Born in 1976 in Yuty, Caazapá Department, Marcelo Rojas is one of Paraguay’s most celebrated harpists. Raised in a family of musicians (his father and grandfather were both harpists) he was introduced to the Paraguayan harp at age ten and received his first lessons from his father.
In 1996, Rojas moved to Asunción to refine his technique under the tutelage of the renowned harpist VÃctor Simón. He later studied with other acclaimed musicians in Brazil, Argentina, and Uruguay, developing a rich and versatile musical foundation.
Since launching his solo career in 1998, he has performed around the world, making appearances in Japan, Australia, the United States, France, Italy, Mexico, and many other countries. He has represented Paraguay at major festivals and conferences, often serving as both performer and judge. Notable engagements include collaborations with the Symphonic Orchestra of Asunción and the National Congress Symphony Orchestra, as well as a performance at the Smithsonian Folkways Festival in Washington, D.C., where he presented his album Maiterei América: Harps of Paraguay.
Rojas is known for blending the traditional sounds of the Paraguayan harp with contemporary influences to create a style that honors cultural heritage while embracing innovation. His original compositions, such as "Hechizo del Itakarú" and a polka written for his daughter, draw deeply from his personal and national identity. His discography includes Arpa Joven and Maiterei América, among at least four albums that showcase his technical prowess and artistic vision.
A strong advocate for cultural preservation, Rojas is dedicated to mentoring young musicians and preserving the legacy of the Paraguayan harp. Often referred to as an ambassador of Paraguayan music, Rojas continues to promote the national instrument and its evolving role on the world stage.
The Paraguayan harp is considered the country’s national instrument. It originated from the European harps that Jesuit missionaries introduced in the 17th and 18th centuries. Modern versions have a three-part design—head, arm, and body—and are constructed without permanent joints. They have a long conical soundbox and oval sound holes on the back. Rojas’s mastery of this unique instrument has introduced its distinctive sound to international audiences.
