Georgia native Gabriela Diaz began her musical training at the age of five, studying piano with her mother, and the next year, violin with her father.

As a childhood cancer survivor, Gabriela is committed to supporting cancer research and treatment in her capacity as a musician. In 2004, Gabriela was a recipient of a grant from the Albert Schweitzer Foundation, an award that enabled Gabriela to create and direct the Boston Hope Ensemble. A firm believer in the healing properties of music, Gabriela and her colleagues have performed in cancer units in Boston hospitals and presented benefit concerts for cancer research organizations in numerous venues throughout the United States.

A fierce champion of contemporary music, Gabriela has been fortunate to work closely with many significant composers on their own compositions, namely Pierre Boulez, Magnus Lindberg, Frederic Rzewski, Alvin Lucier, Unsuk Chin, John Zorn, Joan Tower, Roger Reynolds, Chaya Czernowin, Steve Reich, Tania León, Brian Ferneyhough, and Helmut Lachenmann. Gabriela is a member of several Boston-area contemporary music groups, including Sound Icon, Ludovico Ensemble, BMOP, Dinosaur Annex, Boston Musica Viva, and Callithumpian Consort. She plays regularly with Winsor Music, Mistral Music, Radius Ensemble, and Emmanuel Music and frequently collaborates with Alarm Will Sound, the International Contemporary Ensemble (ICEensemble), and A Far Cry.

In 2012 Gabriela joined the violin faculty of Wellesley College. Gabriela is a co-artistic director of the much-beloved Boston-based chamber music and outreach organization Winsor Music. Please visit winsormusic.org for more information!

Gabriela’s recording of Lou Harrison’s Suite for Violin and American Gamelan was highlighted in the New York Times Article “5 Minutes That Will Make You Love Classical Music.”

Critics have acclaimed Gabriela as “a young violin master,” and “one of Boston’s most valuable players.” Lloyd Schwartz of the Boston Phoenix noted, “…Gabriela Diaz in a bewitching performance of Pierre Boulez’s 1991 Anthèmes. The come-hither meow of Diaz’s upward slides and her sustained pianissimo fade-out were miracles of color, texture, and feeling.” Others have remarked on her “indefatigably expressive” playing, “polished technique,” and “vivid and elegant playing.”

Gabriela can be heard on New World, Centaur, BMOPSound, Mode, Naxos, and Tzadik records.

Gabriela plays on a Vuillaume violin generously on loan from Mark Ptashne and a viola made by her father, Manuel Diaz.