Nino Cordero Concert guitarist performing Brazilian solo guitar repertoire.

For solo guitar, a small, quiet performance area is enough (approx. 2m x 2m). I can play acoustically in intimate rooms; for larger or noisier spaces, a simple amplification is recommended (1 vocal mic on a boom stand OR a DI/amp input, depending on the venue).
Please provide: a stable chair (no armrests), good lighting, and one nearby power socket if amplification is used. A short soundcheck (10–15 minutes) is appreciated. For duo/trio, requirements are similar, with additional mics/DI lines as needed.

Full address; performance start time and set schedule; expected audience size, and whether the event is a listening concert or background setting; any volume limits/sound policy; and what sound system is available (PA, mixer, speakers, microphones/stands, DI).
If outdoors, please confirm weather cover and a safe, dry area for instruments/equipment.

I can perform acoustically for small, quiet rooms. For amplified setups, I’m happy to plug into the venue’s PA (mic or DI). If needed, I can bring a small, simple amplification setup suitable for intimate venues (please mention this in advance so I can confirm availability). Basic lighting is usually provided by the venue; for house concerts, normal room lighting is typically sufficient.

Yes — I can play suitable background music before and between sets if the venue has a sound system with an aux/Bluetooth input. I’m happy to choose music in a similar style (Brazilian instrumental / acoustic) or follow a playlist provided by the client.

One of my favourite performances was an intimate “pocket concert” connected to a photography exhibition at Museum Cobra—a focused listening atmosphere where the audience could really follow the nuances of solo guitar.

As a venue experience, I also loved performing at Stroomhuis Neerijnen: a beautiful concert setting with great acoustics and an attentive audience (my profile picture was taken during that concert).

Of course I love intimate listening settings such as house concerts, small halls, galleries and museums, where the audience can fully focus on the details and colours of the guitar.
That said, I also enjoy elegant background performances in charming, respectful spaces—such as refined cafés or theatre cafés. For example, I’ve played several times at Café DeLaMar (in the café of the theatre), providing a one-hour set after the main theatre show, in a warm and sophisticated atmosphere.

I started performing by sharing Brazilian instrumental guitar repertoire in small cultural venues and intimate settings, gradually building a network through collaborations and word of mouth. Over time I’ve played solo and in small ensembles for private events, gallery/museum contexts and refined venues. I’m currently based in Rotterdam and continue to develop concert programmes centered on Brazilian solo guitar tradition, adapting each performance to the space and audience.

I’m most influenced by the Brazilian guitar tradition—especially Garoto, João Pernambuco, and Raphael Rabello—as well as contemporary masters like Alessandro Penezzi and Yamandu Costa. If I had to choose one favourite, Garoto is a constant reference: his creativity and innovation helped shape the language of Brazilian instrumental music and paved the way for the harmonic and rhythmic sophistication that later flourished in bossa nova and beyond. In January, I’ll be in Rio de Janeiro recording a solo guitar album entirely dedicated to Garoto’s music. Choosing the “greatest song of all time” is impossible, but I’m always drawn to music that combines strong melody, subtle harmony and deep rhythmic feel.