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Auditorio de Tenerife receives from July 7th to 22nd, 2021 the artistic residency Petróleo, by creator Poliana Lima.



Petróleo is a choreographic project exploring a central idea of the body as a dynamic, disruptive space of archival remembering, forgetting and renewal. It explores the more dynamic potential of conservation over the fixing impulse of preservation.

Tumultuous earthly compressions over time and space transform, solidify and liquify elements deep within the body of the earth.The title refers to the  materiality of this ‘black gold’; its geological formations, extractions, exploitations and its source of energy and power.The project explores the archaeology of this commodity through time, space, people, places and bodies.RETRATOAMY

Extracting this highly valued source of energy requires exploratory skill and precision, violence and displacement; a powerful metaphor for the deep mining required for the choreographic process. A process in which the socialised, dancing body moves through time and space, through personal and collective strata to  draw deep on sources of power, energy and disruption.

A key autobiographical element in this creative journey is the recently discovered unique story of Poliana Lima’s black grandfather - Antonio Vieira Lima – the son of one of the descendants of the 5.5 million African slaves forcibly transported to Brazil.

This unearthed ancestral biography is contextualised within the broader collectivised and problematic miscegenation policies of Brazilian ‘cultural democracy’ which becomes one of the driving forces for the creative and intellectual ambitions of the  project.

The autobiographical element serves as a forceful catalyst in which to engage in  a whole series of archival acts where mining an individual’s familial history – a purposeful remembering - unearths images, beliefs, memories, dreams, sounds, actions – that resonate beyond the realm of the personal.

The core research imperative of this project is to discover in what ways is an enculturated body formed, made visible and ‘readable’. Equally important to discover is by what means other cultural inflections, influences and practices are negated or marginalised within a dominant evolving national cultural matrix and yet  may  be revealed  through a choreographic archaeology of self.

Through Petróleo, Poliana Lima asks herself the question – who I  am now and what is my potential when what has been hidden from me over the years comes to light and forces me to re-think, acknowledge and celebrate what is possible.

Petróleo embodies the complex emotional and physical explorations required to ‘un-fix’ an existing self. It encourages  self-reflexivity, inviting  the audience to think beyond introspection.The performance event is a catalyst through which energy releasing fractures opens dialogues between archived  history and active forgetting, authenticity and moral authority, homogeneity and criticality.

Petróleo is  an  attempt  to  see  how  a  choreographic  performance work can broaden the scope of identity-based actions which seek to re-confirm differences.The perspective here is to ‘co-join’ in our moves towards self- realisation  and  go  beyond  individual  struggles.The  outcome  of  which  would be to leave behind mere tolerance and achieve a more radical and inclusive solidarity-based universality.The aspiration here is that the choreography activates the audience’s  sense of historical agency.

The audience bears witness to the performer’s energy and determination to excavate a renewing identity, by drilling into ancestral strata, releasing a fluidity, power and force to create a renovating sense of personhood.The performance becomes a form of ritualistic incorporation, joining together the invisible with the visible, the untold with the told, stillness alongside the fluidity of movement,a tangible psycho-geology of the self.

S P Purcell April 14, 2021


Poliana Lima is an 2021 Aerowaves artist with the piece: Things move but they do not say anything. She was an associate Artist at Conde Duque (2018-2020) and a regular collaborator at Centro Danza Canal, both in Madrid. She is a multi- award winning dancer and choreographer, originating from Brazil and now a long term resident in Spain. Exploring the possibilities of a highly functioning minimalistic poetics of the body through identity and memory are key as a strategy to deeply connect with audiences. These thematics directly inform her pedagogic approaches to choreographing, performing and teaching.

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The registration for this intensive and specialised training is now open; it takes place from the 26th to the 30th of July



The Auditorio de Tenerife, cultural space linked to the Department of Culture of Tenerife Island Council, is managed by its Director of Culture, Enrique Arriaga. From the 26-30 July, the institution offers a playwriting workshop with Gabriel Calderón, a renowned author on the Latin American theatre scene. Registration is open until 18 July for this intensive and specialised training, titled 'La última obra mala' (The last bad play).

Attendees will be using resources considered imperfect, useless procedures, unsuccessful acknowledgements of other people's procedures, plus writing in 15 hours. “Together with the existing pretensions, we they will try to recreate the last bad work of each one of us”, explains the playwright. “On the one hand, we will thus be freed to finally write that good work" proposes Calderón, who adds “at the same time - perhaps and only perhaps - we will approach what writing a play is. We will rather not do so from a knowledge point of view, accepting all that we are not, all that we do not know, and the fact that we write as a founding part of creation." 20210609 Gabriel Calderón dramaturgo 1

The schedule for the first four days is from 9:00 - 2:00 pm. On Friday, the last day, the workshop finishes at 1:00 pm. This activity is recommended for professional and amateur playwrights. The proposal consists of using five sessions to generate materials of this "bad play", with which the workshop will conclude. Having written, published, self-published or staged a play, having attended workshops and courses in playwriting are facts to be considered as an asset to select the candidates.

The training takes place in the Sala Alisios of the Auditorio de Tenerife and has a general cost of €30 and €15 for students. This training is the kick-off activity of the ‘Muestra Escénica Iberoamericana’ (MEI) 2021. To register, candidates shall send an e-mail to This email address is being protected from spambots. You need JavaScript enabled to view with their basic contact details and CV evidencing the experience. All the information on this workshop is available on the website of Auditorio de Tenerife under the Training section: .

Gabriel Calderón (Montevideo, 1982) is a playwright, actor and director. He has been active in Uruguayan theatre since 2001 when his first premiere, ‘Más vale solo’ (Better alone) was awarded Best Play. He also received a mention for best playwriting at the “11th Encuentro Teatro Joven" in Montevideo. Since then, he has written more than twenty plays that have been performed in Latin America (Argentina, Brazil, Mexico, Panama, Costa Rica, Ecuador, Bolivia, Peru), Europe (Spain and France) and the United States.

Calderón premiered last April a play that he also directed called "Historia de un jabalí o algo de Ricardo" (A Wild Boar's Tale or something by Ricardo), at the Teatro de La Abadía in Madrid, a production of Temporada Alta 2020 and Grec 2020-Festival de Barcelona, considered by the Spanish newspaper 'La Vanguardia' as one of the best plays of 2020. He also made his Italian debut in May with an Italian adaptation of his text 'Ana contra la muerte' (Ana against death) at the Teatro Storchi in Modena. 

Between 2006 and 2010, he was Director-General of cultural projects at the National Directorate of Culture of Uruguay’s State Government; in 2014 and 2015, he was director of the Instituto Nacional de Artes Escénicas. He is currently a coordinator of Dramaturgy at the EMAD and at the Universidad de la República.

In 2004, at the age of 21, he premièred 'Mi muñequita (la farsa)' (My little doll, the farce) one of the most influential shows in Uruguayan theatre so far in the 21st century. The play remained on the stage for three years and received the main nominations for the Florencio Awards (best national playwriting, show, cast and director). From then on, he was considered as the initiator of a significant generational renewal, both of theatrical language and of the audience. 

In 2005 he received the Florencio Award for the best direction of the season for his version of 'Morir (o no)' (To die, or not) by Sergi Belbel and the Morosoli Award for his contribution to national culture in his short career. He has also won the National Literature Prize on two occasions: in 2011 for 'Mi pequeño mundo porno' (My little porno world) and in 2016 for the anthology 'Tal vez la vida sea ridícula' (which brings together the texts of his trilogy 'Uz - el pueblo, Or -tal vez la vida sea ridícula' and 'Ex -que revienten los actores', as well as a reprint of 'Mi muñequita).

He completed his training with scholarships in Spain (Fundación Carolina, 2004) and England (International Residency at the Royal Court Theatre in London, 2009). He was a member of the Lincoln Center Theatre Directors Lab (New York) and artist-in-residence at the Théâtre des Quartiers d'Ivry (Paris) between 2011 and 2013. His appearance on the local scene was influenced by a strong generational imprint and a belligerent attitude towards speeches and consolidated languages by means of tradition. His 'mature' shows keep that intense acting and vertiginous scenic rhythm that were the hallmark of the first ones. Likewise, they add a new and fundamental topic: a review of Uruguay's recent political history from a very personal perspective that includes melodrama, science fiction and humour in terms of absurdity. 

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Enrique Arriaga, who attended the concert that the Young Choir offered yesterday, stresses the "great work delivered by the young chorus members"


The Auditorio de Tenerife, a cultural space linked to the Department of Culture of Tenerife Island Council, is managed by its Director of Culture, Enrique Arriaga. The Auditorium’s Youth Choir offers on Thursday, the 8th of July at 7:30 pm, a concert in the Real Casino of Tenerife. The Youth Choir was created in 2016 within the Educational and Social Area of Auditorio de Tenerife. It is comprised of some thirty voices, young people who are between 16 and 30 years old, and it is directed by Roxana Schmunk.

During their concert in the Real Casino de Tenerife, they will feature the same 18 pieces they sang yesterday during the concert offered by the Auditorio de Tenerife. Once more and with a full Chamber Hall, they achieved a new success. Enrique Arriaga attended the concert and after it, he met the director and the choir members. Coro Juvenil 41

"The Island Council stresses its support of this cultural project, even more so after seeing the enormous work delivered by their young members", declared Arriaga, who added that this group "has offered a fantastic performance at the end of a season which has been very conditioned by health restrictions".

The themes that were performed in the Chamber Hall and will be heard again this Thursday in the Real Casino are: Joyful, Joyful (Sister Act 2), based on Ode to Joy, Beethoven's 9th Symphony (arranged by Mervyn Warren) with Laura Picar and Javier de Lathouwer as soloist; The Music’s Always There with You by John Rutter; Vida, vida, by Francisco Céspedes featuring Rozied Correa. The programme will continue with Como la cigarra, by María Elena Walsh, arranged by Beatriz Corona; to continue with Indodana, a traditional isiXhosa song arranged by Michael Barrett and Ralf Schmitt.

Next, the concert will continue with Ballade to the Moon, by Daniel Elder; No hay camino, by Antonio Machado and Eurico Carrapatoso; with Arantxa Cooper, Pablo Daryanani or Rozied Correa as soloist; The Seal Lullaby, de Rudyard Kipling y Erik Whitacre; Cuando te beso, by Juan Luis Guerra, where Andrés Misle will sing as a soloist. Only in Sleep, by Sara Teasdale and Ēriks Ešenvalds; A Song for You, by Leonard Russell; traditional lullaby, Arrorró arranged by Beatriz Corona; And So It Goes, by Billy Joel; Bring Me Little Water with Yolanda Pascual as soloist; Nocturnos de la ventana, by Federico García Lorca and F. Vila; The Lord Bless You, by John Rutter; Hallelujah, by Leonard Cohen, and A Sky Full of Stars, by Coldplay.

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Tickets are on sale to enjoy the live concert in the Chamber Hall. The concert will be streamed through our Facebook page


The Youth Choir of Auditorio de Tenerife is linked to the Department of Culture of Tenerife Island Council that is managed by the councillor of Culture Enrique Arriaga. The Choir bids farewell to the season with a concert entitled Al cantar se hace camino (The path is created by singing). Tickets are on sale to enjoy the performance on the next 4 July at 7:00 pm in the Chamber Hall. The audience can also see this event through the Facebook page of Auditorio de Tenerife.

Roxana Schmunk directs the young choristers, staged by Melodie Pérez and the piano accompaniment of Steffi Brandl. The programme starts with Joyful, Joyful (Sister Act 2), based on Ode to Joy, Beethoven's 9th Symphony (arranged by Mervyn Warren) with the soloist Laura Picar and Javier de Lathouwer. It will continue with
The Music’s Always There With You, by John Rutter.

Next the young choristers will sing Vida, vida, by Francisco Céspedes and Rozied Correa as a soloist. Como la cigarra, by María Elena Walsh and arranged by Beatriz Corona, will be the next piece of the concert to continue with Indodana, a traditional isiXhosa song arranged by Michael Barrett and Ralf Schmitt.

Next, the programme offers Ballade to the Moon, by Daniel Elder; No hay camino, by Antonio Machado and Eurico Carrapatoso; with Arantxa Cooper, Pablo Daryanani or Rozied Correa as soloist; The Seal Lullaby, by Rudyard Kipling and Erik Whitacre; Cuando te beso, by Juan Luis Guerra, where Andrés Misle will sing as a soloist.

Only in Sleep, by Sara Teasdale and Ēriks Ešenvalds; A Song for You, by Leonard Russell; traditional lullaby, Arrorró arranged by Beatriz Corona; And So It Goes, by Billy Joel; Bring Me Little Water with Yolanda Pascual as soloist; Nocturnos de la ventana, by Federico García Lorca and F. Vila; The Lord Bless You, by John Rutter; Hallelujah, by Leonard Cohen, and A Sky Full of Stars, by Coldplay.

The Youth Choir of Auditorio de Tenerife was created in 2016 within the Educational and Social Area of Auditorio de Tenerife. It is comprised of some thirty voices, young people who are between 16 and 30 years old, and it is directed by Roxana Schmunk. This youth choir is already a reference in the choral culture of the Canary Islands.

Tickets can be purchased until one hour before each show on the website 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 at 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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Tickets for this Saturday's concert are already sold out



The Auditorio de Tenerife, an institution linked to the Department of Culture of Tenerife Island Council, is managed by the island's Minister of Culture, Enrique Arriaga. On Saturday 26 from 7:00 pm onwards, it offers a zarzuela anthology to close the lyrical season of this cultural venue. Under the musical direction of José Luis Gómez, the sopranos Marina Monzó and Sofía Esparza, the tenor José Bros, the baritone Javier Franco feature during this production with music by the OST, Tenerife Symphony Orchestra. The tickets are sold out.

The four singers will perform four duets. The first piece is titled 'Hace tiempo que vengo al taller' from the zarzuela ‘La del manojo de rosas’, with Sofía Esparza and Javier Franco. The concert will continue with José Bros as Fernando and Sofía Esparza as Doña Francisquita, who feature the second act duet of ‘Doña Francisquita’. Marina Monzó (as Luisa) and Javier Franco (as Vidal) will sing the duet of 'Luisa Fernanda'. José Bros will sing 'Torero quiero ser', from the zarzuela 'El gato montés'.

José Bros will sing two solos 'De este apacible rincón de Madrid', a romance of 'Luisa Fernanda', and ‘No puede ser’, from the zarzuela 'La tabernera del puerto'. Marina Monzó will sing 'La primorosa', from the zarzuela 'El barbero de Sevilla' and 'La canción del arlequín', of 'La generala'. Sofía Esparza will be the starring singer of 'Canción de Paloma',from the zarzuela 'El barberillo de Lavapies' and of 'La salida de Cecilia Valdés', a piece of 'Cecilia Valdés'. Javier Franco sings a solo in the romance 'Madrileña bonita', a piece from the zarzuela 'La del manojo de rosas', and 'Luché la fe por el triunfo', from 'Luisa Fernanda'.

The programme is rounded up with a solo by the Tenerife Symphony Orchestra playing the preludes of 'La revoltosa', the second act of 'La del manojo de rosas', 'Agua, azucarillos y aguardiente', 'El bateo' and the intermezzos of 'La leyenda del beso' and 'La boda de Luis Alonso'.     

The Spanish orchestra conductor José Luis Gómez was born in Venezuela and makes his debut in the Opera de Tenerife during this season. In September 2010, he won the first prize during the Sir Georg Solti International Conductors' Competition in Frankfurt. He was subsequently appointed assistant conductor of the Frankfurt Radio Symphony. He currently works as music director for the Tucson Symphony, and from 2012 to 2015 he was principal conductor of the orchestra Teatro Sociale di Como.

He has conducted the Tenerife Symphony Orchestra and also the  RTVE Orchestra, Filarmónica de Gran Canaria, the Houston Symphony, the National Arts Centre Orchestra of Ottawa, the Radio Symphonie-Orchester Stuttgart, the Hamburg Symphony Orchestra, the Weimar Staatskapelle, the Komische Oper Berlin company, the Karlsruhe Staatstheatre Orchestra, the Pomeriggi Musicali di Milano, the Basel Sinfonietta, the Castilla y León Symphony Orchestra, the Symphony Orchestras of Colorado, Alabama, Edmonton and Winnipeg.

José Bros returns to the Auditorio de Tenerife, where he premièred Werther in 2016. Subsequently, he also directed Don Carlo (2018) and worked during the lyrical gala celebrated last December. Bros is considered one of the greatest exponents of the romantic bel canto repertoire. Thanks to his outstanding musicality, he has covered a very wide opera and zarzuela repertoire with more than 65 titles. He was born in Barcelona, where he studied music at the Municipal Music Conservatory and sang with the maestro Jaume Francisco Puig. In 1991, he made his debut in Sabadell with Don Giovanni (Mozart). In 1992 he conducted Anna Bollena (Donizetti) at the Gran Teatre del Liceu with Edita Gruberova. 

Bros works as a regular conductor at theatres such as Covent Garden (London), Teatro alla Scala (Milan), Real (Madrid), Colón (Buenos Aires), Vienna Opera, Hamburg, Munich, Los Angeles, Toronto, Tokyo, Seville, Washington, Rome, Hong Kong and San Francisco, among others. His constant concert and oratorio activity has taken him to emblematic halls such as the Musikverein (Vienna), Santa Cecilia (Rome), Carnegie Hall (New York), Philharmonie (Munich), Palau de la Música Catalana (Barcelona), Moscow International House of Music (Moscow), among others.

Marina Monzó makes her debut during the Opera de Tenerife season. She studied piano, flute and singing at the Conservatory of Valencia. She attended several master-classes with artists like Mariella Devia, Renata Scotto, Daniela Dessì, Juan Diego Flórez and Raúl Giménez. She has been studying regularly with soprano Isabel Rey since 2014. Her repertoire includes titles by Bellini, Donizetti, Mozart, Rossini and Verdi. In September 2015 she participated in a Gala at the Teatro Real, where she shared the stage with singers such as Juan Pons, Gregory Kunde, Carlos Álvarez and Isabel Rey. 

In 2016 she made her debut at the Bilbao Opera with the role of Amina in La sonnambula (Bellini) and joined the Accademia Rossiniana di Pesaro under the direction of Maestro Alberto Zedda, where she made her debut with the role of La Contessa di Folleville from Il Viaggio a Reims (Rossini). Since then, she has sung with the tenor Juan Diego Flórez in different concerts. She made her début at the Teatro de la Zarzuela with Le cinesi (Gluck), and Il viaggio a Reims at the Verona Philharmonic Theatre; she featured Sophie of Werther (Massenet) in Las Palmas; she featured Oscar of Un ballo in maschera (Mozart) in La Coruña; Inés of La Favorite (Donizetti) at the Teatro Real; Fulvia of La pietra del paragone (Rossini), during the Rossini Opera Festival. She sang in Naples during the opera Rigoletto (Verdi), and in Florence during the opera Don Pasquale (Donizetti).

Javier Franco was born in La Coruña and makes his debut in Opera Tenerife. He has worked in theatres such as Real, La Zarzuela and Auditorio Nacional in Madrid, Gran Teatre del Liceu in Barcelona, Palau de Les Arts in Valencia, Palacio de Ópera in La Coruña, Campoamor in Oviedo, Comunale di Bologna, the Verdi in Sassari and Salerno (Italy), São Carlos in Lisbon or Bunkamura Orchard Hall in Tokyo. He has collaborated with maestros such as Zubin Mehta, Jesús López Cobos, Guillermo García Calvo, José Ramón Tebar, Donato Renzetti, Renato Palumbo, Steven Mercurio, Miguel Ángel Gómez Martínez, José Luis Temes, Maurizio Benini and Pablo Mielgo, among others. His operatic repertoire includes works by Verdi, Donizetti, Puccini, Montsalvatge, Gounod, Rossini, Wolf-Ferrari, Mozart, Leoncavallo, Falla and Orff. From the Spanish lyric repertoire, he has sung the Zarzuela 'La del manojo de rosas' (Sorozábal); ‘La fattucchiera’ (Cuyás); ‘Los gavilanes’ (Guerrero); ‘La rosa del azafrán’ (Guerrero); ‘El caserí’o (Guridi); ‘Pan y toros’ (Asenjo Barbieri); ‘Katiuska’ (Sorozábal) and ‘Marina’ (Arrieta), among others.

Sofía Esparza was born in Pamplona in 1994. She participated in the Opera (e)Studio programme of Opera Tenerife during the 2019-2020 season. She has studied with great masters, like Alberto Zedda, Mariella Devia, Renato Bruson, Malcolm Martineau, Giulio Zappa and Ana Luisa Chova, among others. She has won over a dozen prizes in international competitions, which recognise her as an emerging young lyric artist.  In addition to the Auditorio de Tenerife, she has performed at the Tbilisi Opera State Theatre in Georgia, at the Comunale di Bologna and in Spanish theatres, such as the Palau de les Arts (Valencia), Gran Canaria, Teatro Campoamor (Oviedo), Arriaga (Bilbao), Gayarre and Auditorio Baluarte (Pamplona). Likewise, she has shared the stage with world-famous artists, such as Anna Pirozzi and Plácido Domingo.

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“Hammamturgia” (“Hammamturgy”)  is a new research process that will be started by ‘Societat Doctor Alonso’ at the Auditorio de Tenerife from 21 to 27 June 2021.

The collective seeks to formalise this new research in stage format, yet it does not rule out other ways to share the work with the masses. In the last eight years, they have started and undertaken three research processes that have led them to a variety of formats and pieces.

These research processes came to be for two reasons: firstly, the need that the collective's members had to interact and work with different people/creators/thinkers – different from the usual ones. A need to open their way of looking at the world, add new perspectives, questions, came to ways of doing things. Secondly, and looking back on the three pieces of research that came before “Hammamturgia”, the process also came to be out of an obsession that has gradually unfolded in a unique way.

Questioning the learned Western way of looking at things, of relating, and of inhabiting the world… this drive has not abandoned 'Societat Doctor Alonso' throughout all these processes.


During the project entitled "La Glorieta" ("Small Glory"), the initial question was: what is central and what is peripheral in speech: That was followed by: what happens in peripheral speech? it questions key elements of speech and focuses the interest and gaze towards what could be considered peripheral in nature. An intuitive and conceptual approach, and one that already indicated a line along which future, more precise research would follow. "Glorieta" yielded a series of mechanisms and practical sketches –unfinished– that posed many questions and pointed towards ways to continue the search.

The next project "El desenterrador de palabras" (“The Excavator of Words”) worked in a way similar to that of "Glorieta"; that is to say, questioning something or considering it to be in crisis. While in “Glorieta” the pre-eminence of the central aspect of speech was questioned, here the function and ability of words to account for the world that they supposedly define has been questioned by taking two steps forward. Firstly, by explicitly and concretely focusing on a way to work: words. Secondly, by centring the research down a single path and delving deeper thereinto.

While in "Glorieta" many different practices were implemented and varied mechanisms and questions came about, in "Desenterrador" it was decided to focus on a single practice until reaching perfection.  Thus arose the notion of the excavation of words as a group work technique that continues to be employed today and which brought about the ‘textuality’ of the stage piece entitled "Y los huesos hablaron" ("And the Bones Spoke").

"Contrakant" is the collective's third research process. It continues questioning elements of the supposed way of understanding the world to generate a hole or crack through which other realities or perceptions can be seen. Specifically, it proposes questioning the ‘a priori judgements’ of Kant,  according to which we Westerners can only approach and understand reality through structures of space and time that have been previously given to us. Once again, here the intention is to turn around "knowledge" as it is believed to be and as it is thought to work. In this case, by attacking head-on one of the thinkers who this occasion solidly contributed to building the way in which Westerners believe the world can be known.

"Hammamturgia" ("Hammamturgy") is a new step along this path, immersed in something atmospheric, almost innate. it is not so much a question of analysing the functioning of some type of knowledge or mechanism that defines the visible world; that is to say, this time it is not work that is carried out from the outside to find an inside. In Hammamturgy, the step consists of being inside, going through it, being that thing that moves us yet which we don't see.

In research pieces, 'Societat Doctor Alonso' wants to take this trip accompanied by other people and other gazes. They will hold meetings with people engaged in discourses on the body and its 'performativity,' discourses on the Arab world, and discourses on architectural space. They aim to build a space of shared intimacy which features the characteristics of an Arab hammam

A key element:

This research process arises out of the need to understand an intuition. The existence of the “Hammamturgy”. The 'Societat Doctor Alonso' exposes:

"We know that alongside all dramaturgy there is a Hammamturgy. Hammamturgy is something organic that organises, forgive the repetition, what can happen. A happening that is sedimentary. We read dramaturgy, but what really drives change, when it's fair, is Hammamturgy, which, just like dramaturgy, is not life. Hammamturgy would be the ordering of change. Not a narrative of change, but the incursion into change. It is what is outside of you, what really happens. That is why it is important to work on a ritual, because it goes from beginning to end, because it does not leave you halfway, because it is not a part but the whole. The ritual has a fixed liturgy that will allow us to fix our gaze on hammamturgy. And, therefore, two things will happen at the same time. The liturgy of the hammam of the body/cleaning/relaxation, and Hammamturgy, the change, that which is shared.

Why a hammam? Because it is a liturgy that is distant and close to us at the same time. We do not practice it daily and this distance will give us a limit, needed for learning and freedom. It is close to us due to cultural ties and our shared Mediterranean origin. It has a clear and defined liturgy, from start to finish. In one way and come out another, because your body has undergone a process of cleansing and change. The spectators will hardly have time to wonder about anything; they will be immersed in the space and its liturgy, quickly located in the centre of Hammamturgy, because the body is an essential part of liturgy and it is at the centre of the proposal.

In a hammam the perception is in the body. A body that stops, takes off its clothing, cleanses itself with water, is subjected to different temperatures to allow sweat —excess— to be extracted, and is toned. It is the body that receives a massage, stretches, and relaxes; that is renewed.

And perception is made by the context. Spectators who arrive at “Hammamturgia” will be invited to dispose of all their belongings and clothes, they will be given a towel, a bucket, and a sponge. And, equipped in this way, they will access the Hammam.

Their gaze will change without the need to activate anything, being in a closed, intimate space with other people under the same circumstances. Something related to intimacy will inevitably kick in.

Men and women separated. Like a sculptural gesture that first tends to the material and its physical characteristics. The same with the same, because inside the same are all the possibilities.

Men with men. Women with women.

A principle and a decision made out of exhaustive respect for the hammam's liturgy. The space is the first discourse. “Hammamturgy” generates a warm place for cleaning within the city. We will build a moist space, closed, placed on the stage. The stage, where everything should be lighted, visible, exposed, will be occupied by a closed space where the spectators enter. The stage is modified to become a closed space, invisible and hidden to those outside, modifying the position of the spectator who will access the stage and become part of it.

The time of intimacy.

When someone goes to the hammam, they are taking a break, a marked pause in their usual daily rhythm of life. The hammam is a place of cleanliness, silence, and repose. It is a place for a pause."

(*) Image copyright: Photo-book "Many changes are taking place" by Alejandro Granero (2021).

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The educational session, the ‘Jazz mastersˊ show and the family session are sold out



The Auditorio de Tenerife, a cultural space linked to the Department of Culture of Tenerife Island Council, is managed by its Director of Culture, Enrique Arriaga. This week, the Orchestra ‘Jazz del Atlántico’ offers three concerts. The proposal comprises a session for schoolchildren, a session for the audience and a family session. All tickets are sold out. 

Próxima estación: The Duke (Next station: The Duke) is the name of a concert also designed both for schoolchildren and family sessions. Moisés Évora narrates a musical story conducted by Natanael Ramos, trumpet player, with Duke Ellington, the jazz icon, as the driving force. 

The session for schoolchildren of Próxima estación: The Duke is on Friday, the 18th of June at 11:00 am. It is foreseen that 95 schoolchildren from the 1st to 4th of primary school (Escuela Montessori, Santa Cruz de Tenerife) attend the concert. The family session is foreseen on Sunday, the 20th of June at 12:00 am with an audience of 137 people. All the information about this show is available at under the section ‘Social Projects’ of the ‘Educational and Social Area’. The audio-visual resources are available to be used at school and home. 


On the other hand, the ‘Jazz Masters’ show for the adult audience takes place on Saturday, the 19th of June at 7:30 pm. During this concert, the 'roars' of Duke Ellington, the riffs of Count Basie, the vertiginous lines of Thad Jones and the depth of Maria Schneider will be heard. That evening, the Auditorium’s Chamber Hall will turn into an elegant NY nightclub to take a journey through jazz history under the direction of Ramón Cardo. 

‘Próxima estación: The Duke’ and ‘Jazz Masters’ are produced by Laboratorio Atlántico de Jazz and Nuevas Músicas. 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 concert takes place on Thursday, the 17th of June. Francis Hernández and the percussion and brass ensemble of the Conservatory will feature


The Auditorio de Tenerife is a cultural space linked to the Department of Culture of Tenerife Island Council that is managed by the councillor of Culture Enrique Arriaga. On Thursday, the 17th of June at 7:30 pm, it premieres the work Collage. This is the last concert of the Contemporary Music Festival's season (Fmuc). Francis Hernández, the composer, will feature as a conductor and a pianist with the percussion and brass ensemble of the Music Conservatory of the Canary Islands. 

The world première consists of a composition for FMUC by the pianist and composer Francis Hernández, who was born in Tenerife. Collage was composed for brass wind, piano and percussion. The composition is inspired by several ideas linked to the folk music of different cultures. Likewise, it is inspired by different compositional techniques developed during the 20th century.

The pianist and composer Francis Hernández is considered an eclectic musician; he has combined his teaching career with composition and musical direction. He was born in La Orotava, where he began to take piano and trumpet lessons to continue with his studies at the Music Conservatory of Tenerife and later on at the Music Conservatory of the Canary Islands.

After attending intensive training at the Berklee College of Music, he became interested in jazz and popular music. This led him to participate in different local and national jazz bands. Between the years 2004 and 2008, he worked as a musical director for the national and regional broadcasting TV organisations RTVE and Televisión Canaria. From 2010 until today, he has carried out several compositional projects with Pablo Cebrián, a producer. He currently composes music for cartoon series and short films. Likewise, he makes arrangements and orchestral compositions for several national productions.

Between 2014 and 2018 he was the musical director of the musicals Jesus Christ Superstar, Evita and Sunset Boulevard. In this last stage, he conducted two concerts at the helm of the Symphony Orchestra of Tenerife during the festivities in honour of the "Cristo de la Laguna" (2016 and 2018), and small chamber groups, such as Awgal Percussion and DifrAcción Ensemble.

Tickets can be purchased until one hour before each show on the website  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 at 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 guest pianist, Pierre-Laurent Aimard, will play under the direction of Antonio Méndez



The Symphony Orchestra of Tenerife (OST) is a project of the Island Council’s Department of Culture which is directed by Enrique Arriaga. The ensemble proposes a closing concert for the season 2020-2021 with a transition programme and works by Strauss, Ravel, Brahms and Schoenberg, three composers who broke with the past with their music. Antonio Méndez, the principal conductor of the OST, is at the helm of the orchestra with the renowned pianist Pierre-Laurent Aimard. The concert is tomorrow Friday, the 18th of June at 7:30 pm in the Auditorio de Tenerife.

Antonio Méndez leads the Symphony Orchestra of Tenerife to perform this programme that starts with a tone poem, Don Juan Op. 20 by Richard Strauss (1864-1949). It is a forceful, energetic and colourful piece that remarks the passionate intensity of this anti-hero in whom the work is inspired. Strauss was about 20 years old when he composed it. This tone poem was his first and greatest symphonic masterpiece. It reveals a distinctive personality that continued to brand his famous tone poems during a period which was also known as his "creative period".

During this closing concert, Pierre-Laurent Aimard, one of the great piano players of our time, will play the Piano Concerto for the Left Hand in D major by Maurice Ravel (1875-1937). Together with Debussy, Ravel developed a distinctive French style that broke with Romantic conservatism. He composed this concert while he was working on the Piano Concerto in G major. It was commissioned by the Austrian pianist Paul Wittgenstein, who lost an arm during the First World War. One outstanding element of this concert is the mixture of genres: it is dramatic and dark, but a prodigy of piano composition.

To round up the programme, the audience will enjoy the Piano Quartet No. 1in G minor, Op. 25 by Johannes Brahms (1833-1897) orchestrated by Arnold Schoenberg (1874-1951). Schoenberg is perhaps the 20th-century composer who has inspired more controversy. In 1937 he orchestrated Brahms’s work after shaking the very foundations of music when he published his "Method of composing with twelve tones". While his result was a score with Brahms’s colour, sense of timbre and atmosphere, Schoenberg is one of the biggest guarantors of the Austrian's twelve-tone technique.

Antonio Méndez has been the main conductor of the OST since the 2018/2019 season. He is also one of the most requested and established conductors of his generation; this has enabled him to establish close links with the most important European orchestras. During his distinguished career, he has conducted international ensembles such as Tonhalle-Orchester Zürich, Symphonieorchester des Bayerischen Rundfunks, Mahler Chamber Orchestra, Rotterdam Philharmonic, Danish National Symphony Orchestra, hr-Sinfonieorchester, Royal Stockholm Philharmonic, Staatskapelle Dresden, Scottish Chamber Orchestra, Los Angeles Philharmonic and the Orchestre Philharmonique du Luxembourg.

On his side, the pianist Pierre-Laurent Aimard has been widely acclaimed as a key figure in the music of our time. He has collaborated with many great composers such as György Ligeti, Karlheinz Stockhausen, George Benjamin, Pierre Boulez and Oliver Messiaen. During the last seasons, the highlight has been the première of Olivier Messiaen's Catalogue d'Oiseaux (for Pentatone). The piece has won numerous prizes, including the prestigious "Preis der Deutschen Schallplattenkritik". 

Tickets can be purchased until two hours before the concert on the website 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" to enjoy this cultural experience.

By purchasing tickets, you accept the measures implemented by the cultural centre to combat COVID-19, such as the correct use of masks and the attendance at 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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Las bandas participantes proceden de Candelaria, Arafo, Fasnia, San Juan de la Rambla, Santa Cruz, Guía de Isora y El Rosario


El Auditorio de Tenerife, espacio que depende del área de Cultura del Cabildo que dirige el consejero Enrique Arriaga, ofrece este fin de semana tres sesiones -una el sábado y dos el domingo- de concierto de bandas de música que clausuran la presente edición del ciclo Primavera Musical que organiza desde 2005 la Federación Tinerfeña de Bandas de Música con la colaboración del Cabildo de Tenerife. Las formaciones participantes proceden de Candelaria, Arafo, Fasnia, San Juan de la Rambla, Santa Cruz, Guía de Isora y El Rosario.

Enrique Arriaga destaca que “esta ha sido una edición muy especial para nosotros y para las propias bandas, después del parón que tuvimos que hacer el año pasado”. “Las 35 bandas de música han tenido que reducir su formación para poder adaptarla a los escenarios de las salas del Auditorio y algunas las hemos llevado por primera vez a la Sala Sinfónica”. “Quiero agradecer el esfuerzo que han realizado las bandas y destacar la labor que viene haciendo la Federación Tinerfeña de Bandas que preside Alejandro Poleo”, concluye Arriaga.

La Sala Sinfónica acoge mañana [sábado 12], a partir de las 18 horas. Las Candelas, que llega desde Candelaria, iniciará su repertorio -bajo la dirección de Mauro Fariña- con un estreno del pasodoble compuesto por José Luis Peiró dedicado a esta banda con el título de la formación. El repertorio continuará con Scent, de Saúl Gómez Soler y con Javier Llopis como solista, para concluir con Metroplex: three postcards from Manhattan, de Robert Sheldon.

La Agrupación Artístico Musical La Candelaria procede de Arafo y se presenta con la dirección de Carlos Daniel Albertos con un repertorio que arranca con Música y vinos, de Manuel Morales, continúa con Obertura 1812, de Tchaikovsky, y finaliza con el Intermedio de La boda de Luis Alonso, de Gerónimo Giménez.

El domingo por la mañana, a partir de las 11:30 horas, intervendrán las bandas de Fasnia, San Juan de la Rambla y San Andrés (Santa Cruz). La primera de ellas, dirigida por Mateu Azzaro González, incluyen en su programa Don Pedro el maestro, de Vicente Esteban Fariña; Brass Fever, de John Cacavas, y un medley de boleros.

Alcaraván, de San Juan de la Rambla, iniciará su actuación bajo la dirección de Miguel Ángel Arrocha, con Canta Tenerife, de Santiago Reig, y continuará con A discovery fantasy, de Jan de Haan, y The Lion King, con arreglos de John Higgins.

Juan Antonio Domínguez dirigirá a la Asociación Musical Amigos del Arte, de San Andrés (Santa Cruz) en un programa que arranca con el pasodoble Mi tierra guanche, de Cabrera Santamaría con arreglos de Agustín Ramos, y completa con Hallelujah, de Leonard Cohen con arreglos de Michael Brown, y Sinfonía Clásica, de Ted Huggens.

La decimoséptima edición de Primavera Musical concluye con otra sesión el domingo por la tarde, a partir de las 18:00 horas, en la Sala Sinfónica que protagonizarán las bandas La Luz (Guía de Isora) y Princesa Yaiza (El Rosario). El programa de la primera de las formaciones, con la dirección de Antonio Fariña, lo componen los temas Bravo Mestre, de Ferrer Ferrán, Le roi d’ys, de Gabriel Parés, y Bonaparte, de Otto Schwarz.

Por su parte, la propuesta que trae la banda Princesa Yaiza, de El Rosario, incluye el pasodoble L’os i en Bala, de Jef Penders, Star Wars, de John Williams con arreglos de Robert Smith y Donald Hunsberger, y American Graphity, de Nahoiro Iwai, todo ello bajo la dirección de Juan Antonio Rancel.

Las entradas a coste cero se pueden conseguir hasta una hora antes del comienzo del espectáculo en 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 realizar una entrada escalonada a la sala.


La adquisición 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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El presidente, Pedro Martín, considera que “la orquesta es uno de los tesoros más preciados del Cabildo”

Arriaga destaca que la formación “ha mantenido una constante relación con la sociedad que ha ayudado a evadirse de la pandemia”


El Cabildo ha presentado hoy la temporada 2021-2022 de la Sinfónica de Tenerife que se inicia el 10 de septiembre y significará el retorno al gran sinfonismo a través de obras fundamentales del repertorio. Más de medio centenar de composiciones de estilos y épocas variados serán interpretadas en los 19 conciertos de este ciclo que se desarrollará hasta el 17 de junio y en el que tendrán cabida directores y solistas de calado internacional. Los detalles de esta nueva temporada fueron dados a conocer por el presidente del Cabildo, Pedro Martín; el consejero de Cultura, Enrique Arriaga, y el director honorario de la orquesta, Víctor Pablo Pérez.

Pedro Martín resaltó que “todo lo que tiene que ver con nuestra Orquesta Sinfónica es un acontecimiento”, formación a la que definió como “uno de los tesoros más preciados de nuestro Cabildo, que ha sabido resistir casi como ninguna otra orquesta los embates del covid”. En ese sentido, Martín apuntó a la importancia de presentar la nueva temporada no solo por “el empeño de mantener ese pálpito cultural” acercando la música en directo a toda la ciudadanía, sino porque “hay que salir de la pandemia y tener buenas noticias como es que la Sinfónica de Tenerife presente una nueva programación”.

Enrique Arriaga se ha sumado a esta consideración añadiendo que la orquesta ha dado en el último año “una gran satisfacción” que ha permitido a muchas personas “evadirse de la pandemia”. Desde que reanudó su actividad en junio del pasado año, la Sinfónica de Tenerife “ha mantenido siempre constante su relación con la sociedad, no solo en todos los conciertos que se han llevado a cabo en el Auditorio de Tenerife sino también con otras muchas actividades socioeducativas”, destacó el consejero de Cultura quien añadió que la nueva temporada será de nuevo “de altísima calidad y complejidad”.

El director honorario de la formación musical del Cabildo, Víctor Pablo Pérez, quien desgranó las principales líneas artísticas y programáticas de la nueva temporada, indicó que “el Patronato Insular de Música propone un mensaje de optimismo, de ilusión y de esperanza en esta nueva temporada que va a comenzar en el mes de septiembre”.

Las sinfonías Octava y Novena o Del Nuevo Mundo de Dvorak, la Cuarta y Quinta de Chaikovski, la Italiana de Mendelssohn, la Quinta y Décima de Shostakovich, el último gran sinfonista mundial, unido a otras grandes composiciones como el Concierto para orquesta de Bartók, Tristán e Isolda de Wagner o El mar de Debussy, formarán parte esta temporada de los grandes momentos que permitirán a la orquesta reafirmar su sonoridad y brillar de nuevo con la música en directo.

Sobre este planteamiento programático, la nueva temporada de la Sinfónica de Tenerife contará con la presencia de una quincena de batutas de prestigio y emergentes. Además de Víctor Pablo Pérez, que se pondrá al frente de tres de los 19 programas, tanto en el concierto inaugural como en el de clausura destacan las intervenciones de Christian Zacharias y Javier Perianes, respectivamente, en calidad de director y pianista. Entre los invitados, habrá cuatro directoras: Catherine Larsen-Maguire –quien estará a cargo de dos conciertos– Chloé van Soeterstède, Lina González-Granados y Tabita Berglund, y estarán también nombres conocidos por el público tinerfeño como James Feddeck, Eiji Oue, Edmon Colomer, Lucas Macías, Eivind Gullberg Jensen, Karl-Heinz Steffens, además de Christian Vásquez y Alexander Shelley.

Entre los músicos invitados sobresalen Pablo Sáinz-Villegas, referente mundial de la guitarra y que interpretará el afamado Concierto de Aranjuez de Joaquín Rodrigo; Pacho Flores, el más mediático de los trompetistas internacionales, o Stefan Dohr, uno de los grandes trompas de la Filarmónica de Berlín en estos momentos. La relación de solistas se completa con las violinistas Ellinor D’Melon, Rosanne Philippens y Noa Wildschut, los violonchelistas Anastasia Kobekina y Alban Gerhardt, los pianistas Albert Guinovart y Evgeny Konnov –Ganador Del Concurso María Canals 2018–, además del viola Maxim Rysanov, el flautista Adam Walker, la mezzosoprano Catriona Morison y el Cuarteto Quiroga, formación conocida mundialmente.

Un año más, completan la programación dos propuestas muy queridas por el público de la Sinfónica de Tenerife. El concierto coral, que este año contará con la participación de dos de los cantantes tinerfeños más internacionales, la soprano Raquel Lojendio y el tenor Airam Hernández, a quienes se suma el barítono Gabriel Bermúdez y la Coral Reyes Bartlet, que dirige José Hijar Polo. Este programa, diseñado y conducido por Víctor Pablo Pérez, se celebrará a principios de abril en Auditorio de Tenerife y -si las circunstancias lo permiten- en la Catedral de La Laguna. From Bach to Radiohead es el título del concierto pop esta temporada, bajo la dirección de Michael Thomas, con el tenor José Manuel Zapata, Rubén Rubio a la viola de gamba y guitarra, además del guitarrista Juan Francisco Padilla.

Además de los estos 19 programas, la temporada de la Sinfónica de Tenerife se completa con su presencia en Ópera de Tenerife, Festival de Música de Canarias o Fimucité. Asimismo, ofrecerá una intensa actividad del área social y educativa con conciertos didácticos para público infantil y familiar, así como su ya habitual presencia en los hospitales o centros sociosanitarios para aproximar la música sinfónica a la población de toda la Isla.

La imagen de este nuevo ciclo de conciertos mantiene como lema Siempre Contigo, definido por el compromiso de una cercanía permanente con la ciudadanía. En este sentido, la Sinfónica de Tenerife mantendrá todas las medidas de prevención sanitarias en el primer tramo de la nueva temporada, con los aforos y plantillas adaptados a los nuevos requerimientos, uso obligatorio de mascarilla y distancia de seguridad, aunque añadirá pausas a los conciertos con la vista puesta en una vuelta a las condiciones habituales a partir de enero de 2022.

Para este periodo, se podrán adquirir paquetes con los siete primeros conciertos, el Pack Otoño, con un 10% de descuento. Se pondrán a la venta a partir del 13 de julio por los tres canales habituales de Auditorio de Tenerife (online, taquilla y por teléfono), y la venta preferente para abonados de la temporada 2019-2020 se abrirá el 29 de junio hasta el 10 de julio. Las entradas sueltas se podrán conseguir a partir del 2 de septiembre. Todos los paquetes, plazos, ventajas y precios especiales de las entradas pueden consultarse en la web

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Dinis Sousa conducts this concert, with Emmanuel Tjeknavorian as A soloist violin and Pablo Ferrández playing the cello.

The Symphony Orchestra of Tenerife (OST) is a project of the Island Council’s Department of Culture which is directed by Enrique Arriaga. The orchestra wants to pay a new tribute to the composer Ludwig van Beethoven and one of his most renowned pieces: his Symphony No. 6, also known as the Pastoral Symphony. The programme is complemented with the Double Concerto in A minor, Op. 102, by Johannes Brahms for violin, cello and orchestra, that will be featured by Emmanuel Tjeknavorian and Pablo Ferrández, artist-in-residence of the OST during the season. The concert takes place on Friday, the 11th of June at 7:30 pm in the Auditorio de Tenerife with Dinis Sousa as conductor, who will make his debut with the OST.

Ludwig van Beethoven's (1770-1827) love of nature was reflected in his Symphony No. 6 in F major "Pastoral", op. 68. However, the composer emphasised that this composition was "rather an expression of feelings than a tone painting". But what determined the work structure was this evocation of the emotional effects that the landscape produced on him. The symphony has five movements, each one representing a country scene with its own title. This breaks with the classical symphony model, and in this case, the last three movements are to be played without pause. The work was premièred in one of the most remarkable concerts of history that took place on the 22nd of December 1808 at the Theater an der Wien in Vienna. Beethoven's Fifth Symphony was also featured.

While Beethoven became a mythical figure in the musical tradition, many other composers felt paralysed by his influence, unable to tackle genres such as the symphony or the sonata. One of the composers who was most affected by Beethoven's shadow was Johannes Brahms (1833-1897), a musician who years later was finally included in the Germanic classical tradition. Described as beautiful and original, his Concerto for violin and cello in A minor was his last work for orchestra. He finished his composition at the age of 54, once he already left behind his irrational fear of failure, imprinting "his great melodic lines and harmonic progressions".

For the first time, Dinis Sousa, a founder member and artistic director of Orquestra XXI, will be at the helm of the Symphony Orchestra of Tenerife.  He has closely worked with Sir John Eliot Gardiner and his ensembles. This relationship has culminated in his appointment as the first-ever assistant conductor of the Monteverdi Choir and Monteverdi Orchestra. His next engagements will see him working with the Royal Northern Sinfonia, Orchestre Symphonique de Mulhouse, Malta Philharmonic, Orquestra Sinfónica Portuguesa and Orquestra de Cámara de Madeira, as well as conducting rehearsals with the London Symphony Orchestra.

Cellist Pablo Ferrández, artist-in-residence of the OST during the 2020/2021 season, will be making his third appearance with the Tenerife's ensemble this year.  The Madrid-born musician was recognised at the Fifteenth International Tchaikovsky Competition. He was awarded the coveted ICMA “Young Artist of the Year”, and in 2018 he won the Princess of Girona Award for his "exceptional talent and international projection".

Considered as an "exceptional talent" (Der Tagesspiegel), the violinist and conductor Emmanuel Tjeknavorian makes his debut with the OST and has become one of the most sought-after musicians of his generation. In addition to Tenerife, he will perform as a soloist with the Netherlands Philharmonic Orchestra in the Concertgebouw, the Royal Stockholm Philharmonic Orchestra, the Bruckner Orchester Linz, the Orquesta Sinfónica de Radio Televisión Española, the Gewandhausorchester under the baton of Franz Welser-Möst and others.

Tickets can be purchased until two hours before the concert on the website 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" to enjoy this cultural experience. 

By purchasing tickets, you accept the measures implemented by the cultural centre to combat COVID-19, such as the correct use of masks and the attendance at 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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