Auditorio de Tenerife offers a concert by Carlos Mena y The Disfonik Orchestra. Under the shadow is the title of the show by the singer and the ensemble on 2 March at 7:30 pm at Sala de Cámara in Auditorio. Tickets are available here.
The music The Disfonik Orchestra offers is an intimate encounter of classical music and jazz. Some of the most beautiful pieces of the classical repertoire have been carefully chosen and delicately arranged for a jazz ensemble like The Disfonik and a distinct countertenor classical voice, Carlos Mena’s. Singer Ghalmia Senouci (alto) is also performing at Auditorio.
The Disfonik Orchestra was founded by Jacques Beaud and it is made up of seven professional musicians from very different music backgrounds who are connected by one single idea: Music. The following musicians will be playing: Juan Munguía, trumpet; Matthieu Roffè, piano, Salvatore Reitano, keyboard; Marc- Olivier Savoy, drums; and Jacques Beaud, electric bass.
Carlos Mena studied at Schola Cantorum Basiliensis in Basel with Richard Levitt and René Jacobs. His many concerts have taken him to the most prestigious venues in the world, such as Konzerthaus in Vienne, Berlin Philharmonic, Teatro Colón in Buenos Aires, Alice Tully Hall at New York’s MET, Kennedy Center in Whashintong, Berliner Philarmoniker, Suntory Hall and Opera City Hall in Tokyo, Osaka Symphony Hall, Sydney Opera House, Concert Hall in Melbourne.
He has performed the operas “Radamisto” by Händel (in the title role) at Felsenreitschule in Salzburg, at Dortmund Konzerthaus, at Musikverein in Vienne, at Amsterdam’s Concertgebouw and Bellas Artes in Mexico City conducted by M. Haselböck and H. Grazer; “Orfeo” by Monteverdi (Speranza) at Festwoche in Innsbruck and at Berlin’s Staatsoper; “Il Trionfo” by Händel (in the role of Disinganno) at Grosses Festspielhaus in Salzburg and “Europera 5” by J. Cage at Flanders Festival.
He has an interest in the lied and contemporary repertoires and has premiered different works by composers like José María Sánchez-Verdú, Gabriel Erkoreka and Alberto Iglesias. He has also conducted the Portuguese Symphony Orchestra, Orquesta Ciudad de Granada and Orquesta Sinfónica del Principado de Asturias with works by Handel, Bach and Mozart
He is currently music and artistic director at Capilla Santa Maria promoted by Fundación Catedral Santa María de Vitoria and directs programmes spanning from the Middle Ages to Classicism at national and international festivals.
Tickets can be purchased at Auditorio de Tenerife box office from 10:00 am to 7:30 pm Monday to Saturday, on www.auditoriodetenerife.com or calling 902 317 327.
Auditorio’s usual discounts are also available for this concert including the new group discount.
On Tuesday, the 29th, Auditorio de Tenerife welcomes 2,950 schoolchildren who are coming to watch two learning performances by Orquesta Filarmónica Juvenil de Tenerife Miguel Jaubert [Miguel Jaubert Tenerife Young Philharmonic Orchestra]. El bosque encantado-re-mi-fa-sol [The enchanted Forest-D-E-F-G] is the show the group is offering young islanders this year.
Different schools from twelve municipalities across the island are taking part: Adeje, Arico, Arona, Candelaria, Granadilla, La Laguna, La Orotava, Los Realejos, San Miguel, Santa Cruz de Tenerife, Santa Úrsula and Tacoronte. The 88 young musicians are joined by 11 actors and four singers to turn Auditorio de Tenerife’s Sala Sinfónica into a great enchanted forest.
Their programme includes both classic pieces (L’Arlésienne-Suite nº2 by Georges Bizet, Tritsch Tratsch Polka by Johann Strauss and Hungarian Dance nº 5 by Johannes Brahms), and current great hits (Pharrell Williams’s Happy arranged by José Cubas and What a wonderful world by Louis Amstrong), film soundtracks (themes from The Lord of the Rings by Howard L. Shore arranged by J. Whitney and Recuérdame, from the film Coco, by K. Anderson López and R. López) and even local songs (Vivo en un archipiélago by Manuel Negrín).
El bosque encanta-do-re-mi-fa-sol is inspired by classic tales that take place in groves, the perfect setting for the imagination, fantasy, and mystery. The hero in this story dreams of becoming a musician but to achieve it, he must overcome some obstacles that stop him from finding the way back home. He is not alone as he has a wide range of characters from classic tales who, like him, will discover music’s saving powers.
The music director is José Antonio Cubas Delgado, who teaches trombone at Conservatorio Superior de Música de Canarias and Conservatorio Profesional de Música de Santa Cruz de Tenerife. Stage direction is by art historians Gerardo Fuentes Pérez and Tania Marrero, while María Jesús Cuéllar Moreno is in charge of pedagogic direction. She is principal lecturer at the Specific Didactics Department of La Laguna University.
Orquesta Filarmónica Juvenil de Tenerife Miguel Jaubert was set up in September 2012 with Fundación DISA as their main sponsor. This group is part of the social project of Asociación Canaria para la Difusión de la Música (Acadim) [Canarian Association for the spreading of music] and it is a children’s orchestra that makes music for children, thus following the original idea of the founder of the project, Miguel Jaubert Gómez.
Sinfónica de Tenerife is offering a new concert for families entitled Pulcinella on Saturday, 19th at 12:00 noon at Sala Sinfónica in Auditorio de Tenerife. The show, inspired by characters of commedia dell’arte, will encourage the youngest in the family to listen to live music. Conducted by Ignacio García-Vidal, Stravinsky’s Pulcinella Suite, derived from the ballet, and Grieg’s music will join the musical tale narrated and performed by Ana Hernández-Sanchiz.
This proposal, which is part of the orchestra’s outreach programme through Cabildo’s Tenerife 2030 strategy, is one of four didactic concerts to take place on Thursday, 17th and Friday, 18th with two performances, at 10:00 and 11:30 am. More than 4,500 primary school children will have the chance to enjoy it. Tickets for the family performance are available at 5 Euros at Auditorio de Tenerife’s 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.
“The story begins when Pulcinella takes her old violin and starts to play and dance, in a way only he can do…” Based on the homonymous musical tale by Fernando Palacios, this show brings children the performance of well-known scores in a unique, magic experience that includes learning about oneself. The repertoire includes Pulcinella Suite by Igor Stravinsky and Holberg Suite, op. 40, by Edvard Grieg.
With these new performances, Sinfónica de Tenerife continues the didactic work it has been offering to the youngest and the education community. Through their outreach programme, this Cabildo’s orchestra aims at making quality culture available to all audiences -especially the youngest- through innovative, interdisciplinary proposals. At the same time, they reinforce their commitment to bring music to the community, putting an emphasis on disadvantaged groups or people who have specific needs.
The 35 Festival Internacional de Música de Canarias (FIMC) [35th International Music Festival of the Canary Islands] opens with a concert opera on Thursday, 10 January at 8:00 pm in Auditorio de Tenerife Adán Martín. The concert will be performed again on Saturday, 12 January at the same time in Auditorio Alfredo Kraus in Las Palmas de Gran Canaria. The piece chosen is none other than Richard Strauss’s "Ariadne auf Naxos", to be performed by Orquesta Sinfónica de Tenerife under the baton of its conductor Antonio Méndez, and a cast of voices featuring sopranos Ricarda Merbeth and Brenda Rae, tenors Roberto Saccá plus the Canarian singers Juan Antonio Sanabria, Anelio Gibrán, Elisandra Melián and Manuel Gómez Ruiz, among others.
The opening concert was presented today in an informative event that included the participation of the local minister for Tourism, Culture and Sport of the Government of the Canary Islands, Isaac Castellano; the island director for Culture of Tenerife Cabildo, José Luis Rivero; the event’s director, Jorge Perdigón; the conductor of Sinfónica, Antonio Méndez; and Belén Machado, head of Fundación Cepsa in the Canarias, which contributes to the concert and the introductory talks programmed in the festival.
Regarded as one of the most beautiful operas of the German repertoire, the concert is an opportunity to look into the world created by Strauss – a satire of high society, an insight into Renaissance’s patronage and opera itself, breaking of social hierarchies which are radically opposed as the outlandish characters of commedia dell’arte mingle with the famous and dazzling opera stars. Because "Ariadne auf Naxos" is an opera within an opera, a unique case with impressive music.
It is produced by the festival, organized by the Government of the Canary Islands with the collaboration of Fundación Cepsa, which also contributes to the introductory talks scheduled which are by musician and speaker Ricardo Ducantenzeiler. Those who wish to learn more about this production can come to the talk that is taking place an hour before the concert (7:00 pm) at the Auditorios.
Sinfónica de Tenerife, committed to the Festival as ever, is in charge of opening the event. For the first time, Antonio Méndez will be conducting his orchestra and a spectacular cast of ten singers. Ariadne and Zerbinetta will be performed by Ricarda Merbeth and Brenda Rae; Bacchus is played by Roberto Saccá; tenor Juan Antonio Sanabria has the role of Brighella; baritone Anelio Gibrán plays Harlekin; tenor Manuel Gómez Ruiz is Scaramuccio; bass José Coca plays Truffaldino; and the three nymphs, Dryad, Naiade and Echo are played by Mª Luisa Corbacho (mezzo), Elisandra Melián (soprano) and Svetla Krasteva (soprano).
Tickets are available at www.festivaldecanarias.comand the usual platforms of both Auditorios.
About 'Ariadne auf Naxos'
"Ariadne auf Naxos", with score by Strauss and libretto by Hugo von Hofmannsthal, was initially written in one single act, which came after the performance of Molière’s play "Le Bourgeois gentilhomme" ("The Bourgeois Gentleman"), for which Strauss wrote the incidental music, a divertimento. This is how it was premiered in the German city of Stuttgart in 1912, as well as in other cities.
Ariadne feels abandoned by Theseus in Naxos, after she helped him out of the labyrinth when he killed the Minotaur in Crete. Some nymphs watch her sleep and feel sorry for her fate. When Ariadne realises Theseus has deserted her, she evokes him and wishes he was dead. In the meantime, the comedians unsuccessfully try to entertain her to help her stop thinking about such disturbing issues, but she gets angry and leaves. Suddenly, the nymphs announce the arrival of a ship that brings the god Bacchus, who has managed to flee from Circe. Ariadne mistakes him for death and is ready to let herself be taken by her fatal fate. Then, she thinks it is Theseus who has come back for her until Bacchus shows his divine nature and carries her to heaven.
The fact is audiences were confused by this game that mixed commedia dell’arte and the classic myth of Ariadne, banished by Theseus to the isle of Naxos, where she curses her unhappy fate. This reaction finally convinced the writer who decided to prepare a prologue to explain the game that followed. Strauss did it reluctantly and also had long arguments with Hofmannsthal, but eventually they both agreed to add the prologue and Molière’s play was definitely ruled out. This new version of Ariadne was premiered in Vienna in 1916 and was hugely successful. This is how it has been performed ever since.
The two Viennese creators explore the definition of loneliness in female characters as well as fate, something already dealt with by Mozart and Lorenzo da Ponte, another legendary key pair in the history of music as musician and librettist with titles like "Le nozze di Figaro" and "Così fan tutte".
Stage manager Christof Loy, who also took care of it at London’s Covent Garden, points out the relationship with the prologue as it “has to do with a philosophical art manifesto, about how it should be done and under which circumstances, which different influences artists use. However, the single act after the prologue has to be something else, it is about how we grow, how our feelings and outlook on the world change, and they don’t talk about it using the sarcastic resources of the prologue ".
Secrets of the success of this opera
The secrets of the success of this opera may be related to the treatment of music, so subtle, so modern and at the same time, so classic. "The structure is completely classic but this is an opera for virtuosos, for musicians to enjoy themselves in the pit”, the late Spanish conductor Jesús López Cobos said. In his opinion, Strauss did away with that Wagnerian obsession for a huge orchestra, which he shared in other works like "Elektra" and other titles. "He made the best of chamber music. It is a wonderful demonstration of balance between 37 musicians and 17 singers", the conductor stated.
One more good decision was to give the role of composer -a male role- to a woman, an idea of the musician which he included in the prologue. "Strauss believed that the genuine sensitive dimension of the creative effort was given by women rather than men, and among women, by mezzo sopranos, who could express mockery, power and tragedy much better than tenors, for instance", Loy says.
The experiment by this fascinating fruitful pair made up by Richard Strauss and Hugo von Hofmannsthal puts forward a fascinating review of classicism through this opera. What is most outstanding in "Ariadne auf Naxos" is its surprising freshness, detached from its period. It is a game the creative pair suggested to make classicism even more everlasting and reconfirm Haydn and Mozart as the fathers of modernity.
Thus, half-way between comedy and simplicity, they manage to go deep into what interests them most: defining humankind through music and poetry, in a world that was coming out of the 19th century full of high and utopic expectations: women’s liberation, freedom for humanity, workers, in a plentiful progressive society that eventually succumbed to the Great War.
This is the first event in an ambitious programme that includes 44 concerts to be performed in some twenty different venues across all eight Canary Islands between 10 January and 10 February. The programme includes great symphony orchestras and camera music groups that will interpret repertoires raging from the 15th century to the present day, including two works commissioned by the Festival.
This year, FIMC includes the participation of pianist María Joao Pires, Filarmónica de Gran Canaria, with the festival production of Verdi’s 'Requiem'; Hamburg Philharmonic conducted by Kent Nagano and violinist Veronika Eberle; St. Petersburg Philharmonic conducted by Temirkanov, with pianist George Li; Deutsche Kammerphilharmonie Bremen, conducted by David Afkham , Orchestra of Cadaqués, with conductor Anu Tali and pianist Joaquín Achúcarro; Cuarteto Quiroga, the prestigious pianist Martha Argerich; London Conchord Ensemble; Orquesta Barroca de Tenerife; Minsk Chamber Philharmonic, Quantum Ensemble and Jordi Savall with Orquesta Hespérion XXI with the closing concert “The Routes of Slavery, 1444-1888”.
On Saturday, 16 singer Pablo López is giving a concert as part of his “Santa Libertad” tour. It will be at 8:00 pm at Sala Sinfónica of Auditorio de Tenerife Adán Martín. He is presenting his record Camino, fuego y libertad and tickets for the show were sold out just a few days after going on sale.
“With this record I’ve turned things over: my life, my stories, even my home”, the Andalusian songwriter says, who is also singing his greatest hits at the concert. Since it came out on 15 December 2017, “Camino, Fuego y Libertad” has gone beyond the singer’s expectations as it won the gold record on its first week and the platinum record two weeks after it was issued.
The theme that presents this new record “El Patio”, has meant a liberation for López. Since it came out he can’t help getting emotional every time he sings it. “This song has healed me, it’s been more like yelling, I needed to let go something inside me, get rid of many of my ghosts… it set me free and it’s true it’s become some kind of exorcism every time I sing it because it stirs me deeply; to me it’s almost like a person”, he admits. “El Patio” music video reached 7 million visits on Youtube in just a month and is now over 18 million. The story is about the patio we all have inside ourselves, told by means of an artistic concept developed by Pablo López himself. He had the collaboration of friends like Javier Cámara, Pablo Motos, Malú, Fernando Tejero, Juan Betancourt, Ana Milán o rManuela Melles.
After two records which have positioned him as one of the most relevant authors in Spain, the Andalusian singer is enjoying the best moment in his career, along with the success of Camino, Fuego y Libertad. This good professional moment comes too with the added popularity he has gained in the TV talent show La Voz, where he was one of the coaches.
Tenerife International Contemporary Music Festival (FMUC) is offering the concert “An evening of compositions” by the Serbian musician Nebojsa Jovan Zivkovic on Thursday, 14 June at 7:30 pm at the Sala de Cámara in Auditorio de Tenerife. The international musician will be accompanied by the Vienna Conservatoire Percussion Group, which he directs, and the Percussion Group of the Conservatorio Superior de Música de Canarias [Canary Islands Higher Music Conservatoire].
Nebojsa Jovan Zivkovic, hailed by critics as one of the most expressive players of marimba and percussion, has included in his programme a total of eight pieces of his own: Homo Balcanicus, Oriental Fantasy, The Castle of the mad King, Lamento e danza barbara, Tensio, Sandy the hurricane, Carte Blanche and Tak-Nara (2º mov.). An hour before the concert, percussionist Verónica Cagigao will be giving a talk to put the repertoire in context and look into the figure of Nebojsa Jovan Zivkovic and the Schlagwerk Wien Ensamble. The talk takes place at Sala de Cámara and admission is free.
Tickets for the concert can be purchased at the Auditorio de Tenerife box office, from 10:00 am to 7:30 pm Monday to Saturday, via the internet here or calling 902 317 327.
Nebojsa Jovan Zivkovic, who is back at the FMUC once again, has had a great influence on international percussion for the last two decades, as authoritarian composer and virtuoso performer. He has toured throughout Europe, from Siberia to Spain, from Greece to Finland, several times in Asia, and in Latin America and the US every year. His marimba and percussion compositions have created a new level of performance and his captivating and energetic concerts have influenced generations of marimba players. Many of Zivkovic’s compositions (like Ilijas, Ultimatum 1, Trio per uno) have become standard in world contemporary percussion repertoire. His symphonic compositions are played by the best orchestras, such as National Symphony Orchestra from Washington D. C.; BBC Concert Orchestra, London; Orchestra di Santa Cecilia, Rome; Hiroshima Symphony Orchestra; and the Northern Symphony in Newcastle, United Kingdom. As a charismatic soloist mostly with his own marimba and percussion concerts, Zivkovic has played with Stuttgart Philharmonic; Munich Symphony Orchestra; Bochum Philharmonic; Austrian Chamber Orchestra; Hannover Radio Symphony Orchestra; Bielefeld Philharmonic; Belgrade Philharmonic; Slovenia Philharmonic; Slovenia Radio Symphony Orchestra; and Costa Rica National Symphony Orchestra, among others.