scott Holshouser, piano





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