Tenerife Baroque Orchestra

Auditorio de Tenerife, que depende del Área de Cultura, Educación, Juventud, Museos y Deportes del Cabildo insular de Tenerife, que dirige la consejera Concepción Rivero, presenta este jueves [día 17] a las 19:30 horas el primer concierto de la temporada su Ciclo de Cámara. Al cappone, de la Orquesta Barroca de Tenerife, agotó durante el fin de semana las entradas para este concierto, un homenaje a los castrati, el canto operístico barroco del siglo XVIII, que contará con el contratenor italiano Filippo Mineccia.

La formación, que tocará en la Sala de Cámara, contará en esta ocasión con Alfonso Sebastián como clave y director invitado. Por primera vez la violinista Judith Verona hará de concertino, mientras que Laura Díaz será el violín barroco I. Sergio Suárez y Giovanni Déniz se encargarán de los violines barrocos II, mientras que las violas barrocas sonarán de las manos de Víctor Gil y Melchor García. Completan las filas de la orquesta Diego Pérez al violonchelo barroco, Juan Carlos Baeza al violone y Jorge Rubiales a la tiorba. El broche de oro lo pondrá la voz de Mineccia

Este programa titulado  Al cappone no alude al famoso gánster estadounidense sin la doble pe, sino al mundo sonoro de los castrati  que cantaron los mejores roles de las óperas barrocas, producto de la historia. El director artístico de la Orquesta, Conrado Álvarez, explica que la voz del invitado especial de la noche “emula, con todo intacto, a los capones o castrati, invento del Imperio Romano de Oriente para los coros bizantinos de Constantinopla, desde el siglo IV hasta siglo XIII, en desuso tras la cuarta cruzada, que brotó con fuerza en el Renacimiento llegando a su apogeo, de la mano de la ópera, nell'ottocento y al declive en las postrimerías del siglo XIX”.

“Es bueno recordar que el canto de falsete existe en la naturaleza humana desde siempre  y que la técnica del falsete coexistía con los eunucos músicos desde la Edad Media, pero las exigencias de las partes vocales escritas por los autores barrocos necesitaba de la potencia, la presión sonora y, sobre todo, de la extrema extensión de la tesitura de los cantantes masculinos castrados”, explica Álvarez.

Se ruega al público llegar al recinto con antelación suficiente para realizar una entrada escalonada a la sala. La compra de las entradas supone la aceptación de las medidas implementadas por el centro cultural del Cabildo para hacer frente a la COVID-19, como el uso de la mascarilla o la asistencia solo con convivientes. Las medidas al completo, así como el plan de contingencia certificado por AENOR, se pueden consultar en la web del Auditorio. Tanto la cafetería GastroMag como el parking están disponibles.

Filippo Mineccia nace en Florencia y comienza sus estudios en la Escuela de Música de Fiesole, cantando desde niño en el coro polifónico con voz blanca. Obtiene las licenciaturas de violonchelo y canto en el Conservatorio Luigi Cherubini de Florencia.

Ha trabajado con grupos especializados y orquestas historicistas de toda Europa cantado con directores como: A. Viktora, A. Curtis, A. Florio, C. Ipata, C. Aragon, C. Cavina, D. Coleman, E. Onofri, F. M. Bressan, G. Rufet, J. U. Illán, M. Valdivieso, M. Mazzeo, M. Hofstetter, O. Dantone, R. Jais y T. Engelbrock.

Domina un amplio repertorio como solista y principales papeles tales como Giulio Cesare, Sila,  Ottone de las óperas de Handel, el Alessandro de Tolomeo y Dárdano de Amadigi, el Telamone de Ercole su’l Termodonte de Vivaldi, el Nerón de Ottavia restituita al trono de A. Scarlatti, Le disgrazie d’amore de Cesti, el Tamerlán de Bajazet de Gasparini o Fairy Queen de Purcell.

Cuenta con numerosas grabaciones y entre sus futuros compromisos, todos con formaciones historicistas europeas, se encuentran la Capilla de La Pietà de Turchini, la interpretación de Tolomeo en la ópera Giulio Cesare con la Academia Bizantina, o recitales dedicados a la figura del castrado Giovanni Francesco Grossi Siface, con la Orquesta Nereydas y la interpretación de Endimione en la ópera Calisto de Cavalli en Estrasburgo.

The Orquesta Barroca  de Tenerife, resident at Auditorio de Tenerife, which is under the Department of Culture, Education, Youth and Sport of the Cabildo de Tenerife, led by Councillor Concepción Rivero, presents the concert Mulieribus (Women, in Latin) on Thursday, the 12^th at 7:30 pm. With this programme, this young ensemble pays tribute to the performers at Ospedale della Pietá in Venice and to the maestros who during the Baroque period built a better world through music.

At 11:00 am on the same day, there will be a session adapted to primary school children that will be attended by 419 students from four schools of the island. The musicians will talk about the peculiarities and mysteries of the Baroque music they play with historical instruments.

The concert features Orquesta Baroque  de Tenerife’s leader of the orchestra and conductor, Adrián Linares plus a cast of female performers: Lorena Padrón and Laura Díaz, Baroque violins I; Judith Verona, Alexandra López and Raquel Sobrino, Baroque violins II; Leticia Moros and Alaia Ferrán, Baroque violas; Elsa Pidre, Baroque cello; Calia Álvarez, viola da gamba; Silvia Jiménez, violone; and Talía Franco, harpsichord.

Tickets can be purchased through Auditorio de Tenerife’s usual sale channels: at the box office from 10:00 am to 7:30 pm, Monday to Saturday except holidays; via www.auditoriodetenerife.com  or calling 902 317 327.

The Venice of the time was a cosmopolitan city full of contrasts and social differences. The projects for social inclusion and to support the population in their most basic needs included charitable organizations that, through education, trades, handicrafts and tasks provided training for abandoned children to redirect their lives towards a brighter future.

One of the four main hospices was the Ospedale della Pietá, where one of the major music “conservatoires” of the Europe of the time was established. In the abundant letters which are kept at different libraries, we have evidence of the music heritage they left and the excellence of the performers, who filled the salons with famous concerts during most of the Venetian Baroque and Rococo periods.

According to Walter Hill, in Vivaldi’s lifetime, the maestri di coro della Pietá were Francesco Gasparini, Carlo Luigi Pietragrua, Giovanni Porta, Gennaro D'Alessandro, Nicola Porpora and Andrea Bernasconi. Before them, Johann Rosenmüller held this position. That is why tonight’s performance starts with a piece by this composer.

Conrado Álvarez, artistic director of the Orquesta Baroque de Tenerife, stated that “the excellent technical skill and the command of the Italian style of these female performers, who were educated at la Pietá, is clearly evident in the works chosen for this evening, which were expressly composed for them. The pieces show the distinguished laboratory and the interpretative scale and accuratezza of Italian music of the time.”

The Festival de Música Antigua de Tenerife (Fimante) [Tenerife Early Music Festival] has scheduled two admission-free concerts this weekend. The concerts are part of the programme Christmas Baroque Music (Barocke Weihnachtsmusik) by the Orquesta Barroca de Tenerife. The first one is taking place on Saturday, the 14th at 7.00 pm in the  Iglesia Nuestra Señora de la Merced de El Médano, in Granadilla de Abona, and the second one is on Sunday, the 15th at 5:00 pm in the Iglesia Nuestra Señora de los Remedios, in Buenavista del Norte.

The ensemble resident at Auditorio de Tenerife will play the German Baroque music repertoire they premiered on Thursday, the 12th at the Sala de Cámara of this Cabildo’s cultural venue.  The event was attended by 300 people and it featured Zaragoza-born Alfonso Sebastián as harpsichord and guest conductor in addition to the voice of the prestigious British soprano Dame Emma Kirkby, (DBE).

In addition to Kirkby and Sebastián, the orchestra also includes Adrián Linares, Baroque violin and leader of the orchestra; Lorena Padrón and Laura Díaz, violins I; Sergio Suárez, Leo Rossi and Giovanni Déniz, violins II; Iván Sáez and Melchor García, violas; Fernando Santiago, Baroque cello; Juan Carlos Baeza, violone; Juan Carlos de Mulder, theorbo; and Hugo Rodríguez, bassoon.

The Barroca is performing works of the vocal catalogue of the so-called German Baroque music. The best biblical, religious or spiritual texts were used to create the corpus of cantatas and oratorios exalting the Joyful episodes, extoling the Glorious and acclaiming the Painful.  They are each a case of high creative sharpness as you will listen for yourself in this selection.

The Cantata is one of the best representatives of the sound laboratory of the Baroque. As opposed to the Sonata, whose instrumental flow is full of tonal arguments and skilful discourse -especially in the violin scales- the Cantata developed, in all the possible vocal tessituras and with the help of colourist accompaniment, a new way of understanding texts and poetry, which was unheard of in the History of Music.

At the same time as Opera and Oratorio, from its very beginnings in the 17th century, it gradually enriched the repertoire across Europe, until it reached its height in the early 18th century, reaching the late Baroque with the beautiful and bold compositions of D. Buxthuede, G. P. Telemann and J.S. Bach. The artistic director of the ensemble, Conrado Álvarez, revealed that “the Orquesta Barroca de Tenerife has programmed examples of these skills to celebrate Christmas”. In addition to vocal skills, this programme also includes instrumental practice of Rosenmüller’s, Muffat’s and J.C.F. Fischer’s workshop.

The Orquesta Barroca de Tenerife is giving at 7:30 pm on 12 December the concert Baroque Christmas Music (Barocke Weihnachtsmusik) at Auditorio de Tenerife’s Sala de Cámara. The ensemble resident at the Auditorio de Tenerife brings a programme of German Baroque music with Zaragoza-born Alfonso Sebastián as harpsichord and guest conductor plus the voice of British soprano Dame Emma Kirkby, (DBE).

The Barroca is performing works of the vocal catalogue of the so-called German Baroque music. The best biblical, religious or spiritual texts were used to create the corpus of cantatas and oratorios exalting the Joyful episodes, extoling the Glorious and acclaiming the Painful.  They are each a case of high creative sharpness as you will listen for yourself in this selection.

In addition to Kirkby and Sebastián, the orchestra also includes Adrián Linares, Baroque violin and leader of the orchestra; Lorena Padrón and Laura Díaz, violins I; Sergio Suárez, Leo Rossi and Giovanni Déniz, violins II; Iván Sáez and Melchor García, violas; Fernando Santiago, Baroque cello; Juan Carlos Baeza, violone; Juan Carlos de Mulder, theorbo; and Hugo Rodríguez, bassoon.

Tickets can be bought through Auditorio de Tenerife’s usual sale channels: at the box office from 10:00 am to 7:30 pm, Monday to Saturday except holidays; via www.auditoriodetenerife.com  or calling 902 317 327.

At 11:00 am that morning, Auditorio de Tenerife’s Educational Area will give a concert with  400 schoolchildren from the third to the fifth year of Primary school and Aula Enclave for students with special educational needs. This is a special music session of this Orquesta Barroca’s programme that will be attended by children from five different schools in Arona, Güímar, La Laguna and La Orotava.

The Cantata is one of the best representatives of the sound laboratory of the Baroque. As opposed to the Sonata, whose instrumental flow is full of tonal arguments and skilful discourse -especially in the violin scales- the Cantata developed, in all the possible vocal tessituras and with the help of colourist accompaniment, a new way of understanding texts and poetry, which was unheard of in the History of Music.

At the same time as Opera and Oratorio, from its very beginnings in the 17th century, it gradually enriched the repertoire across Europe, until it reached its height in the early 18th century, reaching the late Baroque with the beautiful and bold compositions of D. Buxthuede, G. P. Telemann and Bach. The artistic director of the ensemble, Conrado Álvarez, revealed that “the Orquesta Barroca de Tenerife has programmed examples of these skills to celebrate Christmas”. In addition to vocal skills, this programme also includes instrumental practice of Rosenmüller’s, Muffat’s and Fischer’s workshop.

As part of the Festival de Música Antigua de Tenerife (Fimante) [Tenerife Early Music Festival] this same programme will be played in two further concerts: on Saturday, the 14th at 7:00 pm in Iglesia Nuestra Señora de la Merced in El Médano (Granadilla de Abona); and on Sunday, the 15^th at 5:00 pm in the Iglesia Nuestra Señora de los Remedios, in Buenavista del Norte.

The Orquesta Barroca de Tenerife is giving tomorrow, Thursday the 12th at 7:30 pm in Auditorio de Tenerife’s Sala de Cámara the first concert of their third season, Tulipanes barrocos, [Baroque Tulips] featuring Jacques Ogg as guest conductor and harpsichord. In their first concert, the ensemble resident at Auditorio de Tenerife pays tribute to Dutch good taste, which has come down to them straight from the Baroque period, with music by Unico van Wassenaer, Willem de Fesch, Antonio Vivaldi, Pietro Locatelli and Jean-Marie Leclair.

Apart from the Dutch maestro, other members of the group include Adrián Linares, Baroque violin and leader of the orchestra; Lorena Padrón and Laura Díaz, violins I; Judith Verona, Mario Braña, and Giovanni Déniz, violins II; Iván Sáez and Melchor García, violas; Elsa Pidre, Baroque cello; Juan Carlos Baeza, violone; Raquel García, organ; Pablo Sosa, flute; and Hugo Rodríguez, bassoon.

The Orquesta Barroca de Tenerife, who joined the Education and Social Area of Auditorio de Tenerife with a concert for school children, is again offering an activity at 11:00 am on Thursday for a group of 140 elderly people who are part of the Cabildo’s social programme Ansina and the Red Cross.

Tickets for the concerts at Auditorio de Tenerife can now be booked through the usual channels of this Cabildo cultural venue: at the box office from 10:00 am to 7:30 pm, Monday to Saturday except holidays; via the website www.auditoriodetenerife.com  or calling 902 317 327.

The Orquesta Barroca de Tenerife plays period instruments, many of which belong to the collection of Real Academia Canaria de las Bellas Artes [Canarian Royal Academy of Fine Art], at whose headquarters the OBdT often rehearse.

The Orquesta Barroca de Tenerife was founded in 2017 by Andmúsica -the Association for the Standardization of Early Music in the Canaries- whose goal is to promote young Canarian interpreters, who have been educated in Europe in period styles and instruments. The association provides a suitable coordination platform to promote the historical musical heritage from different sound perspectives, bringing all the music forms of the 17th and 18th centuries to new audiences, thus adding to the cultural events available on the island.

Orquesta Barroca de Tenerife, Auditorio de Tenerife’s resident ensemble, will offer six concerts in their third season, four of which at their main base and two at the churches of Granadilla de Abona and Buenavista del Norte. Many of its members have steady positions in other European groups but with the OBT these young musicians bring to life instruments and scores from the past. Their first engagement in the new season Will be on 12 September with Baroque Tulips.

The artistic director of the Orquesta Barroca de Tenerife, Conrado Álvarez highlights this season “the repertoire that includes great composers of the 18th century, the accuracy of the interpretation, and the historical performance with our young interpreters to share the sound of the Baroque by using period instruments”.

Dutch Jacques Ogg, Valencia-born Juan de la Rubia and Alfonso Sebastián from Zaragoza will join us again to conduct different concerts, in addition to the young Adrián Linares from Tenerife, concert master of OBT since the beginning and a soloist of violins II at the Orquesta Sinfónica de Galicia.

Also, from 2019 the Orquesta Barroca de Tenerife is joining the activities of the Auditorio de Tenerife Educational and Social Area with tailor-made concerts for primary school children from the 3rd to the 6th year plus for social groups. The main goal of these special concerts is to encourage active listening to Baroque music and learning about the period instruments the performers play.

Baroque Tulips pays tribute to Dutch good taste -inherited from the Baroque period- especially to the delight of their tulips and the excellent music they printed. This programme, to be conducted by Jacques Ogg, includes compositions by Unico van Wassenaer, Willem de Fesch, Antonio Vivaldi, Pietro Locatelli and Jean-Marie Leclair. Their outreach activity will take place during a specific music session with a group of elderly people who are part of the Cabildo’s social entertainment scheme “Ansina”.

The second concert will be held at the end of the year: Baroque Christmas Music (Barocke Weihnachtsmusik). It is taking place at 7:30 pm on 12 December at Auditorio de Tenerife’s Sala de Cámara. The programme includes a selection of cantatas, one of the musical forms that best represent the sound laboratory of the Baroque; works from the vocal catalogue of the so-called German Baroque music and the instrument practices of the workshop of J. Rosenmüller, G. Muffat and J. C. F. Fischer.

The programme of Festival de Música Antigua de Tenerife (Fimante) [Tenerife Early Music Festival] includes again two concerts by Orquesta Barroca de Tenerife, their two season extensions. The programme  Baroque Christmas Music (Barocke Weihnachtsmusik) will be played on 14 December at 7:00 pm in the church of Nuestra Señora de la Merced in El Médano, Granadilla de Abona. The following day, OBT will perform at 5:00 pm in Nuestra Señora de los Remedios, in Buenavista del Norte. Entry to both concerts is free.

The first concert of OBT in 2020 will be Mulieribus, on 12 March at 7:30 pm in the Auditorio de Tenerife. Their repertoire pays homage to the performers of the Ospedale della Pietá in Venice, where one of the European great music conservatoires of the time was set up; it is also a tribute to the maestros who built a better world through music during the Baroque. This concert will be conducted by the leader of the orchestra Andrés Linares.

Finally, the ensemble will close the season on 21 May at 7:30 pm at Auditorio de Tenerife’s Sala de Cámara with Sounds from Brandenburg . The event includes a selection of Johann Sebastian Bach’s Brandenburg Concertos with the organist of the Basílica de la Sagrada Familia in Barcelona, Juan de la Rubia, as harpsichordist and conductor.

Most of the period instruments the Orquesta Barroca de Tenerife play belong to the collection of the Real Academia Canaria de las Bellas Artes, at whose base they hold some of their rehearsals.

Tickets for all the concerts taking place at Auditorio de Tenerife are no won sale through the usual channels of this Cabildo’s cultural venue: at the box office from 10:00 am to 7:30 pm, Monday to Saturday except holidays, via www.auditoriodetenerife.com  or calling 902 317 327.

The Orquesta Barroca de Tenerife, part of the Tenerife 2030 strategy, was established by Andmúsica, Asociación para la Normalización de la Música Antigua en Canarias [Association for the Standardization of Early Music in the Canaries], in 2017. Its goal is to promote young Canarian interpreters, who have been educated in Europe, in period styles and instruments, providing a suitable coordination platform to encourage the historical musical heritage from different sound perspectives, bringing all the music forms of the 17th and 18th centuries to new audiences, thus adding to the cultural events available on the island.

La Orquesta Barroca de Tenerife, formación residente de Auditorio de Tenerife, despide su segunda temporada con Be water, my friend, un programa compuesto por suites acuáticas de George Friedrich Handel y Georg Philipp Telemann. La última interpretación de la Barroca, que contará por tercera vez con la dirección del también clavecinista valenciano Juan de la Rubia, tendrá lugar en la Sala de Cámara el jueves [día 23] a las 19:30 horas.

Las colecciones de danzas barrocas compuestas en Fa, Sol y Do mayor, las dos primeras por Handel, para legitimar con música y propaganda el poder de Jorge I de Gran Bretaña, en 1717, y la tercera por Telemann, para celebrar el centenario del Almirantazgo de Hamburgo, en 1723, anudan para siempre a estos dos grandes compositores, de cuya asociación saldría ganando la ópera, pues fue Telemann quien introdujo a Handel, en Halle, en el género que le daría mayor fama internacional desde Londres.

Además de Juan de la Rubia como clave y director, completan el plantel de músicos Adrián Linares, violín barroco y concertino; Lorena Padrón y Laura Díaz, violines barrocos I; Judith Verona, Sergio Suarez y Giovanni Déniz, violines barrocos II; Leticia Moros y Melchor García, violas barrocas; Pablo Sosa, flauta travesera barroca; Pepa Megina, oboe I; Noelia Melián, oboe II; Alberto Domínguez y Francisco Padrón, flauta de pico; Isaure Lavergne, fagot barroco; Fernando Santiago y Diego Pérez, violonchelos barrocos; Juan Carlos Baeza, violón; y Carlos Oramas, tiorba y guitarra barroca.

El mismo día del concierto pero a las 11:00 horas tendrá lugar la segunda sesión para escolares de la Orquesta para 340 alumnos de Primaria de seis centros de la isla, que se desarrolla en el marco del Área Educativa y Social del Auditorio de Tenerife, que cuenta como colaboradores con la Fundación Cepsa y la Obra Social “la Caixa”. En estos encuentros los jóvenes músicos de la formación acercan el género y los instrumentos históricos a los más pequeños de una forma amena y divertida.

Las entradas pueden adquirirse en los canales habituales de Auditorio de Tenerife, en taquilla de 10:00 a 19:30 horas, de lunes a sábado excepto festivos, a través de www.auditoriodetenerife.com  o por teléfono en el 902 317 327.

En el fluir del Támesis y del Elba, hacia el mar del Norte, la fantasía y la metáfora permiten lucubrar, con música, programas basados en la mitología, los emblemas y las alegorías. Si cierto es que Handel toma de Tafelmusik motivos para construir nuevos universos sonoros y ampliar su catálogo, no es difícil asociar la idea de que el laboratorio londinense del Water Music estimulara a Telemann, pues son evidentes los motivos melódicos representados en Wassermusik, que beben del primero, sin olvidar la música programática vivaldiana presente en ambos.

El director artístico de la formación, Conrado Álvarez, explica que “basta recordar algunos de los pasajes de il Cimento dell’armonia e dell’inventione abordados por la Orquesta Barroca de Tenerife en estos dos años, en diferentes ocasiones, y que esta última noche, casi de manera especular, resonarán en sus memorias auditivas”.

La escucha de La Fantasía para flauta travesera sin bajo continuo será la conexión con Euterpe, como el ancestral aulos, que dormirá a Thetis hasta después del descanso, para iniciar con la Sarabanda Die schlafende Thetis.

“El prodigio acuático musical, ut musica poesis, culmina con el elegante y danzarín Canario Die lustigen Boots, colofón de la terrenal diversión tras el zambullido de los dioses en el letargo del tiempo, como reiterada demostración, genitrix del título del concierto modulado por Bruce Lee, del taoísta sentimiento del fluir de la vida, como el agua,  sin la intervención humana”, adelanta Álvarez.

The Orquesta Barroca de Tenerife, Auditorio de Tenerife resident ensemble, bids its second season farewell with Be water, my friend, a programme consisting of water suites by George Friedrich Handel and Georg Philipp Telemann. This is the last performance of the OBDT, who are joined for the third time by Valencia conductor and harpsichord player Juan de la Rubia. It will be held at 7:30 pm on Thursday, the 23 at Sala de Cámara.

The collections of Baroque dance composed in F, G and C major, the first two by Handel to legitimise, through music and propaganda, the power of King George I of Great Britain in 1717, and the third by Telemann, to celebrate the centenary of Hamburg Admiralty, in 1723. Both works tie together these two great composers forever, and this association would ultimately benefit opera as it was Telemann who, while in Halle, introduced Handel to the genre that was to give him international fame from London.

In addition to Juan de la Rubia as conductor and harpsichord player, the group is made up by musicians Adrián Linares, Baroque violin and leader of the orchestra; Lorena Padrón and Laura Díaz, Baroque violin I; Judith Verona, Sergio Suarez and Giovanni Déniz, Baroque violins II; Leticia Moros and Melchor García, Baroque violas; Pablo Sosa, Baroque traverse flute; Pepa Megina, oboe I; Noelia Melián, oboe II; Alberto Domínguez and Francisco Padrón, recorder; Isaure Lavergne, Baroque bassoon; Fernando Santiago and Diego Pérez, Baroque cellos; Juan Carlos Baeza, double bass; and Carlos Oramas, theorbo and Baroque guitar.

On the same day of the concert at 11:00 am the Orchestra’s second session for school children Will take place. 340 primary school students from six different schools are coming to take part in a Project under Auditorio de Tenerife’s Education and Social area, with the collaboration of Fundación Cepsa y la Obra Social “la Caixa”. In these get-togethers with kids, the ensemble’s young musicians tell them about historical genres and instruments in an entertaining way.

Tickets can be bought at Auditorio de Tenerife box office from 10:00 am to 7:30 pm, Monday to Saturday except holidays; on www.auditoriodetenerife.com  or calling 902 317 327.

In the flowing of the Thames and the Elbe towards the North Sea, fantasy and metaphor allow to lucubrate music programmes based on myths, emblems and allegory. Handel takes motifs from Tafelmusik to build new sound universes and widen his catalogue; it is not difficult to imagine that the London lab of Water Music stimulated Telemann, as it is evident that the melodic motifs in Wassermusik, are inspired by the former, though Vivaldi’s programmatic music should not be overlooked as it is present in both.

The ensemble’s artistic director, Conrado Álvarez, explains that “Just remember some of the passages of il Cimento dell'armonia e dell'inventione played by OBDT in these past two years on different occasions, which tonight will resound in your auditive memory specularly.

Listening to the Fantasia for Traverse Flute without Bass will connect with Euterpe, like ancestral aulos, who sends Thetis to sleep until after the break, to start with the Sarabande Die schlafende Thetis.

“The prodigious water music, ut musica poesis, concludes with the elegant Canarie Die lustigen Boots, the culmination of this earthly amusement, after the gods dive into the lethargy of time as a repeated demonstration, genitrix of the concert title modulated by Bruce Lee, of the Tao feeling of life flowing, like water, with no human intervention”, Álvarez reveals.

As part of the XXI Semana de Música Sacra de La Laguna, on Thursday, 11 April, at 8:00 pm, Orquesta Barroca de Tenerife will play Pergolesi’s  Stabat Mater at La Laguna Cathedral. 

This is the first time Auditorio de Tenerife’s two-year-old resident orchestra is playing in La Laguna. They are offering a Baroque Sacred Music programme, played with the instruments and style of the period, on the Stabat Mater, as for example the Sequence in the 1727 choir book.

Orquesta Barroca de Tenerife will be conducted, from the harpsichord, by Luis González in a version that includes dynamics from Spanish sources dating from the 18^th century. In addition, they are performing Concerto No. 5, en G minor, delle 12 Concerti à Quatro da Chiesa, Op.II [Il Tempio Armonico] by Evaristo Felice  Dall'Abaco (1675-1742) ending with Sinfonia, in B minor, Santo Sepolcro RV169 by Antonio Vivaldi (1678-1741)

The text of “Madre dolorosa junto a la Cruz” [Sorrowful Mother standing by the Cross] will be sung by soprano Estefanía Perdomo and countertenor Jorge García accompanied by the chords reinterpreted by the violin and the basso continuo of Orquesta Barroca de Tenerife.

This programme, which closes the XXI Semana de Música Sacra de La Laguna, is funded by the Cabildo Tenerife 2030 scheme, organised by the Junta de Hermandades y Cofradías de La Laguna and produced by ANDMUSICA in collaboration with the Real Academia Canaria de Bellas Artes.

Luis Antonio González, organ, harpsichord and conductor

The interest of Luis Antonio González in the performance of historical music in addition to his research and work to recover musical heritage led him to historical musicology both as a researcher and as a player of historically-informed music in his capacities of organist, harpsichord and conductor. He studied at Conservatorio de Zaragoza, at the universities of Zaragoza and Bolonga (with Reale Collegio di Spagna scholarship) in addition to countless specialisation courses in different European countries. José V. González Valle, José L. González Uriol, Jan Willem Jansen, Lorenzo Bianconi and Salvador Mas have particularly influenced his learning.

            After gaining a doctorate in History, specialising in Musicology, he joined the former Instituto Español de Musicología del Consejo Superior de Investigaciones Científicas (current Departamento de Ciencias Históricas-Musicología, IMF-CSIC), where he is Main Scientist. Since 2000 he has directed the CSIC Keyboard Postgraduate and from 2006 to 2014 was the director of Anuario Musical, the oldest and most prestigious musicology magazines in Spain. He has more than 200 publications, in which he pays particular attention to the practice of historical music and the recovery of Spanish music from the 17^th and 18^th centuries. He has also published the work by Joseph Ruiz Samaniego (fl. 1653-1670) and José de Nebra (1702-1768), whose opera Venus y Adonis(1729) he recently recovered.

           He is regularly invited as teacher and speaker at conventions, courses and seminars in Europe and America (Universität Mozarteum in Salzburg, Centre de Musique Baroque de Versailles, Universität Leipzig, City University of New York, University of Arizona, Universidad Nacional Autónoma de México, Universidades de Oviedo, Autónoma de Barcelona, Zaragoza, Extremadura, Cádiz, Politécnica de Valencia, Internacional de Andalucía, ESMuC, CSMA, Curso Internacional de Música Antigua de Daroca, Conservatorio de las Rosas de Morelia, Academia Internacional de Órgano de México, Laboratorio di Musica Antica di Quartu St.'Elena...).

            Luis Antonio González coordinates research at Archivo de Música de las Catedrales Zaragozanas, one of the richest historical music archives in Spain, and advises on the restoration of historical instruments for Diputación de Zaragoza.

            In 1992 he founded Los Músicos de Su Alteza, a prestigious group specialising in music of the 17^th and 18^th centuries, which he has directed from the start. He has performed in Spain, France, Italy, Belgium, Holland, Switzerland, Great Britain, Bulgaria, Romania, Mexico, USA and Tunisia. His discography includes tens of records for the labels Arsis, Prames, Hortus, Dorian y Alpha (Outhere Music).

            In his double capacity of researcher and performer he has received many Spanish and foreign awards: Premio Nacional de Humanidades “Rey Juan Carlos I”, de Musicología “Rafael Mitjana”, “Fundación Uncastillo”, “Defensor de Zaragoza”, Diapason d'Or, La Clef, Muse d'Or, Prelude Classical Music Awards, etc. He is a Full Member of Real de Nobles y Bellas Artes de San Luis (Zaragoza, España).

In their next concert Orquesta Barroca de Tenerife, Auditorio de Tenerife’s resident group, will transport the audience to a  grand Italian aristocratic lounge dating back to more than 300 years ago. Dall’Italia is taking place at 7:30 pm on Thursday, the 14^th at Sala de Cámara. This programme, which is the first this year and third in the 2018/2019 season, marks a milestone in the young history of this Baroque ensemble, as it will be conducted by a woman: Lorena Padrón. She will be both leader of the orchestra and conductor.

The programme, outlined by the group’s artistic director, Conrado Álvarez, starts with Violin Concerto in E Flat Major, by Antonio Vivaldi (1678-1741), followed by Concerto grosso, in F Major Op. 1 Nº 7, by Pietro Antonio Locatelli (1695-1764).

After the interval comes Diverse bizzarie sopra la vecchia sarabanda ò pur ciaccona, by Nicola Matteis (1686-1768), followed by Concerto spagnolo a cinque, in C Minor, Op. 10 Nº 11, by Tomaso Albinoni (1659-1761). The evening closes with La musica notturna delle strade di Madrid, Op. 30 n. 6, G. 324, by Luigi Boccherini (1743-1805).

Accompanying Padrón, historicist musicians playing this repertoire include Sergio Suárez and Ignacio Ramal, Baroque violins I; Laura Díaz, Leo Rossi and Giovanni Déniz, Baroque violins II; Iván García and Melchor García, Baroque violas; Fernando Santiago and Diego Pérez, Baroque cellos; Silvia Jiménez, double bass; Carlos Oramas, theorbo; and Raquel García, harpsichord and organ.

Orquesta Barroca de Tenerife is taking part in Auditorio de Tenerife’s Learning and Community department, with the collaboration of Fundación Cepsa and Obra Social “la Caixa”, by offering a concert for pre-school children. The kids of CEIP Gesta 25 de Julio will have the chance to learn about instruments and sounds of the past on Wednesday, the 13^th at 11:00 am.

Tickets for this concert can be booked at  Auditorio de Tenerife box office from 10:00 am to 19:30 pm, Monday to Saturday, on www.auditoriodetenerife.com  here or calling 902 317 327. The usual discounts are available. 

La Orquesta Barroca de Tenerife presenta el jueves [día 13] a las 19:30 horas el concierto Noël a la francesa. Para estas fechas navideñas, la formación residente de Auditorio de Tenerife ha preparado un programa dedicado al estilo concertante francés del siglo XVII y XVIII. El espectáculo, que tendrá lugar en la Sala de Cámara, contará con el clave y director invitado  Bruno Procopio, músico brasileño instalado en París. Además, la Orquesta Barroca hará sonar por primera vez en sus filas dos flautas de pico, de la mano del tinerfeño Francisco Padrón y la intérprete israelí Tamar Lalo.

El concierto propuesto por la Orquesta Barroca de Tenerife hará un recorrido por las principales características de la música francesa de estos siglos, como la peculiar forma de ornamentar con el trille tremblement, la cadence y el pincé renversé. “Se destacarán muy especialmente en el final de la Chaconne de Dauvergne”, adelanta Conrado Álvarez, director artístico de la formación tinerfeña.

La polarización de las texturas hacia las voces extremas y el distintivo comportamiento rítmico desigual, con el acentuado énfasis en el decoro a la francesa, está presente en todas las partituras de este Noël a la francesa. El repertorio parte desde la primera exposición temática en Noël pour les instruments, una danza popular acendrada desde la Navidad medieval en el valle del Sena, transmitida por generaciones y  elevada a música de Corte por Marc Antoine Charpentier,  retomada una y otra vez, entre otros por Daquin en su Deuxieme Noël en dialogue a 2 et 3, de Lalande en Simphonies des  Nöels y por Correte en Quatrième Symphonies des Noël. “De manera que percibiremos variaciones sobre temas de centurias que  celebran, desde el barroco,  la creación  sonora para glorificar el misterio del nacimiento”, explica el director artístico.

En contrapunto sonará el Ballet de Village de Boismortier como muestra de la fantasía y efímera felicidad terrenal,  La Flore de Rebel a modo de meditación sobre la intrascendencia humana y el regocijo del carpe diem para terminar con  Les Barricades Mystérieuses de Couperin, ejemplo del estilo quebrado francés, metáfora de la errática vida e incertidumbre del camino existencial, propias del Siècle des Lumières.

Las entradas para las dos funciones pueden adquirirse en los canales habituales de Auditorio de Tenerife, en taquilla de 10:00 a 19:30 horas, de lunes a sábado, a través de www.auditoriodetenerife.com aquí o por teléfono en el 902 317 327. Además, ya está disponible el Abono QB primavera, que ofrece un 15% de descuento para los conciertos de 2019 de la Orquesta Barroca de Tenerife y Quantum Ensemble.

La Orquesta Barroca de Tenerife afronta su tercer concierto con una propuesta en sintonía con las fechas venideras: “Natale all’Italiana. Música barroca italiana para la Navidad” nos preparará para este momento de recogimiento y disfrute en familia. El concierto, que se enmarca en el Festival de Tenerife, cuenta con la presencia de la soprano Emma Kirkby bajo la dirección de Alfonso Sebastián y tendrá lugar el próximo jueves 14 de diciembre a las 19:30 horas en la Sala de Cámara de Auditorio de Tenerife. Corelli, Caldara, Vivaldi, Storace, Stradella, dall’Abaco y Scarlatti son los compositores invitados en esta ocasión.

“Natale all’Italiana”  es el primer programa de Navidad que ofrece la Orquesta Barroca de Tenerife como un hermoso retablo sonoro barroco, como la mejor kermés, en la Sala de Cámara nunca antes engalanada con los instrumentos barrocos y sus sonidos para festejar la más universal de las noches de paz.

Los compositores brillarán son su estrella, como la impronta de Belén, con sus misterios, emulando la encarnación del verbo en música, acompasado con aguinaldos en forma de danza para recordar la fiesta del Yule, santificada, en una noche colmada de bendiciones para el oído y el alma.