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Noa, singer and composer of Yemeni origins who was born in Israel and brought up in New York, is coming to the Auditorio de Tenerife on Saturday the 18th. The concert to present her new work, Letters to Bach, starts at 9:00 pm. The album includes twelve pieces of instrumental music written by Johann Sebastian Bach with lyrics in English and Hebrew by Noa.

In addition to singing she will also play percussion and will be accompanied by Gil Dor’s guitar and voice, Gadi Seri, percussion and vocals, and Or Lubianiker’s bass. The lyrics of Noa’s new project, produced by Quincy Jones, are inspired by such different topics as technology and religion, global warming and feminism, euthanasia, the Palestine-Israeli conflict+ and relationships in the age of social media.

The guitar arrangements are by Noa’s long-time collaborator, Gil Dor, guitarist, composer, arranger and educator. Noa and Gil Dor strive to break language, gender and generational barriers as well as stigma in order to build a bridge of musical excellence towards respect and joy, a place for curiosity, courage and hope. It is all done under the auspices of the great super-connector, Johann Sebastian Bach.

Noa is an internationally renowned artist who has performed in the most prestigious theatres in the world, including many performances at the Vatican for the three Popes, the White House, the Carnegie Hall, the Lincoln Center and the top venues in Europe.

She has been backed and produced by Pat Metheny and Quincy Jones and has shared the stage with Stevie Wonder, Sting and Andrea Bocelli, among many others. She is Commander of the Order of Merit of the Italian Republic, UN Goodwill Ambassador, Global Leader of Tomorrow, and has received countless awards for her art and her commitment to peace between Israelis and Palestinians.

Tickets can be purchased at Auditorio de Tenerife box office from 10:00 am to 7:30 pm Monday to Saturday, except holidays; via the website or calling 902 317 327.

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The Addams Family musical reaches the Auditorio de Tenerife at Christmas time. The show will be put on nine times at the Cabildo de Tenerife’s cultural centre. The first two performances are at 6:00 pm and 9:30 pm on Saturday, the 28th. The last performance of this terrifically funny show is on 4 January.

In the world of The Addams Family being sad means being happy, foolishness is sensible, feeling pain equals joy, being imprudent is prudent and death and suffering are the stuff dreams are made of.  However, this peculiar family is about to face one of the spookiest nightmares common to every parent: the children are growing up.

For hundreds of years, Gómez and Morticia have tried to keep the genuine, special and unique Addams values, but however much they wish to go on living in that harmony, something quite unexpected is going to happen: their macabre and dear daughter Wednesday has fallen in love with Lucas Beineke, a sweet, loving, and intelligent boy from a “normal”, respectable Ohio family. No one does really approve of the couple but to make matters even worse, Wednesday has invited the Beinekes to dinner.

Welcome to an ill-fated, ominous, and hilarious evening at the Addams’s, where the best-kept secrets will be revealed, relationships, love affairs and friendships will be under scrutiny and the whole of the Addams family -ancestors included- will be forced to face the one single terrible thing they have managed to avoid for generations: change.

Tickets can be bought via 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  or calling 902 317 327.

The cast includes Carmen Conesa, Lydia Fairén, Xavi Mira in the role of Gómez; Frank Capdet, who plays uncle Fester; Meritxell Duró is the grandmother; Alejandro Mesa, in the role of Pugsley; Fabio Arrante is Lucas Beineke; Eva María Cortés plays Alice Beineke; Andrés Navarro as Malcom Beineke, and Javier Canales is butler Lurch.

The show, that puts on stage the characters created by illustrator Charles Addams, is directed by Esteve Ferrer and produced by LETSGO (who has also produced titles like Dirty Dancing, The Hole, The Hole 2 and The Hole Zero) with their characteristic special effects.

The comedy, based on Brickmann and Elice’s libretto, includes music by Andrew Lippa. Touring started at the Ford Center for the Performing Arts Oriental Theatre in Chicago in 2009 and went on to the Lunt-Fontanne Theatre on Broadway in 2010, where it was hugely successful.

Known through the 1960s TV adaptation, The Addams Family hit the big screen in 1991 and since then there have been many film adaptations of this peculiar family.

In Spain, the musical premiered on 5 October 2017 at Teatro Calderón in Madrid with a top national cast and a staging to match this great family. Since then, they have toured across mainland Spain and have even returned to Madrid before travelling to the Canaries at Christmas 2019 and early 2020.

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The Auditorio de Tenerife is putting on a concert by Lina and Raül Refree, two musicians who give fado an electronic touch. On 29 March at 7:30 pm the Sala de Cámara of the Cabildo’s cultural centre will welcome the Portuguese singer and the Barcelona producer, who has worked with artists like Rosalía and Amaia Romero.

Lina and Raül Refree build an intense, moving, very special musical relationship. Raül Refree -one of the most innovative European producers- was impressed by Lina’s voice when he heard her sing at the Club de Fado in Lisbon. Lina -a fado singer with a classical training, two records with Sony Music and an expert in Amália Rodrigues- selected some of the diva’s fado classics and they immediately got down to work in a joint project.

Refree framed Lina’s voice in analogical clouds with brilliant arrangements and a completely novel approach, that is, adding an electronic touch to fado, which underlines its universal scope. The result can be enjoyed at the Auditorio de Tenerife next March, with Refree at the acoustic piano plus Lina’s voice in addition to their synthesizers.

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

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The Auditorio de Tenerife presents Pan-Hispanic Creative Music, a new chamber music series. It includes three concerts - CamerísticaPianísimo and Lírica, to take place at the Sala de Cámara of this Cabildo de Tenerife cultural centre. The programme focuses on Spanish-speaking composers from different countries and from the 19th century to the present, including Canarian authors. The artists who have been invited to play this unusual repertoire are cellist Ángel García Jermann, soprano Rosina Herrera and the pianists Jesús Gómez Madrigal, Javier Laso and Nauzet Mederos.

The first concert, Camerística, is taking place at 7:30 pm on 25 January and it features  García Jermann and Gómez Madrigal who will play compositions by Reynaldo Hahn (1874, Caracas-1947, Paris), Manuel Bonnin (1898-1993, Santa Cruz de Tenerife) and Alberto Ginastera (1916, Buenos Aires-1983, Geneva).

Pianísimo, the second concert, is on at 12:00 noon on 6 February. Pianist Javier Laso will perform works by Federico Mompou (1893-1987, Barcelona), Frédéric Chopin (1810, Poland-1849, Paris), Manuel de Falla (1876, Cádiz- 1946, Argentina), Alberto Ginastera (1916, Buenos Aires-1983, Geneva) and Teobaldo Power (1848, Santa Cruz de Tenerife-1884, Madrid).

The last concert of this new chamber music series, Lírica, is on 14 March. It starts at 7:30 pm and includes the voice of Rosina Herrera along with pianist Nauzet Mederos, who will be performing scores by Ernesto Halffter (1905-1989, Madrid), Antón G. Abril (1933, Teruel), Blanca Báez (1920, Canary Islands), Luis Cobiella (1925-2013, La Palma), Isaac Albéniz (1860, Spain-1909, France), Lothar Siemens (1941-2017, Gran Canaria), Carlos Guastavino (1912-2000, Argentina) and Heitor Villa-Lobos (1887-1959, Rio de Janeiro).

Auditorio de Tenerife and Asociación Tinerfeña de Amigos de la Música (Atadem) [Tenerife Friends of Music Association] present this new series with the aim of spreading unusual music on the Island. This idea led to the setting up of Pan-Hispanic Creative, coordinated by Conrado Álvarez and with Rosario Álvarez as artistic director. Ms. Álvarez explained that they will approach “music by Canarian composers and Latin American music, as very little of their huge piano, singing or chamber repertoires is known here. In this continent, after the different Independence movements of its territories, composers developed a language exclusive to their particular region”.

“We’ll show the audience some of this fresh, colourful creations. We are aware of this rich heritage and compare it with some of our own compositions, which are the result of the thoughts and work of both past and present authors. They have helped to develop native musical creation, which has led to our achieving a relevant national position”, Rosario Álvarez revealed.

Tickets for the three concerts can be purchased at Auditorio de Tenerife’s box office from 10:00 am to 7:30 pm Monday to Saturday except holidays; via or by phone on 902 317 327.

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Christmas Oratorio is Sinfónica de Tenerife’s sixth concert in the 2019-2020 season, which is taking place at 7:30 pm on Friday, the 20th in Auditorio de Tenerife, under the baton of its principal conductor Antonio Méndez. Part of the same programme will be played at La Laguna Cathedral on Thursday the 19th at 8:00 pm, as it is included in the events of the 200th anniversary of the establishment of San Cristóbal de La Laguna Diocese.

For their new concert -this is the first time this work is included in their repertoire- the Sinfónica de Tenerife appeals to recollection, reflection and joy, as suggested by Johann Sebastian Bach in the score of his Christmas Oratorio BWV 248. The soloists are soprano Marta Bauzà, contralto Mireia Pintó, tenor Juan Antonio Sanabria and baritone Fernando Campero, along with choirmaster Xavier Puig, who will conduct Palau de la Música Catalana’s Cor de Cambra.

The first part of the programme includes Cantata I: Jauchzet, frohlocket, auf, preiset die Tage and Cantata II: Und es waren Hirten in derselben Gegend. The second part comprises Cantata III: Herrscher des Himmels, erhöre das Lallen and Cantata VI: Herr, wenn die stolzen Feinde schnauben.

The Christmas Oratorio is a religious composition written in 1734 and is socially, culturally and religiously significant in Europe, especially in Germany -Bach’s native country- where it is recurrently performed at this time of the year. The work shows technique, resources and creativity providing a wide musical display that has been a source of inspiration for later composers.

Bach created a work divided in six parts to cover the liturgy of Christmas, the New Year and the Epiphany. The global result comes from the unity of action contained in the text, the presence of recitatives taken from the Scriptures and a stressed personification, with the performance of real drama roles.

This oratorio was composed using a common technique at the time known as parody or self-borrowing, in which at least 13 of the 64 numbers are from previous cantatas by Bach for different events, both liturgical and secular.

Rejoice, sing happily and celebrate these wonderful days is the title of the first part, that starts with an energetic choir that appeals to joy and hope. The music of this first choir was originally for the birthday of the Princess of Saxony (BWV 214,1). This explains its natural joy, combined with the solemnity of trumpets and timpani.  The ternary beat contributes to convey the expression of joy and celebration in the musical rhetoric.

Meant for Christmas Day, the second cantata starts with a symphony, a genre that designated the overture before dramatic or vocal works. One of its noteworthy features is its rhythm, characteristic of pastoral and rural music, reinforced by the tonality of G major in a musical dialogue between angels, represented by strings and flutes, and shepherds, depicted in the sound of four oboes.

The third part is a cantata that recovers the festive atmosphere of the beginning as the first cycle of Christmas celebrations come to an end, both in terms of time and liturgy and in terms of music. This fragment contains one of the few passages purposefully composed for this work: an aria where the contralto, violin and continuo delicately reflect on a prayer that invites to recollection.

The concert concludes with the sixth cantata, about the Epiphany. This is an epilogue to Christmas celebrations that deals with the Magi and brings back the happiness and rejoicing of the first and third cantatas.

Tickets for this subscription concert can be purchased at the Auditorio de Tenerife box office from 10:00 am to 7:30 pm Monday to Saturday except on holidays; by telephone on 902 317 327; or via the internet on and

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This weekend the Auditorio de Tenerife welcomes the twelfth  encuentro de bandas de música juveniles de la isla to take place at the Sala de Cámara on Saturday the 14th and Sunday the 15th at 11:30 am. Eight bands, made up by tens of young Canarian musicians, are taking part in the event, which includes two guest groups from the islands of El Hierro and La Gomera. Admission to this event is free of charge.

The event has been organised by the Federación Tinerfeña de Bandas de Música [Tenerife Music Bands Federation], and it starts on Saturday with the beginners’ band Banda de Iniciación José Mesa Cabrera of the Agrupación Musical Cruz Santa de los Realejos, conducted by Sofía González Batista. They will first play the Obertura Ludiciana, by Javier Pinto Bañuls, to then go on with Queen in concert, arranged by Jay Bocook, and finally José Feliciano’s Feliz Navidad.

It will then be the turn for the band of the Asociación Musical San Marcos Evangelista’s academy, from Tegueste. Led by Javier Pérez Hernández, the musicians will perform J. O´Reilly’s Foxboro MarchColonel Bogey, by K. Alford arranged by M. Williams; R. Ford’s Dark Adventure, and Mission Impossible Theme, by L. Shifrin, arranged by P. Lavender.

The youth band of the Asociación Musical Educando José León Medrano from El Puerto de la Cruz will go onstage next to start with Señorita, by Shawn Mendes & Camila Cabello arranged by Iván Rodríguez. The group, under the baton of Iván Yeray Rodríguez Martín, will then play John Williams in Concert, arranged by Paul Lavender, and Jingle Bell Rock, arranged by Frank Bernaerts.

Paulino Martí’s paso doble Recordando a un amigo, is the first song to be played by the members of the Banda Juvenil del Patronato Insular de Música de El Hierro, one of the guest bands, which also closes the first day. Led by Francisco José Buenrostro Tur, they will then perform A day at the Museum, by James Curnom; Miguel A. Ibiza Zaragozá’s Kitten & Puppy, and will end with Víctor López’s arrangement of Fiesta Tropicale.

The band of the Patronato artístico musical de Fasnia’s academy opens the event on Sunday with Jurassic Park and Somewhere in my memory, both by John Williams. Conducted by Gustavo Adolfo Regalado Llanos, who authored all the arrangements in this repertoire, they will then play Rockin’ around the Chritsmas Tree, by Johnny Marks, Michael Jackson Hit Mix and Johnnie Vinson.

Conductor Taida María Gil Conde leads the youth band of San Sebastián de Tejina that is playing next. Their programme starts with Antonio Campillo’s Mi primer Pasodoble, goes on with West Hills Overture, by John O'Reilly, and finally Henry Mancini’s Moon River.

Next comes the Banda Miguel Reyes de Güímar, conducted by Francisco Javier Pérez Reyes. The programme includes Aires del Terruño, by Miguel Castillo; Frank Erickson’s Air for bandHow to train your dragon, arranged by Sean O´Loughlin, and Medley Boleros I, arranged by José Molina Comino.

The event ends with the youth band of Asociación Musical Los Órganos de Vallehermoso, from La Gomera, the second guest band this year. Led by Gonzalo Lemus Bravo the musicians will play the following repertoire: George Gershwin’s Suene la bandaHighlights from Carmen, by Georges Bizet arranged by Mark William; Giusseppe  Verdi’s La  Donna é MobileWhat a wonderful world, by G. D. Weiss and B. Thiele; and Al Poeta, by Gonzalo Lemus Bravo.

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