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The  Festival de Música Antigua de Tenerife (Fimante) [Tenerife Early Music Festival] is offering on Sunday the 3rd at 12:00 noon the concert Flores musicales, de Dresde a Nápoles, [Musical Flowers, from Dresden to Naples] interpreted by the ensemble Il Passeggero. Auditorio de Tenerife’s Sala de Cámara welcomes this proposal that wishes to take the audience on a journey across a Renaissance Europe that is full of life and movement, ideas and experimentation.

The programme alternates skill and colour games, re-enacting the dialogues of the selected composers and their different aesthetics, who are close to one another through their sensitivity and their great expressive strength. Il Passeggero is made up by Rémi Lécorché, sackbut and recorder; Adeline Cartier, harpsichord, and Isaure Lavergne, who in addition to playing the dulzainas and the recorder is the group’s artistic director.

Many 16th and 17th century musicians travelled to Italy one or several times, particularly to Rome, Florence or Venice. The most talented composers met in these creative and artistic imitation hubs. They would immediately take the new sounds and the latest musical creations across Europe, driven by the idea of beauty and expressiveness of a revisited Antiquity.

Tickets are available via Auditorio de Tenerife usual sale channels, at the box office from 10:00 am to 7:30 pm on Thursday and Saturday and on Sunday, two hours before the concert starts; via www.auditoriodetenerife.com or calling 902 317 327.

One of the composers in the programme, Girolamo Frescobaldi, appears as an unavoidable figure of Italian Renaissance; principal organist in St. Peter’s Basilica in Rome, musicians from all over the world came to him and he exercised deep influence on performing and composition techniques. Through their journeys, musicians contributed to feed a musical source that quickly became common to all nations.

For example, this programme includes -penned by different authors- the song “La Mónica” (in French Une jeune fillette) and Doulce mémoire, based on a poem by King Francis I. With the help of the phenomenal technical progress, including the press, instrumental music was also at its height. Instruments like recorders, dulzainas, violas and even harpsichords were built in families.

It was a time to experiment new instrument prototypes that would encourage the same sound perfection. Human genius was boiling over stimulated by the exchanges among nations, the arts and the sciences.

“We find this at times exuberant inventiveness in the pieces by Storace and Bertoli, in which the instrumentalist reaches the limits of a virtuoso without overlooking the essential elegance, the sprezzatura, without which no human act is worthy of praise” explained Conrado Álvarez, Fimante’s artistic director.

The three young musicians who make up Il Passeggero come from different backgrounds and they met in Tours, in central France. Visiting often great Renaissance music specialists such as Jérémie Papasergio, Franck Poitrineau or Sébastien Wonner, they grew passionate for an elegant counterpoint repertoire.

Committed to seeking and experimenting early sounds, their instrument combination allows them to develop, thanks to the scores, a rich range of characteristic colourful timbres. Il Passeggero owes its name to the use of ornaments, unavoidable practice in the 16th and 17th centuries, that takes listeners on a journey of sounds and emotions.

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Quantum Ensemble, resident at Auditorio de Tenerife, is opening the 2019-2020 season on Thursday the 17th at 7:30 pm. The Sala de Cámara welcomes the programme Vínculos, featuring soprano Anna Dennis, violinist Alexander Sitkovetsky, clarinettist Cristo Barrios, cellist Richard Lester, and pianist Javier Negrín.

Also, at the Sala de Cámara the editor of the Scherzo magazine, Juan Lucas, will be giving the admission-free pre-concert talk at 6:30 pm. This photographer, filmmaker, music promotor and producer, journalist, writer, librettist, translator and musicographer will talk about both the Quantum Ensemble and the repertoire to provide a context for the audience.

The social outreach activities connected to this concert are to start on Thursday at 11:00 am in the same place. The session aims at bringing music closer to audiences and will be attended by members of the Programa de Dinamización Sociocultural e Intervención Social Ansina, of the Asociación de Padres de Personas con Discapacidad Intelectual and the Centro Ocupacional La Guancha. [Ansina Socio-cultural and Cultural Intervention Programme of the Association of Parents of Intellectually Disabled People]

The University of Leeds lecturer, Víctor Durà-Vilà, revealed that “the Quantum Ensemble presents in this programme three figures who, coming together in the Vienna of the end of the 19th- and beginning of the 20th-century, showcase wonderfully the creative exuberance that took place in that city at that time”.

The concert includes Transfigured Night, one of Arnold Schoenberg’s most popular works, plus two other very interesting pieces: the Trio in D minor for Clarinet, Cello and Piano by Alexander Zemlinsky and The Heavenly Life, a song for soprano and orchestra by Gustav Mahler, that dates from the time he composed the song cycle The Boy’s Magic Horn, but that finally became the fourth movement of his Symphony Nº 4.

In Durà-Vilà’s opinion, “It is particularly noteworthy that, in their continued effort to expand their chamber repertoire, the Quantum Ensemble is performing two of these three compositions as arrangements that require only three musicians, therefore providing a different instrumental perspective and allowing a contrasting, and at the same time interesting, aural experience”.

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

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The Festival Canarias Jazz Showroom-XI Muestra de Jazz de Canarias offers a busy weekend at Auditorio de Tenerife with a programme that includes bands ranging from jazz manouche, to Latin jazz to fusion jazz. Also taking place is the event Swing Fest, which is aimed at audiences who love this music and dance style, plus the awards II Premios Canarias Jazz Showroom. Bands playing include Crazy Cats, Ancor Miranda Quintet, Havana Vibes, Charlie Moreno and CJS Reunion with dancer Jep Meléndez as special guest.

The first concerts of Canarias Jazz Showroom are being held on Saturday, the 5th at 7:30 pm at Auditorio de Tenerife’s Sala de Cámara. It features the live performance of the Ancor Miranda Quintet, made up of Gianni Glagiardi, tenor sax; Álvaro Torres, piano; Octavio Hernández, electric guitar; Basile Rahola, double bass; and Ancor Miranda – who’s penned all the compositions – at the drums. Next on stage is Havana Vibes, a project based on different musical varieties from diverse countries, which not only aims to be a musical itinerary but a life one too.

At the end, the Swing Fest is offering a performance by Crazy Cats at 9:30 pm at the Auditorio foyer. It is a tribute to swing, to jazz manouche and to that style that sprang in the United States in the 1930s which grew into a culture encompassing music, dance, clothes, food…and specially, the joy of living.

On Sunday the 6th, Canarias Jazz Showroom presents CJS Reunión in concert. This is a project to pay tribute to Canarian jazz composers and it also has the aim of paying homage to our jazz musical heritage. They are the support band for the ceremony of the 2nd Canarias Jazz Showroom awards and will be joined by the great tap-dancer and body percussion artist Jep Meléndez. The band includes Daniel González, drums; Carlos Costa, double bass; Kevin Díaz, piano, Aaron Barreiro, vibraphone; Kike Perdomo, saxes; and Idafe Pérez, trumpet.

It will then be the turn of the Charlie Moreno Quintet. This Gran Canaria-born young musician is a bass player, composer, and producer who has lived in mainland Spain, both in Madrid and Barcelona for nearly 20 years. He has taken classes with great musicians of the jazz scene including Russell Malone, Gary Grainger, Yellowjackets, Dave Weckl, Tom Kennedy, Richard Bona, Richie Goods, Victor Bailey and Victor Wooten, among others.

Tickets are available through the usual sale channels of Auditorio de Tenerife – 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 Muestra de Jazz de Canarias was set up in 2009 by musician and composer Kike Perdomo as the first event focusing on presenting Canarian projects that do not always find a niche on the islands. Over the years, the quality, variety of styles and number of concerts that enter the show have increased exponentially to the point that it has become a major showcase of what is happening in and out of the islands through the participation of Canarian composers, musicians and producers. 

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The Nova Ars Organorum series of the  Festival de Música Antigua de Tenerife (Fimante) [Tenerife Early Music Festival] offers on Saturday, the 21st at 8:00 pm the concert Cuatro autores para un órgano, [Four authors for an organ] by German organist Heinrich Walther. It takes place at Iglesia Nuestra Señora de la Merced in El Médano, in the municipality of Granadilla de Abona. Admission to listen to this programme that includes pieces by Bach, Haydn, Mozart and Liszt is free.

The artistic director of the series, Rosario Álvarez, explained that “the German organ made by Gerhard Schmid in the late 20th century is ideal to play authors of different styles like the great Johann Sebastian Bach, the classical Haydn and Mozart -the former in a transcription by Heinrich Walther- or the Romantic composer Frank Liszt, in one of his most spectacular and greatest creations for this instrument, which will display all its sound qualities with it”.

Heinrich Walther is one of the busiest concert organists in his generation. The core of his repertoire includes the most important literature for organ as well as his own transcriptions of symphonic works and music for piano by Bach, played in a grand piano, in harpsichord or in clavichord.

In the past few years he has toured the United States, Mexico, many European countries and Israel, as well as Singapore, Korea and Japan. He has given concerts with the state philharmonics of Perm, Yekaterinburg, Ufa, Chelyabinsk, Tyumen, Barnaul, Omsk, Tomsk, Irkutsk, Chita and Khabarovsk, St. Petersburg and Moscow. Also, he was invited to the Israel International Organ Festival, to the Bach Festival of Jerusalem Baroque Orchestra in 2017, the Max Reger Festival in Leipzig and as a cembalist to the Bach Festival in Tübingen, in 2018.

He has a released a large number of very versatile records. Walther teaches organ at the Higher School of Sacred Music in Heidelberg since 2002 and is a lecturer in organ at the Higher School of Sacred Music in Rottenburg since 1994. He also teaches the interdisciplinary subject “Score Reading” at the Higher School of Music in Freiburg.

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On Friday, the 13th  Sinfónica de Tenerife is performing En tono al mar [About the Sea], the concert that opens the 2019-2020 season at the Auditorio de Tenerife. Under the baton of its principal conductor, Antonio Méndez, it features four pieces inspired by the watery world. From the strength of the ocean that shapes Peter Grimes and The Flying Dutchman to the colourist Fontani di Roma, this is a rotund musical homage the Tenerife orchestra pays to the natural surroundings of the island.

Premiered in 1843, The Flying Dutchman Overture WWV 63 by Richard Wagner (1813-1883), was the first drama by the German composer about which he said “my career as a poet starts here”. The very essence of the work is present in the overture through its main motifs: the storm, the ship in the mist fighting against the inclemency of the sea, the joy of the seafarers and the redemption of the Dutchman; in addition to the well-known ballad of his beloved Senta.

British composer Benjamin Britten (1913-1976) immerses listeners in a sea that reflects the characters of his opera Peter Grimes, premiered in 1945.  Four Sea Interludes, op. 33a is a symphonic piece that synthesizes his own opera. It starts at dawn, which is represented by violins that could very well be the beams of the early sun on the peaceful waters of the ocean. A rougher writing anticipates Sunday and the anxiety that is beginning to gain hold of Ellen.

Luz de luna (Moonlight) introduces listeners to a tense calmness, simulating waves that come and go in the darkness, since the sea is an open wound in the fisherman Peter Grimes. Finally, the storm, the inner portrait of the hero that Britten moves from the original first act to the end of these four movements; here is where he suggests that although calmness seems to have arrived, it is really just pretence, as the end is an absorbing spiral of the fate he cannot escape from.

The second part of the programme starts with Fontane di Roma by the colourist Italian Ottorino Respighi (1879-1936), one of the major representatives of Italian symphony. This symphonic poem comes straight from French impressionism; it is a real sound stroll around the fountains of Rome. So, the tour will takes us from the wavy waters of the Valle Giulia fountain in a bucolic, pastoral atmosphere; to Fontana di Tritone, where the horns will bring to life Triton’s conch, which, as in Ovid’s Metamorphoses he plays to control the waters. There is also room for Fontana di Trevi, where the atmosphere becomes triumphant upon the distinguished appearance of god Neptune. The melancholy nightfall gazes at the Fontana di Villa Medici until the darkness of night makes everything vanish.

The first subscription concert in the season ends with La mer CD 111 by Claude Debussy (1862- 1918), an exquisite sensory experience. The French author started to work on his childhood memories of the beach and portrayed a sea that sways in exoticism, symbolism and impressionism. The composer plays with the light by drawing different sun reflections on the water and the waves, executing a continuous movement in which harmony and rhythm gain greater importance.

Antonio Méndez, who took up the position of principal conductor of the Sinfónica de Tenerife last season, has become one of the best established and most sough-after conductors in his generation. The Mallorca maestro has built links 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.

In the 2018-2019 season, apart from his participation in the Sinfónica de Tenerife, Antonio Méndez returned to the Orquesta Nacional de España, Bournemouth Symphony Orchestra and the Kammerakademie Potsdam, making his debut with Konzerthausorchester Berlin and Orchestre de Chambre de Paris.

During the current season, the conductor of the Cabildo’s orchestra will return to Orchestre de Chambre de Paris or to Iceland Symphony, in addition to making his debut with Orquestra Gulbenkian and Stavanger Symphony. In Spain he will continue his connection with Orquesta Sinfónica de Galicia and Orquesta Sinfónica de Castilla y León. He will also make his debut in the opera productions L’elisir d’amoreLucia di Lammermoor and Don Carlo.

Tickets for this concert can be purchased at the box office from 10:00 am to 7:30 pm Monday to Saturday; by phone on 902 317 327; or via the internet on the websites www.sinfonicadetenerife.es and www.auditoriodetenerife.com.

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On 19 July, Sinfónica de Tenerife held their last season concert entitled “Costa Adeje Sinfónico”. This year the orchestra has given a total of 67 concerts which were attended by more than 80,000 people. Cabildo de Tenerife’s orchestra also visited three other islands: Gran Canaria, La Palma and La Gomera.

In addition to their usual subscription season, which included 19 concerts featuring 47 pieces by 27 composers, Sinfónica de Tenerife offered the extraordinary concerts of Fiestas del Cristo in La Laguna, La Laguna Cathedral, San Pedro Apóstol Church in Güímar, their traditional Christmas concert at the Port of Santa Cruz de Tenerife, Parque de la Torre del Conde in La Gomera and Costa Adeje Sinfónico in the south of the island.

Once again, Sinfónica de Tenerife provided the music to all the opera productions performed at Auditorio de Tenerife in the Ópera de Tenerife season. Apart from these fifteen shows, the orchestra was also present at Tenerife International Film Music Festival (Fimucité), the Festival Internacional de Música de Canarias, and La Palma Festival Internacional de Música, which amounted to five performances.

The Sinfónica de Tenerife also continued their outreach programme by offering 22 didactic concerts for schoolchildren and families, in addition to four masterclasses, three talks, three workshops plus visits to hospitals and health centres on the Island.

Cabildo de Tenerife’s orchestra will be back in September. The first concert will be held on the 6th at Cristo de La Laguna while their subscription season is starting on 13 September. You can learn all about subscriptions and ticket prices for the 2019-2020 season at Auditorio de Tenerife’s Box Office, calling 902 317 327 or on the websites www.sinfonicadetenerife.es and www.auditoriodetenerife.com.

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