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Cabildo de Tenerife’s cultural centre, Auditorio de Tenerife, opens today 19 June, the enrolment period to take part in the 2019-20 season Escuela del Espectador. The course is aimed at citizens who need not have prior knowledge but wish to improve on their skills in the artistic languages included in the programme offered at the Auditorio. This activity is part of the Tenerife 2030 strategy fostered by the Cabildo.

The main goal of the programme is to carry out a learning process that in the medium term enables participants to deepen their knowledge of the different aspects involved in opera, dance and music shows. It also gives them the chance to attend for free some of the events held at Auditorio de Tenerife with a view to motivating analysis and reflection, offering pre-show talks for each of the genres so that they become active audience members.

If you are interested in participating in the 2019/2020 course please send an email to This email address is being protected from spambots. You need JavaScript enabled to view it. before 2:00 pm on 10 July 2019 enclosing the following questionnaire once you have filled it in:

 Enrol now

Participants selected for the new Escuela del Espectador will be announced on 22 July.

The course starts on 10 September at 7:30 pm in Auditorio de Tenerife. During the year, meetings, which will take place once a fortnight at 7:00 pm and last for 90 minutes, will alternate sessions with the project coordinator, Iván Morales, and talks with artists and creators.

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For the second year in a row, the Choral Camp is being held at IES La Laboral de La Laguna from 1 to 5 July. This summer training activity by Escuela Coral de Tenerife offers participants the chance to share learning through rehearsals, classes and a final concert to showcase everything they have learnt during the week.

To guarantee the quality of the experience, the Escuela has engaged teachers of international renown: Basilio Astulez, Esther Andueza, Juan Pablo Agudelo, María Claudia Peña and Paulo Vassalo.

Apart from the three choir groups to be divided by age from 8-year-old on, the Camp also features special activities for pianist wishing to train as accompanist, choral singers or conductors who wish to polish their conducting technique.

You can enrol until Monday, 24 June through a form on the Tenerife Artes Escénicas website, in the section Escuela Coral www.tenerifeartesescenicas.com/escuela-coral

The final concert, which is free of charge, will be held on 5 July at 7:30 pm at Salón de Actos of IES La Laboral.

Teachers

Juan Pablo Agudelo graduated in Musical Education from the Faculty of Arts in the University of Antioquía. He is also founder and principal conductor of the Ensamble Vocal Polimnia de Marinilla, general manager of the Choir Programme of the Rionegro Municipality and professor at the Faculty of Music of Fundación Universitaria Bellas Artes in Medellín.

Esther Andueza is a pianist and head of the Repertoire and Singing department of Conservatorio Profesional Arturo Soria de Madrid. She specialised in vocal accompaniment with different maestros in Spain and Italy.

Basilio Astulez teaches Choral singing at the Conservatorio Municipal de Leioa in the Basque Country. He founded the Leioa Kantika Korala children’s choir in 2001, the young women’s choir La Kantoria in 2005 and the mixed choir SJB in 2007. This young choir school, which has more than 200 singers of ages ranging from 7 to 25, has won numerous awards at Spanish and European competitions.

María Claudia Peña is director and teacher at the Coro de Intermezzo del Coro de Jóvenes de la Ciudad de Nueva York (Young People’s Chorus of New York City- YPC), made up by 130 choristers aged from 10 to 14. Its activities include, apart from the introduction to choral methodology in New York state schools with no resources, a programme that was recently acknowledge by the PASE organisation (Partnership of After School Educators), that rewards excellence in educators of out-of-school activities.

Paulo Vassalo Lourenço is a doctor in Choral Conducting from the University of Cincinnati/College-Conservatory of Music and he currently teaches in the Higher School of Music in Lisbon. His teaching career has won him an international standing, so he has given courses in France, Italy, Poland, Ireland, Denmark, the United States, Mexico, Brazil, China, Singapore, Israel and Turkey.

The Choir School and Camp are both initiatives of Cabildo de Tenerife under its Education and Social Areas and its Tenerife 2030 strategy with the collaboration of Fundación Cepsa and Obra Social ‘la Caixa’.

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On Friday, the 21st Sinfónica de Tenerife is giving its season closing concert under the baton of its principal conductor Antonio Méndez. The event also features soprano Eleanor Dennis and baritone Hanno Müller-Brachmann. It is the first time both soloists perform with the Cabildo’s orchestra. The programme also includes the participation of two choirs: Coro de la Comunidad de Madrid and Coro Gulbenkian, the latter singing on the island for the first time too. Auditorio de Tenerife is hosting this programme that consists of A German Requiem, op.45 by Johannes Brahms.

Premiered in 1868, A German Requiem embodies the passage from musical Classicism to Romanticism apart from translating individual expression, as the author does away with Latin in favour of his mother tongue or offers his own interpretation of death. Brahms does without explicit connections to the Christian understanding of death, like the Last Judgment or eternal salvation. The composer is interested in death as a philosophical and vital issue, influenced by the death of his mother and his mentor, Robert Schumann, that took place within a short period. The issue raised in his work is how to live after the death of a loved one.

The composition starts as if emerging from an abyss where a choir is asking for comfort; then, the melody turns darker until it returns to the promise of future happiness. That is expressed in the second movement which, musically, is a funeral march. In the third movement, the baritone speaks directly to God and approaches the issue of the meaning of life as it was understood in the second half of the 19th century. That is why, Brahms is not asking God to forgive him but to hint at his future so that he can experience it to the full.  Clearly influenced by the philosophical movement championed by Schopenhauer or Nietzsche, Johannes Brahms pays no attention to the horror that the “end of life” caused in other composers like Mozart, as seen in his Dies Irae. Instead, his interpretation is that immortality consists of living on in the memory of future generations.

Antonio Méndez is becoming one of the most sought-after, established and fascinating conductors of his generation. This translates into the different connections he has established with the main orchestras in Europe, having conducted the Tonhalle-Orchester Zürich, Symphonieorchester des Bayerischen Rundfunks, Mahler Chamber Orchestra, Rotterdam Philharmonic, Danish National Symphony Orchestra, hr-Sinfonieorchester, Royal Stockholm Philharmonic, StaatskapelleDresden, Scottish Chamber Orchestra or Orchestre Philharmonique du Luxembourg.

The Balearic conductor studied piano and violin at the Conservatorio Profesional de Música de Mallorca and then went on to study composition and conducting at Real Conservatorio Superior de Música de Madrid. In 2012 he won the first prize at the prestigious competition Malko in Copenhaguen and in 2013, he was finalist in the Nestlé and Salzburg Young Conductors Award, which caught the attention of the general public.

Scottish soprano Eleanor Dennis trained at the International Opera School of the Royal College of Music and as Harewood Artist at the English National Opera. It was after her performances at the London Handel Festival, in the leading role of Rodelinda, when she started to attract more attention. Specialised critics were quite conclusive: “she has a marvellous future. I’m not sure I can ever remember one who so obviously deserves to be a star” (Fiona Maddocks, The Observer). In 2012 she played Costanza, by Riccardo Primo, where Hugh Canning described her as a “great talent”.

The German bass-baritone Hanno Müller-Brachmann teaches at the Musikhochschule Karlsruhe and made his debut in 2000 at the Carnegie Hall with Chicago Symphony Orchestra under the baton of Barenboim. Hanno was a member of the Staatsoper Berlin from 1998 to 2011. He has also performed in the Baviera, Hamburg and Vienna State Operas in addition to San Francisco Opera. He has been praised by the international press for the different recitals he has given in festivals in Berlin, Graz, Amsterdam, Hamburg, Paris, Laussane, and at London’s Wigmore Hall, at the Schwarzenberg Schubertiade or at the Edinburgh Festival.

Recognised as one of the best and most versatile Spanish choirs, the Coro de la Comunidad de Madrid is back on the island thirteen years after their last visit. This prestigious group was set up in 1984 and is currently directed by choirmaster Félix Redondo. Its wide range of activities include a capella recitals and with orchestra, participating in opera productions or in recording studios. Its growing prestige has led them to perform on the main Spanish stages and on many abroad, including Germany, Belgium, France, Poland, China, Japan, Morocco or Mexico.

Coro Gulbenkian, their first time on the island, was set up in 1964 by the Calouste Gulbenkian Foundation. It has 100 singers and is currently led by choirmaster Jorge Matta. Their repertoire encompasses the classical symphonic choral, Romantic, and contemporary although they also perform a cappella. The choir has been invited to collaborate with major international orchestras and conductors like Claudio Abbado, Colin Davis, Emmanuel Krivine, Esa-Pekka Salonen, Frans Brüggen, Franz Welser-Möst, Gerd Albrecht, Michael Gielen, Michael Tilson Thomas, Rafael Frübeck de Burgos, René Jacobs or Leonard Slatkin.

Tickets for this last concert are available at the box office from 10:00 am to 7:30 pm Monday to Saturday; by telephone on 902 317 327; or on the websites www.sinfonicadetenerife.es and www.auditoriodetenerife.com.

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The Mercado de las Artes Performativas del Atlántico Sur, MAPAS 2019, [South Atlantic Performing Arts Market] completes its programme with the participation of 166 artistic groups and agencies from 35 countries coming to this international event to be held in Tenerife from 10 to 14 July. Heads of programming, curators, artistic directors and cultural managers can register until Saturday, 15 June.

All the companies, artists and music groups who have confirmed attendance are taking part in the business meetings and 60 of them, coming from 24 countries, have been also selected to perform before audience and programmers in sample shows to be put on in these five days at different venues in Santa Cruz: Auditorio de Tenerife and surrounding areas, Teatro Guimerá, La Granja Espacio de Creación and IES Alcalde Bernabé are some of the locations chosen for theatre, dance, circus, street art and music performances. Like in previous years, more than 20,000 people are expected to attend these shows.

TEA Tenerife Espacio de las Artes and Museo de la Naturaleza y la Arqueología complete the market’s venues. These places are hosting the speed business meetings and a busy programme of training activities and debates that will feature internationally relevant speakers and meetings with professionals of institutions related to music and the performing arts from all over the world.

MAPAS 2019 -organized by Cabildo de Tenerife, unahoramenos and Circulart- this year includes booking, management and distributions agencies. A total of 33 companies of this kind from 12 countries have been selected. They are taking part in the business meetings to be held on 12 and 13 July, with artists from Africa, Latin America and Southern Europe and programmers from any country.

As for the artistic and musical groups, they come from many different places: 64 are from Southern Europe (Spain and Portugal), 24 of which will be offering shows; 45 artists and musicians come from Latin America, with 18 performances; and 24 participants come from Africa with 18 of them performing before the audience and the programmers. MAPAS 2019 will welcome creators from Spain, Colombia, Argentina, Mexico, Brazil, Portugal, Venezuela, Egypt, Ghana, Ruanda, Tunisia, Morocco, Mali, Cameroon or Madagascar, among others. The confirmed artists and the programmers feature on the MAPAS website www.mapasmercadocultural.com

MAPAS will once again make Tenerife an international spot for the performing arts and music, taking up the main cultural venues in the city in a venture than combines professional management and artistic exhibition, training and analysis with the aim of giving international scope to the proposals of creators from Africa, Latin America and Southern Europe and strengthen the structure of creative industries.

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Next Sunday enjoy the most outstanding arias of the operas being performed next season

Ópera de Tenerife has scheduled for 12:00 noon on Sunday, the 16th, an opera titbit in the square outside TEA Tenerife Espacio de las Artes where you can enjoy some of the pieces from productions to be performed next season.

Singers include soprano María José Torres; mezzo soprano Sandra Ferrández; tenor David Astorga and baritone Borja Molina, accompanied by the piano of maestro Borja Mariño. The event will be presented by Alejandro Abrante, intendant of Ópera de Tenerife.

The arias we will enjoy this time are by Donizetti, Verdi, Handel and Sorozábal and include ‘Ardir! Ha forse il cielo… Obbligato! Ah, sí! Obbligato!’ and ‘Una furtiva lagrima’ [L’elisir d’amore]; ‘Caro nome’ and ‘La donna è mobile’ [Rigoletto]; ‘Vieni, la mia vendetta’ and ‘Il segreto per esser felici’ [Lucrezia Borgia]; ‘Lascia ch’io pianga’ [Rinaldo]; ‘Parigi, o cara’ [La traviata] and ‘No puede ser’ [La tabernera del puerto]. At the end of the show we can all enjoy an aperitif.

This activity, which was first started last season, aims at spreading the love for opera by taking it to different venues across the island of Tenerife. In previous occasions these get-togethers have taken place in the municipalities of Puerto de la Cruz, San Cristóbal de La Laguna, Güímar and Santa Úrsula. This is the first opera titbit Ópera de Tenerife is offering in Santa Cruz.

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Cantaor José Mercé and guitarist Tomatito are taking over Cabildo’s Auditorio de Tenerife on Saturday, the 15th at 9:00 pm. Their show De verdad is on at Sala Sinfónica where they are presenting a new joint record in which they champion flamenco as music and culture.

José Mercé and Tomatito two old friends whose paths have often crossed and have again had the same idea: making a record together and going on tour to take their music to major stages in the world.

Tomatito, guitarist and producer of the record explains that “in De verdad we play all the palos flamenco is fortunate to have: tangos, alegrías, seguiriyas, soleás, bulerías, granaínas…”. The musician says that “I’ve never strayed away from flamenco, although I do other things, it always sounds like flamenco and we always defend it”. “I’ll be a flamenco man till the day I die”, he stated.

José Mercé shares the same idea as he reflects on other features of his career: “We were both born flamenco, to very flamenco families and if I sometimes sing pop it’s because I’m making a different story at that time”. “Singing a song like Al alba as a cantaor, or my duet record is something else altogether but it’s not flamenco because flamenco is what we’ve recorded in “De verdad”, he points out.

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

The roots of purest flamenco are revealed in this record. The collection of songs composed by Kiki Cortiñas permits both maestros to show off their talent. “That’s something we’ve got to do, we’re not newcomers and we know how to give our best in the studio”, Tomatito says.

Mercé and Tomatito, have individually done pop, jazz or modern classics. They have both reached the top in every style, but they felt the artistic need to return to their musical origins.

Tomatito admits that “I’m privileged to have been born in this period, having lived with the classics and with those who have made me evolve”. “I’m proud and happy at having experimented with jazz, with modern, with the heirs of Django Reinhardt and Gershwin, with Michel Camilo… But being nominated for a Grammy with Camilo, was for best jazz, fusion or instrumental record, not for flamenco”.

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