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Ya pueden inscribirse para participar en las clases que ofrezca su municipio

 

Las Escuelas de Teatro reabren su actividad dividiendo el curso en dos cuatrimestres, que comienzan el próximo mes de enero. Una decena de municipios se ha inscrito en este proyecto del Área Educativa y Social de Auditorio de Tenerife para albergar las sesiones que impartirán, hasta junio en alguno de los casos, el profesorado de este programa, que cuentan con la licenciatura de Arte Dramático en la Escuela de Actores de Canarias. Divididas por edades, las clases dispondrán de protocolos para la prevención de contagios contra la COVID-19.

 

Toda la información sobre la matriculación puedes consultar ya AQUÍ

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Auditorio de Tenerife recibe del 11 al 24 de octubre de 2021 la residencia artística Mónicas, un proyecto de investigación de Federico Vladimir Strate Pezdirc y Pablo Lilienfeld.

Se trata de un trabajo inspirado en las pinturas de Mónica Lilienfeld y en las fotografías de FMONICA 1ederico Strate y Mónica Pezdirc.

Los creadores explican: "Las Mónicas son nuestras madres. Mónica es también el nombre de nuestra futura hija. En esta primera residencia de investigación trabajaremos durante dos semanas reimaginando nuestra genealogía como una genealogía tentacular y no vertical.

Una ecología genealógica en la que no sólo convivan la épica de las guerras, migraciones y demás relatos patriarcales sino que también incluya las que se han quedado fuera: intimidades, fantasmas y amantes.

Los hechos no son un fin; son el principio."

Mónica Lilienfeld (Buenos Aires 1950- Madrid 1986). Hija de judíos alemanes que emigran a Argentina escapando del nazismo. En 1971 emigra a Madrid, donde acabará siendo secretaria del Director del Banco de España. Madre de dos hijos. Su verdadera vocación es la pintura. Muere de cáncer con 36 años.

MONICA 2Mónica Pezdirc (Buenos Aires 1957). Hija de Domobranci -colaboracionistas nazis eslovenos- que emigran a Argentina huyendo de la Yugoslavia comunista. Odontóloga y madre. En 1990 emigra a Coruña con su marido y sus tres hijos. Nudista y amante del mar, durante toda su vida posa como modelo en las fotografías eróticas de su marido. 

 

Federico Vladimir Strate Pezdirc (1981) y Pablo Lilienfeld (1983) se formaron como colectivo en 2014. Trabajan y viven en Bruselas desde 2017, donde Pablo completó Research Studios en la escuela P.A.R.T.S. y Federico a.pass Artistic Research.

Su trabajo utiliza la ficción especulativa dentro de la danza/performance, el documental, la fotografía y la instalación para interrumpir las narrativas normativas que han sido naturalizadas por los discursos históricos. Ambos se graduaron en Comunicación Audiovisual en la Universidad Complutense de Madrid, aunque el trabajo personal de Federico se muestra en contextos de artes visuales mientras que el de Pablo está más vinculado a la coreografía y la creación musical. Colaboran con otros artistas como Lina Lapelyte, Janet Novás, Manuel Rodríguez, Marco D’Agostin o Alessandro Sciarroni.

Sus trabajos han sido mostrados en contextos como Kasseler Dokfest (Kassel); TanzHaus (Zurich); NAVE (Santiago de Chile); FIDCU (Montevideo); TEFAF (Maastricht); Sant Andreu Contemporani, Loop, El Grec, MACBA y Salmon Festival (Barcelona); Azkuna Zentroa (Bilbao); Cinéma du Réel, (Paris); Queer Lisboa (Lisboa); Santarcangelo Festival y B-Motion (Italia); Madrid en Danza, Veranos de la Villa, MNCARS, La Casa Encendida, y CA2M (Madrid); TenerifeLAV o Escenas do Cambio (Santiago de Compostela).

Sus últimos trabajos, las Piezas Dragón, han sido desarrolladas entre España y Bélgica con el apoyo de BUDA Kortrijk, workspaceBrussels, WP Zimmer, el Ayuntamiento de Madrid y la Comunidad de Madrid.

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El compositor de la ópera, Miquel Ortega, dirigirá a la Sinfónica de Tenerife, y la directora Silvia Paoli apuesta por un desierto rocoso

 

El Auditorio de Tenerife, espacio que depende del área de Cultura del Cabildo, dirigida por el consejero Enrique Arriaga, abre la próxima semana la temporada 21-22 de Ópera de Tenerife con La casa de Bernarda Alba. Los próximos días 19, 21 y 23, a partir de las 19:30 horas, la directora de escena Silvia Paoli convertirá la Sala Sinfónica en un desierto rocoso para recibir esta ópera, inspirada en el drama homónimo de Federico García Lorca y compuesta por Miquel Ortega, quien dirigirá la Sinfónica de Tenerife. La presentación de esta nueva producción tuvo lugar hoy [miércoles 13] con la asistencia del director insular de Cultura, Alejandro Krawietz; el compositor y director musical, Miquel Ortega; la directora de escena, Silvia Paoli, y los nueve cantantes que configuran el elenco.

Alejandro Krawietz aseguró que “es un placer abrir la temporada ofreciendo esta producción propia, que supone una apertura al ámbito contemporáneo de la ópera, trabajando, en este caso, en la tradición del verismo y abriendo nuevas ventanas a lenguajes líricos poco habituales”. “El año pasado fue difícil remontar la actividad operística y ahora, aunque la situación esté más relajada, sigue habiendo muchos protocolos y agradezco al equipo el esfuerzo e implicación para afrontar estos nuevos retos”, apuntó el director insular de Cultura.

Miquel Ortega reconoció que “es un placer volver a trabajar con la extraordinaria Orquesta Sinfónica de Tenerife y agradezco mucho a mi equipo musical el esfuerzo que está llevando a cabo”. El autor de esta obra lorquiana reconoce que “esta ópera no fue un encargo, la hice porque quise y porque desde joven me ha fascinado Lorca, así que supe que me costaría años terminarla”. En cuanto a la propuesta de Paoli, alabó su “belleza plástica, simbolismo lorquiano y semejanza con las grandes tragedias griegas”.

Silvia Paoli declaró que “esta puesta en escena no la hice simplemente por querer hacer algo diferente, sino porque es lo que siento, es mi manera de interpretar la obra del maestro Ortega y de Lorca”. La directora señaló que “es la primera vez que trabajo con un equipo compuesto totalmente por mujeres y creo que esto es lo que querría Lorca: representar a la mujer con mujeres”. En cuanto a su propuesta, destacó que “estamos en el siglo XXI, en el año 2021, no íbamos a hacer simplemente una casa porque creo que lo más importante en este momento histórico es representar los sentimientos, lo que hay dentro de esa casa”.

En representación de los cantantes intervino Nancy Fabiola Herrera, quien recomendó “a todos venir a la ópera para volver a vivir porque un espectáculo solo puede ser entendido en directo”. “Este elenco está trabajando en total sincronía y creo que debe ser así porque para representar a una familia disfuncional como la de Bernarda Alba sobre las tablas, debemos funcionar como una familia funcional detrás del escenario, y eso se ha conseguido en esta producción”. La mezzosoprano, que encarnará el rol de Bernarda, adelanta que “es una producción que te mantendrá en tensión desde el primer hasta el último minuto”.

Además de Herrera, este espectáculo contará con la soprano Carmen Acosta como Adela, Beatriz Lanza como Martirio, la mezzosoprano Marina Rodríguez-Cusí como Amelia, la también mezzo Belén Elvira como Magdalena (quien igualmente repite rol) y la soprano Melody Louledjian como Angustias. El barítono Luis Cansino volverá a ejecutar el papel de la ama de llaves Poncia, la soprano Carmen Mateo encarnará a una de las criadas y la actriz Marga Arnau será María Josefa, madre de Bernarda.

Tras largos años de trabajo, en 2006 quedó concluida la primera versión operística en castellano de esta pieza, que sería estrenada, en su versión sinfónica, en el Teatro Brasov de Rumanía el 13 de diciembre de 2007, para presentarse por primera vez en España en 2009, en los festivales de Santander y Perelada. La puesta de largo en el Teatro de la Zarzuela en 2018 ha significado un relanzamiento de esta ópera contemporánea, que ha pasado ya por el Teatro Cervantes de Málaga, donde cerró su XXXII temporada lírica en julio de 2021, y por el Teatro Villamarta de Jerez de la Frontera, donde abrió este mismo mes de octubre la temporada 2021-2022, como lo hace también en estos días en Ópera de Tenerife.

El poeta y dramaturgo Federico García Lorca no pudo ver representada su última obra dramática, La casa de Bernarda Alba, que concluyó en junio de 1936, dos meses antes de su asesinato. Todo, la vida y la representación, quedó interrumpido con la Guerra Civil y la muerte, y la obra tendría que esperar hasta 1945 para ser estrenada en el Teatro Avenida de Buenos Aires. Lorca describió su obra como “un drama de mujeres”.

Esta es la historia de varias mujeres prácticamente encarceladas por una madre autoritaria y dura, que las fuerza a seguir en plena juventud un luto riguroso durante ocho años por el fallecimiento de su segundo marido. El escritor utilizó este argumento para criticar la doble moral, la religiosidad asfixiante, la hipocresía, la violencia, el deseo reprimido, el control de la sexualidad femenina y la relegación de las mujeres a un plano secundario e insignificante.

Hasta el día 18 se puede adquirir el pack dos para martes, jueves o sábado de los dos primeros títulos de la temporada, La casa de Bernarda Alba y Attila (23, 25 y 27 de noviembre), con descuento del 20% y la posibilidad de sentarse en la misma butaca.

Las entradas se pueden adquirir hasta una hora antes del comienzo de cada función en la página web www.auditoriodetenerife.com y de forma telefónica en el 902 317 327 y en la taquilla de lunes a viernes de 10:00 a 17:00 horas y sábados de 10:00 a 14:00 horas. El usuario tendrá que elegir entre una o dos butacas prefijadas y distribuidas por la sala previamente. Se ruega al público llegar al recinto con antelación suficiente para hacer 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 correcto 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.

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On Thursday, the 14th of October at 7:30 p.m., the Russian violinist and the Scottish pianist will play in the Auditorium's Chamber Hall

 

The Auditorio de Tenerife, a cultural space linked to the Department of Culture of Tenerife Island’s Council, is managed by its Minister of Culture, Enrique Arriaga. On Thursday this week at 7:30 p.m., the Russian violinist Viktoria Mullova and the Scottish pianist Alasdair Beatson offer a concert in the Auditorium's Chamber Hall. The duo will perform a programme with pieces by Franz Peter Schubert (1797-1828) and Ludwig van Beethoven (1770-1827). This chamber music concert with both international musicians will start with the Grand Duo and the Rondo brilliant by Schubert to continue playing the sonatas 5 and 7 by Beethoven.

Viktoria Mullova's talent caught international attention when she won the First Prize of the Helsinki International Jean Sibelius Violin Competition in 1980 and the Gold Medal in the International Tchaikovsky Competition in 1982. This was followed by her dramatic and highly publicised desertion to the West in 1983. Ever since, she has played with most of the greatest orchestras and conductors of the world, as well as during the main international festivals. Today she is known as a violinist of exceptional versatility and musical integrity. Her curiosity spans the breadth of musical development from baroque and classical to the more contemporary influences of the world of fusion and experimental music.

The Scottish pianist Alasdair Beatson is a prolific musician who works as a soloist and chamber musician. He covers an extensive repertoire and shows a particular interest in Beethoven, Brahms, Mendelssohn, Schubert and Schumann; in soloist and chamber music, he also shows interest in music by Gabriel Fauré, Bartók and Janáçek; in the concert music by Bach, Bartók, Britten, Fauré, Hindemith, Messiaen and Mozart; in contemporary pieces such as Thomas Adès' Piano QuintetShadowlines by George Benjamin or Harrison’s Clocks by Harrison Birtwistle. His future plans include the premiere of a new piano concerto, written for him by Helena Winkelman.

The tickets can be purchased until one hour before each show on the website www.auditoriodetenerife.com  and by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m. Saturdays from 10:00 a.m. to 2:00 p.m. During the purchase process, the user will have to choose between one or two pre-set seats distributed throughout the hall. The audience is requested to arrive at the venue well in advance to enter the Auditorium in staggered "waves".

By purchasing tickets, you accept the measures implemented by the cultural centre to combat Coronavirus, such as the correct use of masks and attendance to the event only with people you live with. All of the measures, as well as the contingency plan certified by AENOR, can be consulted on the Auditorium’s website.

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The tickets for the family concerts are already on sale

 

 

Sinfónica de Tenerife (Tenerife Symphony Orchestra) is a project of the Island Council’s Department of Culture that is managed by Enrique Arriaga. The orchestra launches its educational programme 'Memory' in November during a week with a series of concerts for schoolchildren that take place until 20 November. This family-friendly event offers a double performance. The 11:00 a.m. performance is for children under 3 years of age, and the one at 12:30 a.m. is for those over three years. 

Memory offers fragments of suites 1 and 2 of 'The Wand of Youth', by Edward Elgar, played by the Tenerife Symphony Orchestra’s string quartet, the narrator Ana Hernández Sanchiz and the juggler El Gran Rufus. It tells the story of Edward, a mature circus performer who has the worries and weariness of an adult, but who revives childhood moments through the games and treasures he finds among old belongings. Those memories, dreams and emotions will bring back the sparkle and shine of that time with a real magic wand: the music.

When Edward Elgar (1857-1934) was twelve years old, he wrote some songs to accompany a play he was going to perform with the rest of the children in his family. He wrote down those songs in a sketchbook and recovered those sketches forty years later to create his two orchestral suites. That's why he numbered them as opus 1 a/b, a memory of those first songs that outlived time.

The 11:00 a.m. performance is for children under three years of age. The tickets for this session can be purchased at the Auditorium’s box office by dialling 902 317 327 (Monday to Friday from 10:00 a.m. to 5:00 p.m. Saturdays from 10:00 a.m. to 2:00 p.m.). They can also be reserved by email (This email address is being protected from spambots. You need JavaScript enabled to view it.). The ticket price shall be paid in person or by telephone within the communicated term. Each child may be accompanied by two adults and the entrance price is five euros per adult. Accreditation of the child's age will be requested at access to the hall by presenting the ID card or family book.

The 12:30 a.m. performance is for families with children over three years. The tickets can be purchased in the usual way. During the purchase process, the users will have to choose between pre-set seats previously distributed throughout the hall. If you want to buy a single ticket and the pre-set seats are sold out, please contact the box office. If you have any questions while purchasing your tickets, you can write to This email address is being protected from spambots. You need JavaScript enabled to view it. or call 922 568 625 from Monday to Friday from 10:00 to 14:00, except for public holidays.

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Martín Leiton Trío plays this Friday, while a big band plays this Saturday under the direction of Jesse Passenier

 

The Auditorio de Tenerife, a cultural space linked to the Department of Culture of Tenerife Island Council, is managed by the island Minister of Culture, Enrique Arriaga. This weekend it offers two concerts programmed for the ‘XIII Festival Canarias Jazz Showroom’. Martín Leiton Trío plays on Friday, the 8th of October, and the Big Band from the Canary Islands plays on Saturday, the 9th of October under the direction of the Dutch composer Jesse Passenier. Both concerts take place at the Chamber Hall at 7:30 p.m. Tickets are already on sale.

Martín Leiton is a musician from the Canary Islands who works as a teacher of the music workshop ‘Taller de Músics de la Escola Superior d’Estudis Musicals’ in Barcelona. He has developed his music with jazz, flamenco, pop and Afro-American inspirations. He mainly plays the double bass, but also electric bass, and guitar. He sings with clear influences from Latin-American folk music. As a result of his compositions and interpretations, he has already released four albums as a bandleader: Medium (quartet), Poetry of Sound (trio), Inevitable (big band) and the last one, Desde a bajo (from the bass). He presents this last album during the ‘XIII Festival Canarias Jazz Showroom’ with Kike Perdomo playing the saxophone and Ramón Prats playing the drums.

Jesse Passenier is a Dutch composer who unifies jazz principles and classical music. In doing so, he explores the peripheries of genres and the depth and possibilities of harmony. In 2017 he won the Dutch prize ‘Rogier van Otterloo’ that recognises his success in bridging those musical genres, his leading role as the baton of his own orchestra, and his skills in orchestral composition. 

Passenier will conduct the Canary Islands’ Big Band during a self-created programme. This music ensemble was founded in 2008 with a clear unifying, work and research vocation to learn, create and offer shows. Under the direction of the musician, composer, teacher and producer Kike Perdomo, the Canary Islands’ Big Band has already released five albums.

Tickets can be purchased until one hour before the show on the website www.auditoriodetenerife.com and by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m. Saturdays from 10:00 a.m. to 2:00 p.m. During the purchase process, the user will have to choose between one or two pre-set seats distributed throughout the hall. The audience is requested to use of the venue well in advance to enter the auditorium in staggered "waves". By purchasing tickets, you accept of the measures implemented by the cultural centre to combat COVID-19, such as the correct use of face masks and attendance to the event only with people you are living with. All of the measures, as well as the contingency plan certified by AENOR, can be consulted on our website.

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The successful text by Gabriel Calderón, the Uruguayan playwright, closes the MEI programme. So far, the festival has hosted 2,200 spectators during 37 shows

 

The third edition of the Ibero-American theatre festival Muestra Escénica Iberoamericana (MEI) closes with three performances of Ana contra la muerte’ (Ana against death) offered in the municipalities of El Sauzal and Candelaria. The festival started with the Uruguayan theatre, a country that also closes the programme. This initiative by the Department of Culture of the Island Council is managed by the island Minister of Culture, Enrique Arriaga, and is organised through the Auditorio de Tenerife. Tickets are available at www.meitenerife.com.

Arriaga is pleased that "more than 2,200 spectators have attended the 37 performances held so far in twelve municipalities of Tenerife". He added that "the MEI festival is a clear example of our commitment to a local culture based on municipalism."

This weekend at 8:00 p.m. in the Teatro El Sauzal, the première in Spain of Ana contra la muerte (Ana against death) continues to be staged during two performances that will be held on Saturday, the 2nd of October and on Sunday,  the 3rd of October. The last chance to see this acclaimed piece that has been translated into Italian is on Wednesday, the 6th of October at 8:00 p.m. in the Cine Viejo, Candelaria.

Ana contra la muerte’ was written and directed by Gabriel Calderón, the renowned Uruguayan playwright. The play proposes that the chances of death are extremely high, but those of never having been born are by far higher. Every person who is born and lives are not only a miracle of nature through its complex biological mechanisms. He/she is also a statistical miracle since the odds of not being born or of dying quickly have always been our cons.

According to Calderón, we reject death not out of fear, not out of grief, not because it is unnatural. We reject it because we are the unnatural ones; because death is a rule to correct the marvellous exception we are." Thus, the author considers that death returns us to the statistics, like the minerals and stardust that inhabit worlds where nothing is counted because there is nothing."

‘Ana contra la muerte’ was premièred in Tenerife on Wednesday, the 29th of September in the Auditorium Infanta Leonor, Arona. The play arrived in Spain after offering eight performances in the Teatro El Galpón, Uruguay. It is the story of a woman who understood that she had to resist death as long as she could, and even longer. The play begins with a mother and all the things she has to go through to try to save her son's life.

It's about telling the most complex things in the simplest way. It is about projecting from a stage the essence and power of the experiences we sometimes go through, allowing us to perceive and reflect on that which is unbearable if we look at it directly. This sad story told with love encourages the audience to watch on stage the difficulties of the story and its edges through the power of three great actresses of the Uruguayan theatre: Gabriela Iribarren, Marisa Bentancur and María Mendive.

This third edition of the MEI festival has taken place between 2 September and 6 October. The programme was staged in 12 municipalities and offered 14 shows from Latin America, Spain and Portugal. This year, the venues were the Paraninfo de la Universidad de La Laguna and those of the municipalities of Adeje, Arona, Candelaria, El Rosario, Guía de Isora, Los Realejos, Puerto de la Cruz, Tacoronte, Tegueste, Vilaflor and El Sauzal.

Of the twelve companies that have participated during this edition, three were from Chile (Niño Proletario, Silencio Blanco and Colectivo Cuerpo Sur), two from Uruguay (El Galpón and Marea Productora) and one each from Colombia (11 Paredes), Argentina (Diego Casado), Nicaragua (Teatro Justo Rufino Garay), and Portugal (Hotel Europa Teatro); three from the Canary Islands (Delirium, Ángulo Producciones and Unahoramenos).

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Stefan Dohr plays as a soloist during the ‘Concerto for French Horn and Orchestra No 1’ by Richard Strauss offered on 1 October 2021

 

Sinfónica de Tenerife (Tenerife Symphony Orchestra) is a project of the Island Council’s Department of Culture which is directed by Enrique Arriaga. During the concert offered on Friday, the 1st of October 2021 at 7:30 p.m., the Orchestra will play during the second part of the programme the ‘Symphony No 10’ by Shostakovitch under the direction of Catherine Larsen-Maguire. The ‘Oberon’ Overture by Carl Maria von Weber and the ‘Concerto for French Horn and Orchestra No 1’ by Richard Strauss will be played with Stefan Dohr as an invited soloist during the first half of the concert.

The third season's concert starts with the ‘Oberon’ Overture by Carl Maria von Weber (1786 -1826). The piece reflects the most inspired moment of the German composer, which was premièred in London in the year he passed away. This romantic German opera has a strange libretto by Planché that mixes several characters such as Oberon, the king of the elves, mermaids, pirates, fairies, Charlemagne and Almanzor. 

Richard Strauss (1864-1949) composed for his father the ‘Concerto for French Horn and Orchestra’ when he was just 19 years old. During this period, the composer not only displayed a strong personality but a great deal of romanticism and the influence of Mendelssohn. After 12 years without being back on the island, the soloist Stefan Dohr plays again during this concert with the Tenerife Symphony Orchestra. The French horn soloist of the Berliner Philharmoniker has collaborated with renowned conductors such as Sir Simon Rattle, Claudio Abbado, Daniel Barenboim, Bernard Haitink, Christian Thielemann, Daniel Harding, Neeme and Paavo Járvi.

After the break, the Orchestra will play the ‘Symphony No 10’ by Dmitri Shostakovich (1906-Moscow, 1975). Premièred in 1953, this is the first of the symphonies he composed feeling free from Stalin's yoke after the Soviet leader passed away. The fact that the work was branded as "unnatural to Soviet citizens" for embracing Western formalism, made the composer live much of his life tormented by the threat of the Gulag. Once the "iron man" died, the most accepted theory is that the musician dedicated the second movement to Stalin: a frenetic and violent scherzo with military reminiscences, during which Stalin "speaks roughly", rude, provocative and subtly ridiculous.

Catherine Larsen-Maguire (Manchester 1971) made her début in Tenerife during the last season. Now she comes back to Tenerife to tackle this programme. After playing for 10 years as the main bassoonist at the Komische Oper Berlin, in 2012 she decided to work exclusively as a conductor. Thanks to her orchestral experience, she acquired broad knowledge about the repertoire, the psychology of the orchestra, and an exceptional musical ear. Since then, she has worked as a conductor achieving a great reputation both in Europe and South America.

During this season, she will play for the first time in the UK with the London Philarmonic, BBC National Orchestra of Wales, in Switzerland with the Orchestre de Chambre de Genève and the Orchestre de Chambre Fribourgeois, and in Germany with the Göttinger Symphonieorchester. Apart from the standard orchestral genre, Larsen-Maguire has also shown a great interest in contemporary music. Her collaborations include projects with Klangforum Wien, Ensemble Musikfabrik, Ensemble Resonanz, Ensemble Ascolta and Ensemble United Berlin. During 2021-22 she will make her debut with Ensemble Modern. 

Tickets can be purchased until two hours before the concert on the website www.auditoriodetenerife.com and by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m., Saturdays 10:00 a.m. to 2:00 p.m., except on holidays. The audience is requested to arrive at the venue well in advance to enter the auditorium in staggered "waves". By purchasing tickets, you accept the measures implemented by the cultural centre to combat COVID-19. All of the measures, as well as the contingency plan certified by AENOR, can be consulted on our website.

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Estas propuestas de Uruguay y Chile se completan con ‘Moria’, que llega desde Gran Canaria

 

La Muestra Escénica Iberoamericana (MEI) ofrece esta semana tres espectáculos en tres municipios de la isla. Dos de ellos se podrán ver por primera vez en España: Ana contra la muerte, que llega desde Uruguay, y Mutilados en democracia, procedente de Chile. Las últimas funciones de la producción canaria Moria completan las propuestas de esta iniciativa del área de Cultura del Cabildo, dirigida por el consejero Enrique Arriaga, organizada a través de Auditorio de Tenerife. Las entradas están disponibles a la venta en www.meitenerife.com.

La programación de esta semana comienza mañana [martes 28] en la plaza de San Roque de Vilaflor, donde se desplegará la propuesta de teatro inmersivo Moria, de la compañía canaria Unahoramenos, cuyas entradas están agotadas para las dos funciones, a partir de las 20:30 y las 22:30 horas.

El miércoles [día 29] a las 20:30 horas tendrá lugar en el Auditorio Infanta Leonor de Arona la primera función en España de Ana contra la muerte, un texto del reconocido dramaturgo uruguayo Gabriel Calderón. El Teatro El Sauzal recibe otras dos funciones de esta obra el sábado 2 y el domingo 3, ambas a partir de las 20:00 horas.

Tras agotar ocho funciones en Uruguay, esta obra, que también ha sido traducida al italiano, llega por primera vez a España con las actrices Gabriela Iribarren, Marisa Bentancur y María Mendive. La pieza, en la que una madre trata de salvar la vida de su hijo, entiende la muerte como una regla que viene a corregir la excepción en la que nos hemos convertido al estar vivos, todo un milagro estadístico.

El jueves [día 30] se estrena en España el trabajo de los chilenos Colectivo Cuerpo Sur con Mutilados en democracia. El Teatro El Sauzal ofrece dos funciones, a las 18:00 y a las 20:00 horas. Se trata de una propuesta de teatro documental que se hace eco de la revuelta que tuvo lugar en Chile en 2019 a raíz de que el Gobierno anunciase una subida de la tarifa del metro. La situación alimentó la ira de la población, marcada por la desigualdad que convierte en privilegio a algunos servicios sociales básicos como la sanidad o la educación, y provocó una serie de disturbios. Esta obra da voz a alguna de las víctimas de la represión policial.

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Auditorio de Tenerife recibe del 27 de septiembre al 9 de octubre de 2021 la residencia artística Fiestas invisibles, de la creadora Paloma Calle. Se trata de un proyecto de Massimiliano Casu y Paloma Calle con la colaboración de Max Bultó.

 

Una fiesta invisible es un fragmento del suelo de la ciudad que se eleva convirtiéndose en un espacio escénico para algunas de las innumerables encarnaciones de las luchas por construir un espacio público más abierto e igualitario.

Es un proyecto performativo de naturaleza lúdico-festiva, que propone un ejercicio directo del derecho a aparecer a través de la música y el baile, por parte de algunas de las subjetividades e identidades habitualmente más invisibilizadas y excluidas del respecto al uso del espacio público.

Se basa en un dispositivo escénico inspirado en el famoso Speakers’ Corner de la capital británica, pero también en las discotecas móviles que atraviesan las fiestas de barrios y pueblos del estado español en el verano, que acoge un programa de dj-set y actuaciones ofrecidas por personas que no ejercen habitualmente como pinchadiscos, cuyas vivencias personales serán visibilizadas (y exorcizadas) en forma de eventos de baile en un diálogo performativo entre los protagonistas de cada sesión y Max Bultó, performer recién llegado a la ciudad con un misterioso pasado.

Confiamos en el poder territorializador del disfrute musical compartido y de la alegría de los cuerpos, en esa capacidad intrínseca de la emisión sonora para producir espacios sociales, redes de afectos y oportunidades de encuentro.

Fiestas Invisibles propone una reflexión bailona, encarnada y agitada, en torno a cuánto podemos considerar público un espacio urbano donde, a día de hoy, se siguen reproduciendo inaceptables ejes de exclusión, violencia y desigualdad.

Lanza estas preguntas abriendo un espacio donde personas afectadas por tales reflexiones y vivencias puedan tomar un espacio de visibilidad que no se limite a la denuncia, sino que se centre en la prueba encarnada, sudada y celebrante de qué es lo que la sociedad pierde cuando excluye lo no normativo de la arena pública.

Concretamente, el proyecto propone una serie de performances en forma de fiestas callejeras cuyos dj-set serán llevados a cabo por familias (desde una idea expandida y no biologicista de familia) que, en sus vivencias diarias, desafían los dogmas de lo normativo en sus múltiples vertientes (patriarcales, heteronormativas, binarias, racistas, edadistas y/o capacitistas), y cuya voz y vivencia serán amplificadas por un soundsystem-púlpito desde el que lanzar, desde el roce lúdico de los cuerpos, un mensaje de lucha para la igualdad y celebración de la no-normatividad.

Lo que tendrán en común las familias invitadas a participar es su pasión por la música y su deseo de hacer bailar a la gente reivindicando ese lugar aficionado, puesto que ninguna persona participante será DJ profesional.

 

Fiestas invisibles Itinerancia

Paloma Calle. Madrid 1975.

"Mi trabajo se desarrolla en un territorio híbrido y móvil entre la investigación y creación en artes vivas y al educación no formal

Desde la práctica artística escénica o performativa, propongo un pensar desde el hacer, desde el cuerpo, no tanto desde la palabra y lo discursivo. Busco legitimar saberes o aprendizajes alejados de la investigación entendida de la manera más tradicional o académica. Utilizo el extrañamiento y el humor, así como la autobiografía y las preguntas, como herramientas de trabajo.

Cada vez estoy más lejos de las paredes que construyen el dispositivo escénico llamado “teatro” pero tampoco ese hilo se ha cortado, sólo se ha vuelto más fino y largo.

Mi enfoque se sitúa desde una perspectiva interseccional feminista disidente de la norma  heterosexual.

He trabajado con diferentes instituciones de Europa, Asia y Latinoamérica como: Matadero, Intermediae, La Casa Encendida, CA2M, Facultad de Bellas Artes de Madrid y de Cuenca, MUSAC, Programa Aprendanza, Rimbun Dahan (Malasia), Festival Panorama (Brasil), Espacio NAVE (Chile) entre otras."

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The performances take place in El Sauzal, Los Realejos, Arona, El Rosario and Vilaflor

 

The theatre festival MEI (Muestra Escénica Iberoamericana) offers this week nine performances in five municipalities. The programme includes 'Moria' and 'Clara y el abismo' (Clara and the abyss), both by Unahoramenos, a company from the Canary Islands. The Chilean company Teatro Niño Proletario, stages 'Nadie lee fuego mientras todo se está quemando (Nobody reads fire while everything is burning), while the last performance is titled 'Carta de una desconocida' (Letter from an Unknown Woman) by the Colombian company Señor M. The MEI festival is an initiative organized by the Tenerife Island Council through the Auditorio de Tenerife, a cultural space linked to the Department of Culture that is managed by the island Minister of Culture, Enrique Arriaga. It finishes on 6 October. Tickets for this third edition are on sale at www.meitenerife.com.

Enrique Arriaga, the Island Council’s first vice-president and island’s Minister of Culture, stressed that "the festival MEI is a clear example of our vocation to bring culture to all the people of Tenerife without them having to travel to Santa Cruz to enjoy top-quality shows". 

This week's programme starts on Tuesday, the 21st of September at 8:30 p.m. at the venue Casa de la Cultura de Los Realejos with 'Carta de una desconocida' (Letter from an Unknown Woman). This adaptation of the novel by Stefan Zweig is programmed during the MEI festival to be staged in El Rosario and Adeje. It is based on an unrequited love story. A man receives a letter from a woman. She tells him how she has loved him since she was a child. She used to watch him through her window and continued to love him throughout her life. It is a story of loneliness, pain, and hope with small happy moments. The play talks about women's privacy, time, hope, and love. It deals with how we construct and idealize ‘the other’ and relationships; it talks about those deep and silent loves that become idyllic and perfect. They live only in the lover's mind.

‘Moria’ is the first proposal offered by the company Unahoramenos during this week. They will perform it first in El Sauzal, with two shows on Wednesday, the 22nd of September. On Sunday, the 26th of September, they perform it in Auditorio Infanta Leonor, in Arona. Both municipalities have programmed the shows at 6:00 p.m. and at 8:00 p.m. 

This immersive theatre proposal tells the story of two refugee women and their families, who have no choice but to flee their respective countries. The dramaturgy is based on real testimonies filmed in the Moria camp under the supervision of Nicolás Castellano, a reporter who has specialized during the last 20 years in forced migration movements and human rights. 

Zohra Amiryar survived four bombings and attacks in Afghanistan, her home country. She lost her brother during one of them. In addition, she saw her four children wounded during the last attack. Thus she decided to make the exodus in search of a refuge for her family. Douaa Alhavatem is a 30-year-old Iraqi woman who had to leave her native Baghdad after her husband's disappearance. She feared that she and her three children might suffer the same fate. In Moria, both women experience a new stage of suffering that they would have never ever imagined when they set foot in Europe, the place where they thought they would finally feel safe.

The other proposal by Unahoramenos will only be staged at the Teatro El Sauzal on Friday, the 24th of September at 8:00 p.m. Friday's performance 'Clara y el abismo' (Clara and the abyss) is an initiative of Laboratorio Galdós Internacional. It is inspired by a text written for the occasion by the Uruguayan Gabriel Calderón. It deals with the last moments of a woman who suffers from cancer and reviews her life. It also talks about her relationship with her loved ones. It is an inspiring reflection on life and its inevitable end. 

Teatro Niño Proletario makes its debut in MEI with 'Nadie lee fuego mientras todo se está quemando' (Nobody reads fire while everything is burning). A mother and her son are homeless and live on the streets of a society they do not wish to belong to. They decide to confront the situation by performing a poetic act as the last gesture to shed light on a country that lives in darkness. This play revisits the 2005 production 'Hambre' (Hunger), the company's first creation. It is also inspired by the novel 'Los vigilantes', by Diamela Eltit, a winner of the Chilean National Prize for Literature in 2018. Likewise, it is inspired by the poetry book 'Bonzo', by Maximiliano Andrade, a young Chilean poet and outstanding illustrator who also illustrated his book.

'Nadie lee fuego mientras todo se está quemando' (Nobody reads fire while everything is burning) makes its European début with the three shows offered during the MEI festival. The first performance takes place on Thursday, the 23rd of September at the 'Centro Cultural 25 de abril', in Vilaflor, to continue with a second performance at Casa de la Juventud in El Chorrillo (El Rosario). The last performance takes place on Saturday, the 25th of September at the Theatre El Sauzal. The three shows start at 8:00 p.m.

The programme of this MEI's edition includes 40 performances of 17 shows from Chile, Uruguay, Colombia, Argentina, Nicaragua, Portugal and the Canary Islands. This third edition is the most ambitious considering the number of performances and distribution throughout 12 municipalities of the island.

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Pedro Martín and Enrique Arriaga confirm that the Island Council offers its support to this festival directed by Diego Navarro

 

On Friday, the 17th of September, the Auditorio de Tenerife hosts the presentation of Fimucité's fifteenth edition. The ‘Festival Internacional de Música de Cine de Tenerife’ (International Film Music Festival of Tenerife) has become a world reference in its genre. Under the direction of Diego Navarro, the festival kicks off today and is programmed until 26 September. Tenerife's Island Council is the main sponsor of this initiative with the collaboration of the Canary Island's Government, the city councils of San Cristóbal de La Laguna and Santa Cruz de Tenerife, plus Auditorio de Tenerife, Orquesta Sinfónica de Tenerife (Tenerife Symphony Orchestra), both foundations "La Caixa" and Disa, as well as the SGAE (Spanish Society of Authors and Publishers) and Radiotelevisión Canaria.

The event was attended by the president of Tenerife's Island Council, Pedro Martín; the island's Minister of Culture, Enrique Arriaga; Juan Márquez, vice-minister of Culture of the Canary Islands' Government; José Manuel Bermúdez, mayor of Santa Cruz de Tenerife; Badel Albelo, Member on charge of Culture at the Municipal Council of La Laguna; Fimucité's director, Diego Navarro; Francisco Moreno, sole administrator of Radiotelevisión Canaria and Eímear Noone, conductor and Festival's guest.

During his speech, Pedro Martín pointed out that "film music provides ineffable elements without which a film could not be understood". He fondly recalled many titles of the feature films whose soundtracks will fill the Fimucité programme over the next few days. "The Cabildo of Tenerife gives great support to this project led by Diego Navarro. Without a doubt, we have a lot to do, discover and enjoy through this project during the coming years," said Martín. 

Enrique Arriaga congratulated the festival for these 15 years "during which it has grown and evolved from a novel idea, in which not everyone trusted, to something very successful". "Diego Navarro struggles for his objectives with passion. He has overcome many crises, including economic ones, from which he has become stronger. He is now a world reference that the public enjoys", analysed the island's Minister of Culture. He highlighted the concerts that will take place in the Auditorium with the Tenerife Symphony Orchestra conducted by Navarro and a programme "in which we will enjoy pieces that are part of our lives". "We feel proud of this festival," he said. 

Juan Márquez explained that the Canary Islands Government's support for Fimucité "is part of the strategy to diversify the cultural sector". Fimucité is a great opportunity for many projects. We want the international audio-visual industry to know the Canary Islands not only for its tax incentives and landscapes for filming, but also for the remaining value chain and elements such as music production. In this sense, Fimucité can provide a lot of help", stated Arriaga. 

José Manuel Bermúdez looked back and recalled "all what this festival has achieved over the years". "Attracting intellectual and cultural characters and generating business are just two of the festival’s benefits. Fimucité gets the right programming year after year," Bermúdez said. "Diego Navarro, a 'Chicharrero' at heart, and his team are tireless", explained the mayor. He then announced that "Santa Cruz de Tenerife has opened a file of honours and distinctions in the name of Diego Navarro. During the last 15 years he has contributed so much to his municipality". 

Badel Albelo assured that "it is a pleasure for La Laguna to be part of the Fimucité’s agenda". He added that "this year we have increased the financial support to this festival that is a world reference." The Member of the Municipal Council of La Laguna wanted to share with Eímar Noone how happy he felt to have her tonight at the Teatro Leal during a concert with all tickets sold out. "It is a great pride", he stated.

Francisco Moreno recalled his conversations with Antón García Abril. He stressed that "this is a festival we all shall take good care of. These cultural experiences shall not remain in this Auditorium. It shall rather be enjoyed throughout the Canary Islands so that the homage paid here to film music is known, hence the need to record it and disseminate it," he explained. "This initiative gives meaning to our activity," concluded the sole administrator of RTVC.

Eímar Noone was the first female conductor to direct an orchestra during the Oscar ceremony. She was enthusiastic about returning to the festival after four years: "I can't express what it means to me to be here because Tenerife is special. Here I have great friends, music, food, landscapes... Everything!" "It is very exciting for me to see how Diego, my 'Canarian brother' of whom I am so proud of, and his passion are supported in this way and for 15 years; that says a lot about you!" She explained. Regarding today's programme at Teatro Leal, Noone pointed out that the first score dates from 1986. She will also conduct a score by Sara López, a composer from the Canary Islands. 

Diego Navarro, the festival's director, celebrated these 15 years and declared: "Who would have thought it! We pay homage to two persons who recently passed away: maestro Morricone, one of the great geniuses of film music, and Antón García Abril, the father of film music in Spain. He had a great relationship with this festival, and that’s why our award bears his name", explained the orchestra conductor. On the other hand, he highlighted the exponential success of video-game music. So Fimucité didn't want to be left behind." He finally encouraged the audience to enjoy Fimucité. “It is a leading event of its kind in Europe and a world reference". 

This anniversary edition features a tribute to both composers. The Italian Ennio Morricone and the Spaniard Antón García Abril. Both were great masters of film music and passed away in mid-2020 and last March, respectively. The music programme kicks off this evening with a theme concert dedicated to video-game music that is rounded off by a new Pop Culture Band show. The programme continues with two recitals by the choir 'Coro de Voces Blancas' of Santa Cruz de Tenerife's Conservatory of Music, the choir 'Coro Polifónico de la Universidad de la Laguna' and two concerts by the Tenerife Symphony Orchestra.

The highlight of this anniversary's edition takes place on 24 and 25 September with the concert première 'Érase una vez Ennio Morricone: Un tributo a su música cinematográfica' (Once upon a time, Ennio Morricone: a tribute to his film music) at the Auditorio de Tenerife. Fimucité's director Diego Navarro will conduct the Tenerife Symphony Orchestra during both concerts (tickets sold out) to feature a tribute to Ennio Morricone. Composer of more than 500 soundtracks, he was nominated five times before winning the Oscar for the original score of 'The Hateful Eight' (2016) by Quentin Tarantino. The Tenerife Symphony Orchestra shares the stage with the Tenerife Film Choir and its director Juan Ramón Vinagre; the saxophonist Kike Perdomo, Gonzalo de Araoz (guitars) and the prestigious soprano Carmen Acosta. 

Miguel Ángel Ordóñez, music and film critic, director and founder in 2005 of Scoremagacine.com, the first website specialising in soundtracks, will receive the Fimucité-Antón García Abril 2021 Award in recognition of his career. The festival’s closing ceremony takes place on 26 September at the Espacio Cultural La Granja, with the reading of the Fimucinema list of winners and the presentation of awards. 

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