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This Sunday's performances are part of the Primavera Musical cycle.

On Sunday (17), the wind bands Arona, Alcaraván and Las Candelas offer a concert in the Auditorio de Tenerife's Chamber Hall. The event begins at 11:30 a.m. and is part of the Primavera Musical cycle, organised by the wind bands federation 'Federación Tinerfeña de Bandas de Música' with the support of Tenerife Island Council.

The concert band from Arona was created 35 years ago and will open the performance.  Conducted by Juan Antonio Rancel Tejera, the ensemble will begin its concert with El arca de Noé, by Óscar Navarro, and will continue with Danzas cubanas, by Robert Sheldon.

The second wind band on stage this Sunday in the Chamber Hall will be the Asociación Artística Alcaraván, from San Juan de la Rambla, which has its origins in the late 19^th century. They offer the repertoire Brisas de Anaga, by Manuel Castrejón Navarro, A Catedral, by José Luis Peiró Reig, and The Lion King, with arrangements by John Higgins, conducted by Miguel Ángel Arrocha Rodríguez.  

The Auditorio de Tenerife welcomes the band Las Candelas and its programme, featuring the world premiere of the work Kepler 438-b, by José Manuel Encinoso, which will be the first piece to be performed by the ensemble from Candelaria, conducted by Mauro Fariña Alonso. The performance is completed with Magellan's Voyage to the Unknown Continent, by Masanori Taruya, and Fanfare, by Roque Baños.

The Primavera Musical cycle has been organised by the wind bands federation 'Federación Tinerfeña de Bandas de Música' since 2005 with the support of Tenerife Island Council. As part of this campaign, the public can listen to the 37 wind bands that shape the association in the Auditorio de Tenerife's Chamber Hall.

Formaciones de música de cámara, percusión y viento participan en la cita de este sábado

El alumnado del Conservatorio Profesional de Música de Santa Cruz de Tenerife ofrece este sábado (día 16) un concierto en la Sala Cámara del Auditorio de Tenerife. Las formaciones que intervienen son de música de cámara, percusión y el conjunto de saxofones del centro. El evento comienza a las 18:00 horas y la entrada es libre hasta completar aforo. 

Los alumnos de percusión que intervendrán en este concierto son Aruna Beuster, Enrique Fernández, Guillermo Monreal, Miguel Mira, Jorge Mira, Jonay González, Ethan Gabriel Aricoma, Emilia Díaz, Roberto Carlos Rodríguez, Hugo López, Óscar Gregorio García, Alberto Hernández, Néstor García, Gabriel Vélez, Eduardo García, Pablo Hernández, Adriel López, Asiel Padrón, Pablo Daniel García y Guillermo Almeida. El grupo de la especialidad de percusión está dirigido por Emilio Díaz, Verónica Cagigao y Carlos Castañeda.

Para este concierto han preparado un programa que incluye Invention n.º 4 en Re m. BWV 775, de Bach, Invention 4º, de Bach, Invention 8º, de Bach, Sefia 2, de Emmanuel Séjourné, Red Bone, de Emmanuel Séjourné, Stick Schtick, de Chris Brooks, Irlanda, de José Encinoso, Malambo, de Alberto Ginastera con arreglos de José Encinoso, La Farruca del Molinero, de Manuel Falla con arreglos de José Encinoso y Malagueñas canarias, con arreglos de Emilio Díaz.

La formación de música de cámara, dirigida por Ruth Albertos y con la participación de Andrea Suárez, Andrés Rodríguez, Katherine Cheng Zhu, Raúl Marichal y Román Khomenko, ha elaborado un repertorio con las obras Café de 1930, de Astor Piazzolla; Per pietá, Belle ídol mío, del compositor italiano Vincenzo Bellini, y Serranas de Cuenca de Enrique Granados.

Para finalizar el concierto, el conjunto de saxofones -integrado por una docena de alumnos de 3º y 4º-, dirigido por Francisco Dorta, ofrece las piezas A song for Japan, de Steven Verhelst, Gershwin Favourites, de Roland Kernen y Sud-America, de Lino Florenzo. Los alumnos que intervienen son Saúl Báez, David Otto, Nicole Daniela Pérez, Alejandra Serra, Jaime Brito, Aurora María Aldoman, Alonso Medina, Sarah Hiraldo y Jesús David Hernández. 

Con esta propuesta, el Conservatorio Profesional de Música de Santa Cruz de Tenerife quiere exhibir la labor y el nivel que desempeñan sus alumnos junto con el profesorado en las diferentes especialidades que imparte. Este concierto se incluye dentro de las actividades fuera del centro que recoge el programa educativo.

The show of Kukai Dantza, winner of four national awards, will take place at the Symphony Hall

The Auditorio de Tenerife offers Oskara. This award-winning work fuses traditional Basque dance with contemporary dance. It will be performed by the Basque company Kukai Dantza, winner of the National Dance Award. This show can be enjoyed this Sunday (17) at 7:30 p.m. in the Symphonic Hall. Oskara was awarded Best Dance Show at the 30^th Huesca International Fair of Theatre and Dance and obtained three Max Awards: Best Costume Design, Best Cast, and Best Dance Show.

This project features a cast of five dancers and a singer. It is an exciting collaboration between Kukai Dantza and Marcos Morau, who is one of the most renowned choreographers in Europe today. Morau received the National Dance Award in 2013 and has worked with some of the most prestigious companies of our time. He also creates innovative works with his company, La Veronal.

Oskara is the coming together of two choreographic universes and two dance perspectives that navigate between the most popular roots and the most avant-garde expression, proposing a new scenic universe on the national scene. This installation work explores some landscapes of Basque culture and myths, from its origins to the contemporary era.

In addition to Oskara, Yarin will be performed on Saturday (16) at 7:30 p.m. in the Symphony Hall's stage box. It is a choreography by Jon Maya, the founder of the Basque company, the flamenco dancer Andrés Marín (National Dance Award winner 2022) and Sharon Fridman, a multi-award-winning dancer and choreographer. The two performers on stage are accompanied by the live music of Julen Achiary. Yarin is an encounter based on an honest dialogue, which shows us their differences and their desire to share a common path towards the future through those differences.

The Basque company's visit to the Auditorio de Tenerife will be rounded off with a workshop. It is aimed at dancers and dance students interested in learning about Basque culture and the working formula that consists of a meeting between roots and contemporary dance. Today (Wednesday 13) is the last day to sign up by sending an email to This email address is being protected from spambots. You need JavaScript enabled to view it. with personal details and dance experience. The master for this training day, which will take place this Friday (15), will be Jon Maya himself, who will give a two-hour master class.

Kukai Dantza was created in 2001 through the initiative of the dancer and choreographer Jon Maya. It carries out its work through traditional Basque dance and proposes encounters with other dance styles and ways of understanding art. Thus, Kukai creates contemporary shows through traditional Basque dance, producing unique creations and collaborations with prestigious choreographers. This has earned it an unmistakable identity on the international scene, and it is making an increasing number of appearances at festivals and on programmes all over the world. Its many awards notably include the Max Award for Best New Show in 2009 and the two 2015 Max Awards received for Gelajauziak: Best Musical Composition (Sabin Bikendi) and Best Cast.

The tickets can be purchased at a single price of €15 for Oskara and €10 for Yarin (5 euros for the audience under 30 years of age, in both cases), on the website www.auditoriodetenerife.com, at the auditorium's box office, or 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. Check the special discounts for the audience under 30 years of age, students, unemployed and large families. Both shows are recommended for those over 16 years of age.

Auditorio de Tenerife recibe del 11 al 23 de marzo de 2024 la residencia artística Las magias, de Teresa Lorenzo.

La muestra de la residencia tendrá lugar el 23 de marzo. 

Esta creación se ha abordado entre el gesto figurativo y la abstracción geométrica. El pequeño gesto se plantea en el entorno kinesférico del cuerpo, y el gran gesto pone al cuerpo en relación con lo espacial. Trabajar términos elementales relacionados directamente con una lógica física ha funcionado como guía para ir localizando y desenvolviendo una danza que apunta al entramado rural y natural concreto al que se refiere.

En este abordaje tan concreto se han abierto estudios sobre figuras relativas a elementos naturales, celestes, místicos; y sobre las que se ha desplegado una superposición de capas básicas que ordenan y clarifican la acción del cuerpo y se complejizan en su interrelación

Las pauta y herramienta han permitido traer al cuerpo un lenguaje que encuentra la virtud en un hacer cercano, propio. Por otro lado, a la hora de comenzar con la composición existe un  distanciamiento del patrón de composición tradicional. Es un método que supone un pulmón creativo y permite establecer una separación en la condición de ser a un tiempo, sujeto y objeto o coreógrafa y bailarina.

Poco a poco se está dado sentido a todo con el soporte estético de esa cosmovisión y a través de la creación de una partitura base que cuida más y más todo el conjunto de la gestualidad del cuerpo.  Un cuerpo liviano, limpio de vicios, excesos, automatismos que relaciona con precisión la tensión, la sensualidad, el peso y el entorno.

A lo largo de la residencia se profundizará en el estudio y posterior desarrollo y manejo de dichas figuras y dinámicas sobre la partitura inicial, con el objetivo de producir un lenguaje preciso y genuino, que permite la creación de una composición coreográfica estable. Esta parte del trabajo viene a ser un refinamiento de la danza que servirá de soporte para el cierre del proyecto.

Teresa Lorenzo

Creadora, bailarina, profesora de danza contemporánea y yoga. En el campo del movimiento se forma de manera independiente estudiando diferentes técnicas de danza, otras disciplinas referidas al cuerpo y teatro en Canarias, Madrid, Barcelona, Zurich y Nueva York, donde su aprendizaje en la Trisha Brown Dance Company fue determinante. Acude a programas de formación continuada, talleres, clases magistrales y siempre manteniendo un continuado y exigente trabajo de investigación y acondicionamiento físico en solitario.

Crea sus propias obras desde el inicio de su carrera. Ha colaborado con numerosos artitas, tanto de las artes escénicas como plásticas y sonoras. Ha atravesado proyectos de diversa índole, mediación, numerosos laboratorios de investigación, acompañamiento artístico, asesoramiento coreográfico. Ha trabajado con colectivos de naturalezas diversas y poco convencionales. También ha cultivado con rigor la línea pedagógica en el campo de la danza y el yoga, recibe una formación de siete años con un discípulo directo de B.K.S. Iyengar.

Con un acentuado rigor experimental, y como búsqueda de un lenguaje corporal ajeno a las tendencias contemporáneas convencionales, ha profundizado desde un punto de vista poético y filosófico en varios modos de relación con la naturaleza en sus diversas manifestaciones, lo que le ha ofrecido diferentes puntos de vista, perspectivas, aristas, para tratar de redefinir, para afrontar, para, en definitiva, estar en la danza.

En los últimos años de su carrera se ha especializado en el site-specific, y en la improvisación junto al músico Manolo Rodríguez, con quien trabaja hace más de diez años.

Zlata Chochieva is making her debut as a guest soloist in the ninth seasonal programme of the Tenerife orchestra which is putting its Spring Pass on sale.

The conductor Karl-Heinz Steffens is returning to the island to conduct the Sinfónica de Tenerife in its ninth seasonal programme, which will feature works by Mozart and Mahler. Also, the pianist Zlata Chochieva will make her debut as a guest soloist in the Tenerife orchestra at the event which will take place this Friday [15], at 7:30 p.m. in the Auditorio de Tenerife Adán Martín.

Piano Concerto No. 17 in G major, K. 453 by Wolfgang Amadeus Mozart is a piece in three movements created in 1784, in the full force of gallant classicism, and in which the soloist instrument is in constant dialogue with the orchestra. The work, in which the wind instruments take on a special role, reflects the light of this harmonic dialogue with an Allegreto as the finishing touch that invokes the song by a starling, which ended up participating in the first performance in Salzburg.

After the interlude, the Tenerife Symphony Orchestra will perform the piece that this Friday's programme takes its name from, Symphony No. 5 in C Sharp Minor, a score completed in 1902 which reflects the battle of opposites and contrasts that are very well-defined. The sound journey begins with a funeral march before reaching an exaltation of life in the final chords, with love as catharsis.

This composition marked the start of a creative phase for the Bohemian genius that was difficult to understand for his contemporary audience. However, thanks to the adagietto for strings and harps of the third movement included in the soundtrack of the Luchino Visconti film, Death in Venice, this work that had gone unnoticed for almost seven decades got a popular boost.

Karl-Heinz Steffens is the current principal conductor and artistic director of the Norrköping Symphony Orchestra. In recent seasons he has worked with the Bavarian Radio Symphony, Berlin Philharmonic, Helsinki Philharmonic, Israel Philharmonic, Munich Philharmonic, Orchestre National de Lyon, Royal Stockholm Philharmonic, Toronto Symphony and Zurich Tonhalle, as well as with the Radio Symphony Orchestras of Berlin, Cologne, Frankfurt, Hamburg, Hannover, Leipzig and Stuttgart, among others.

Before becoming a conductor, Steffens was a highly sought-after clarinettist who also held several orchestral positions, culminating in the successive roles of principal clarinet with the Bavarian Radio Symphony Orchestra and the Berlin Philharmonic Orchestra.

In his lyrical facet, Steffens has conducted several times at the Teatro alla Scala, leading shows such as Cosi fan Tutte, Don Giovanni and Götterdämmerung, and he has also been regularly invited to the Berlin State Opera. He conducted the Norwegian premiere of Pelléas et Mélisande at the Norwegian National Opera, where he also led the performances of Così fan tutte, Fidelio and the production of Tosca by Calixto Bieito.

The work of pianist Zlata Chochieva is considered by Gramophone magazine to be "one of the most consistently inspired, masterfully performed versions with a beautiful sound that I can remember"; her work is included in the Gramophone list as one of the 10 best recordings of Chopin.

Last season, Chochieva participated with the BBC Scottish Symphony Orchestra and the Aarhus Symphony Orchestra, the Chopin Society of Vancouver and the Berliner Klavier Festival to perform Rachmaninoff to mark the 150^th anniversary of the composer. She also performed Dvorák's Piano Concerto with the Hamburg Camerata in the Elbphilharmonie. She made her debut in Singapore with a recital at the Victoria Hall, and in Taiwan performing Piano Concerto No. 1 by Chopin with the National Symphony Orchestra. She also made her orchestral debut in the United States at the Bard Music Festival with a tour of five recitals.

The Russian soloist has performed in many of the most important concert halls on the international scene, such as the Wigmore Hall in London, the Concertgebouw Amsterdam, the Konzerthaus in Berlin, the Konzerthaus in Vienna, the Tivoli Concert Hall in Copenhagen, Grand Hall of the Moscow Conservatory, the Philharmonie de Paris, the National Kaohsiung Center for the Arts in Taiwan, Casa da Musica in Porto and Teatro La Fenice in Venice. Chochieva worked with several leading orchestras, such as the Copenhagen Philharmonic, the Munich Chamber Orchestra, the Russian National Orchestra and the Nice Philharmonic Orchestra.

Once again, the Tenerife Association for Friends of Music ATADEM will give a talk on the two works of the programme. They will be presented by José Lorenzo Chinea Cáceres at 6:30 p.m. in the Sala Avenida, located in the hall of the Auditorio de Tenerife Adán Martín.

The tickets for this concert can be purchased until the day of the event on the website www.sinfonicadetenerife.es, at the auditorium's box office 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.

From 20 February, it is also possible to purchase the Spring Pass for the Sinfónica de Tenerife, a special opportunity to enjoy the last nine concerts of the current season, with prices starting at 81 Euros. This subscription can be purchased through the normal sale channels.

The ensembles San Sebastián, Nueva Unión and Princesa Yaiza open a new edition this Sunday.

The Auditorio de Tenerife offers this Sunday (10), at 11:30 a.m., at the Chamber Hall, the first concert of the different ensemble members of the island's wind band federation that participate in a new edition of the Primavera Musical cycle. The wind ensembles taking part in this first concert are San Sebastián (Tejina, La Laguna), Nueva Unión (Los Silos) and Princesa Yaiza (El Rosario).

The concert band San Sebastián and its conductor Raiko Cruz have prepared three pieces from their repertoire for this concert. Their performance begins with the Parade of the Charioteers, from the movie Ben Hur, composed by Miklós Rózsa and adapted with arrangements by Miguel González. La sombra del peregrino, by José Luis Peiró Reig, and Latin gold, with arrangements by Paul Lavender, complete the presence in the Chamber Hall of this ensemble, which has its origins in 1927.

The wind band Nueva Unión from Los Silos will perform three pieces in the Auditorio in a very special edition as part of its 125 years of history: Teatro Montecarlo, by Aurelio Pérez Perelló, El Racó de L'or, by Saúl Gomez Soler, and Caravan, by Duke Ellington/Juan Tizol, with arrangements by Naohiro Iwai, conducted by Juana María Bolaños.

The Sunday concert will be completed with a performance by the band Asociación Princesa Yaiza from El Rosario under the direction of Juan Antonio Rancel. From their repertoire, they have selected Música y vinos by Manuel Morales, The Witch and the Saint by Steven Reineke and Sir Duke, with arrangement by Naohiro Iwai.

The 'Primavera Musical cycle has been organised by the wind bands federation 'Federación Tinerfeña de Bandas de Música' since 2005 with the support of Tenerife Island Council. As part of this campaign, the public can listen to the 37 bands that make up the association from this Sunday until 9 June in the Auditorio de Tenerife's Chamber Hall.

The programme will feature works by Chopin, Mozart, Tchaikovsky, Beethoven and Prokofiev.

The Auditorio de Tenerife is showing next Tuesday (12 March), at 7.30 p.m., at the Chamber Hall a concert by the Macedonian pianist Simon Trpčeski. The musician will perform works by Chopin, Mozart, Tchaikovsky, Beethoven and Prokofiev. This programme tackles the wealth of composition for piano through classical forms, especially variations, where melodic invention achieves its greatest expressive intensity.

This concert is part of the Pianísimo subscription, which offers tickets for four piano concerts at a 25% discount, including this one by Trpčeski as well as the concerts of Fazil Say on 23 April, Martín García García on 21 May and Paul Lewis on 11 June.

The programme will start with Frédéric Chopin and his Four Mazurkas. With the eight variations on Come un Agnello, Mozart pays tribute to the Italian musician Giuseppe Sarti, taking a theme from one of his operas and turning it into a great fantasia. Beethoven also finds variations to be a form of expression of great richness where, along with the fugue, they were to be the forms he would most frequently use in his final works. His variations for piano on a Russian dance from the ballet Das Waldmädchen by Paul Wranitzky, stand out for their expressive power and their metric irregularities; and the 32 variations on an original theme, written in 1806, constitute, in a certain way, a kind of demonstration of the technique of variation based on thematic material whose energy is fully concentrated, melodically and harmonically.

The sonata has a representation in this recital through the work of Prokófiev as another great classical form. The composer fully exploited its possibilities by giving back the form its nobility with a harmonic density. Additionally, he incorporated a powerful and engine-like articulation, very characteristic of his piano style. His Sonata No. 7 is probably the most famous of the nine he wrote. The piece was written in 1932 and concluded in the Caucasus during World War II. At the time, Prokofiev was fleeing from the terrors of war. The composition has an innate sense of anguish that runs throughout its three movements, which can be chilling at times. Its rhythmic precision expresses momentum and terror, while still maintaining an intense lyricism, which can be unsettling. This provides a contained calm that is almost threatened by the momentum and ardent virtuosity that permeates the entire work. On the other hand, but with a different freshness and lightness in the harmonic language, the arrangement for piano that the composer, pianist and orchestra composer, Mikhail Pletnev, produced in the nineties of the famous Suite from the ballet The Nutcracker by Tchaikovsky matches that rhythmic precision of Prokofiev mentioned before. It has clarity in the articulation and fidelity in the language when it comes to transcribing. This is probably one of the most popular ballets in the history of music.

Simon Trpčeski has been praised for both his mastery and his deeply expressive approach, as well as his charismatic presence on stage. Launched onto the international stage 20 years ago as a BBC New Generation Artist, he has collaborated with over a hundred orchestras on four continents. He has worked with conductors such as Lorin Maazel, Vladimir Ashkenazy, Marin Alsop, Gustavo Dudamel, Cristian Măcelaru, Gianandrea Noseda, Vasily Petrenko, Charles Dutoit, Jakob Hrusa, Vladimir Jurowski, Susanna Malkki, Andris Nelsons, Antonio Pappano and Michael Tilson Thomas.

His recordings include the complete works of Rachmaninoff for piano and orchestra and the piano concertos by Prokófiev, as well as Poulenc, Debussy and Ravel. More recently, Variations was released, a solo album by works by Brahms, Beethoven and Mozart. His recording of the piano concerts by Brahms with the WDR Symphony Orchestra and Cristian Macelaru was released in November 2023.

Born in 1979 in Macedonia, Simon Trpčeski studied under Boris Romanov. Dedicated to promoting his country's culture, his chamber music project MAKEDONISSIMO blends traditional Macedonian folk music with a unique soundscape.

In 2009 he received the Presidential Order of Merit for Macedonia, and in 2011 he became the first recipient of the title "National Artist of Macedonia”. He was a BBC New Generation Artist from 2001 to 2003, and in 2003 he was honoured with the Young Artist Award of the Royal Philharmonic Society.

The tickets can be purchased at a single price of €15 and 5 for under 30s on the website www.auditoriodetenerife.com, at the auditorium's box office, or 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. There are discounts for students, unemployed and large families.

The performances end on Friday with a sold-out family performance.

The Auditorio de Tenerife offers the children's show Semilla, by the company Tea Tree. More than eight hundred schoolchildren from fourteen schools on the island will attend the six performances planned for this week, while on Friday (8^th) there will be a family show which is already sold out.

Semilla (Seed), recommended for those over 2 years of age, is a dance, circus and theatre piece that makes both plants and ideas blossom. The show highlights the importance of taking care of what is alive, looking after a plant, and giving it the best conditions for it to grow the best it can. Therefore, patience and waiting are a key element addressed in the proposal.

The company Tea Tree is the result of Sara Olmo and Pierre Viatour teaming up together, authors and performers of Semilla. She is a dancer and choreographer, and he is an actor and a hand-to-hand acrobat (circus technique). Dance and the circus are their means of communication, and the body is their tool. They work with the desire to use their language to sow seeds, feed their imagination and spread inspiration. Tea Tree alludes to the essential oil of the same name. For Sara Olmo and Pierre Viatour, trees are a strong symbol of nature, life, and fulfilment. Therefore, they are essential elements for life on Earth. On an artistic level, they are convinced that art and culture are also essential for the development of humans. 

The show's director, Yutaka Takei, was born in Fukuoka, Japan. Through movement and contemporary dance, from 1997 to the present, he has led a rich and intense professional career featuring many encounters with renowned artists. At the root of everything, it is possible to recognise the themes that most motivate him: the relationship with the body and the sacredness of nature. For the Tea Tree company, culture is the essence and is essential. Culture nourishes the soul and vice versa.

The show, winner of three Max awards, will take place on Sunday 17 at the Symphony Hall.

The Auditorio de Tenerife offers Oskara, by the Basque company Kukai Dantza, winner of the National Dance Award. The show will be performed at the Symphony Hall on Sunday (17) at 7:30 p.m. It was awarded Best Dance Show at the 30^th Huesca International Fair of Theatre and Dance (2016) and obtained three MAX Awards: Best Costume Design, Best Cast, and Best Dance Show.

This project features a cast of five dancers and a singer. It is an exciting collaboration between Kukai Dantza and Marcos Morau, who is one of the most renowned choreographers in Europe today. Morau received the National Dance Award in 2013 and has worked with some of the most prestigious companies of our time. He also creates innovative works with his company, La Veronal.

Oskara is the coming together of two choreographic universes and two perspectives of dance that navigate between the most popular roots and the most avant-garde expression, proposing a new scenic universe on the national scene. This installation work explores some landscapes of Basque culture, and myths, from its origins to the contemporary era. The proposal presents a journey of symbols and iconography that contains the history of human experience, in the most absolute way, with an ambiguous and disconcerting strength.

The code of the play is highly abstract, with an almost violent language that can only be understood by the order of the compositions.

In addition to Oskara, Yarin will be performed the day before, Saturday 16 at 7:30 p.m. in the Symphony Hall's stage box. It is a choreography by Jon Maya, the founder of the Basque company, the flamenco dancer Andrés Marín (National Dance Award winner 2022) and Sharon Fridman, a multi-award-winning dancer and choreographer. Both shows are recommended for those over 16 years of age.

Kukai Dantza was created in 2001 through the initiative of the dancer and choreographer Jon Maya. Kukai carries out its work through traditional Basque dance and proposes encounters with other dance styles and ways of understanding art. Thus, Kukai creates contemporary shows through traditional Basque dance, producing unique creations and collaborations with prestigious choreographers. This has earned it an unmistakable identity on the international scene, and it is making an increasing number of appearances at festivals and on programmes all over the world.

Its many awards notably include the Max Award for Best New Show in 2009 and the two 2015 Max Awards received for 'Gelajauziak: Best Musical Composition (Sabin Bikendi) and Best Cast.

The tickets can be purchased at a single price of €15 for Oskara and €10 for Yarin (5 euros for the audience under 30 years of age, in both cases), on the website www.auditoriodetenerife.com, at the auditorium's box office, or 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. Check the special discounts for the audience under 30 years of age, students, unemployed, and large families.

Soprano Vanessa Goikoetxea considers that "the costume design of this Rusalka is one of the most beautiful things I have seen in my life”.

Tomorrow (Tuesday 5), the Auditorio de Tenerife is premiering its in-house production of the opera Rusalka by Antonín Dvorák. The first show will star the Basque soprano Vanessa Goikoetxea, while on Thursday 7 and Saturday 9 Ángeles Blancas is expected to tackle the role as she waits to recover after being a little unwell.

For Vanessa Goikoetxea, "The costume design of this Rusalka is impressive, it is one of the most beautiful things I have seen in my life”. The soprano is making her debut with this show at the Opera de Tenerife and says that "although I have spent little time in the production, I have felt a lot of support and love from the entire team, so much that I feel at home here”.

Goikoetxea acknowledges that it is a character that she feels comfortable with vocally, exploiting her most dramatic facet, but she also really identifies with the musical aspect and even emotionally. Rusalka is much more than the little mermaid, she is sensual but childlike, a dreamer, human and non-human... Playing with all of that is very interesting for me" explains the soprano, who adds that "vocally it may seem easy, but Dvořák imbues everything with an impressive lyricism, and he has a brilliant way of handling the voices”.

The soprano recommends to a hesitant audience "that sometimes it is necessary to delve into worlds where you don't have so much control, which can be scary. But I can assure them that they will leave differently from how they entered before the show started. I am certain that they will experience catharsis”.

Vanessa Goikoetxea made her debut with this role in January in Nice. The review in Ópera Actual acknowledged that "the Spanish soprano performed her opening aria forcefully and freely, offering superb high notes, with a firm voice, without variations in timbre or any kind of tremolo”. Jaume Estapá – the author of the article – stated that Goikoetxea "offered nuance in musical passages with a great lyrical feeling and always gave the impression of having authority and a great sense of drama”.

Goikoetxea, who took part in the general rehearsal yesterday, shared the stage with a cast that includes the bass Vazgen Gazaryan, in the role of Vodník, Rusalka's father. The tenor Rodrigo Porras will play the prince with whom Rusalka falls in love. The soprano Magdalena Anna Hofmann plays the role of the foreign princess, a former lover of the prince who will try to stop his relationship with the mermaid. The witch Jezibaba, who grants Rusalka's wish and who in this production will look like an orchestra maestro, will be played by mezzo-soprano Adriana Bignagni Lesca.

The cast is completed by three wood spirits, played by soprano Julietta Aleksanyan and mezzo-sopranos Carmen Artaza and Maria Schellenberg. Baritone Jiří Brückler will take on the roles of a hunter and a forester, while mezzo-soprano Nicole Chirka will be the perceptive kitchen maid. Both characters, who are relatives in the original libretto, act as a kind of stage manager in this production.

The shows this week marks the premiere on the island of the Czech composer's most popular opera, coinciding with the 120^th anniversary of his death. It involves a libretto by Jaroslav Kvapil, loosely based on the fairy tale Undine (1811) by Friedrich de la Motte Fouqué and inspired by The Little Mermaid (1837) by Hans Christian Andersen and other European tales. Premiered in 1901, the opera is in Czech and will have subtitles in Spanish and English.

This in-house production of the Auditorio de Tenerife also marks the debut in Spain of the Brazilian stage director André Heller-Lopes, who proposes a show that ranges between the classic and the contemporary, the reality and the fantasy, with references to the Canarian coastline, eastern culture and the magic of nature.

In this production, the first act opens with a forest of music stands surrounded by a coastline and sea beds, while the second act shows how a luxury eastern palace emerges on stage. The ending of the third act is different to the children's versions of this story of mermaids in love. In this production, which has involved over two hundred people from several countries on three continents, it is possible to see Indian fabrics, eastern daggers, old instruments and magic effects.

Heller-Lopes' team is completed by the set designer Renato Theobaldo, Marcelo Marques' costumes and the lighting designer Gonzalo Córdova. The Brazilian assistant director also undertakes choreographer duties with the dancers from the ballet Centro Internacional de Danza de Tenerife. The videographer Pedrós created the images that will be screened, and they have a great local component. The British conductor Paul Daniel is the musical conductor of this show. He will conduct the Sinfónica de Tenerife and the Ópera de Tenerife-Intermezzo Choir, directed by Pablo Moras.

The tickets are available on the website www.auditoriodetenerife.com, at the auditorium's box office or by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 05:00 p.m., Saturdays from 10:00 a.m. to 02:00 p.m. There are discounts for students, unemployed and large families, and for those under 30, the price is 5 euros.

Ópera de Tenerife comunica que, debido a una ligera indisposición de la soprano Ángeles Blancas, el rol de Rusalka será interpretado el próximo martes (día 5) por Vanessa Goikoetxea.

Ópera de Tenerife confía en la plena recuperación de Ángeles Blancas, que afrontará este papel en las otras dos funciones previstas, programadas para el jueves y sábado de la próxima semana.

The Canarian coastline, an eastern palace and a magical atmosphere characterise next week's opera event

The in-house production of the opera Rusalka that Auditorio de Tenerife is preparing is ready for its premiere next week. On 5, 7 and 9 March at 7:30 p.m. The Symphony Hall will offer this show composed by Antonín Dvořák which over two hundred people are working on, including musicians, singers, craftspeople, and the technical and artistic team.

The soprano Ángeles Blancas, plays the starring role. She believes that "the ending of Rusalka is magical, it leaves you breathless" and she is "endlessly" grateful to the Auditorio de Tenerife for being able to do this Rusalka, an immensely beautiful role, which I last performed in 2007”.

“The passing years have helped me to bring greater depth to it, a broader dimension. Now my voice, mind and body are indeed ready to give the character everything that I feel this role needs, which is genuinely dramatic, with very dark and highly powerful tones, even though we are dealing with a young immortal aquatic nymph" reflects Blancas.

The recent winner of the Opera XXI Best Singer award acknowledges that "Rusalka is one of my favourite operas. The music of Dvořák makes you transcend, forget, leap into another dimension...every phrase has a story, none is in vain, and during the entire opera you surf over a sea of beauty”.

It will be the first time that this opera by the Czech composer has been staged on the island, coinciding with the 120^th anniversary of his death. It also marks the debut in Spain of the Brazilian stage director André Heller-Lopes, who proposes a show that ranges between the classic and the contemporary with references to the Canarian coastline, eastern culture and the magic of nature.

This production has been taking shape for months in both Tenerife and other places around the world. As Indian fabrics were needed, part of the stage design was carried out in Italian workshops and several members of the team have travelled from Brazil. Also, there are twenty external companies and professionals linked to the project to carry out different aspects of it, from costume design details to the special effects inherent to audiovisual resources for staging and uncommon prop elements.

Heller-Lopes, the director of the opera, has shared his thoughts on the proposal. He found the idea of changing realities interesting and decided to make it a part of the opera. For instance, in acts one and three, which are usually fantasy worlds, he portrayed them as reality. On the other hand, act two, which takes place in a palace and is designed as a reality,

is a fantasy for the audience. The director also highlighted that the opera's subject matter is relevant to the present times, where there is a lack of communication due to social media, fake news and wars.

Heller-Lopes' team is completed by the set designer Renato Theobaldo, Marcelo Marques' costumes and the lighting designer Gonzalo Córdova. The Brazilian assistant director also undertakes choreographer duties with the dancers from the ballet Centro Internacional de Danza de Tenerife who are participating. The videographer Pedrós created the images that will be screened, and they have a great local component.

The British conductor Paul Daniel is the musical conductor of this show. He will conduct the Tenerife Symphony Orchestra and the Ópera de Tenerife-Intermezzo Choir, directed by Pablo Moras.

In addition to Ángeles Blancas, the cast of Rusalka's three performances includes the bass Vazgen Gazaryan as Vodník, Rusalka's father. The tenor Rodrigo Porras will play the prince with whom Rusalka falls in love. The soprano Magdalena Anna Hofmann plays the role of the foreign princess with whom the prince is infatuated. The witch Jezibaba, who grants Rusalka's wish, will be played by mezzo-soprano Adriana Bignagni Lesca.

The cast is completed by three wood spirits, played by soprano Julietta Aleksanyan and mezzo-sopranos Carmen Artaza and Maria Schellenberg. Baritone Jiří Brückler will take on the roles of a hunter and a forester, while mezzo-soprano Nicole Chirka will be the perceptive kitchen maid.

Rusalka, an opera in three acts, was premiered in 1901. It has a libretto by Jaroslav Kvapil, freely based on the fairy tale Undine (1811) by Friedrich de la Motte Fouqué and inspired by The Little Mermaid (1837), the work by Hans Christian Andersen, and other European tales. Rusalka is the most popular of the ten operas that Dvořák composed and the one that earned him an international reputation. The opera is in Czech and will have subtitles in Spanish and English.

Rusalka is a water nymph who falls in love with a prince and asks a witch to turn her into a human so that she can be with him. However, this transformation comes at the cost of losing her voice. The ending of the opera is tragic, which sets it apart from other versions of the same story that are often sugar-coated for children.

The tickets are available on the website www.auditoriodetenerife.com, at the auditorium's box office or 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 02:00 p.m. There are discounts for students, unemployed and large families, and for those under 30, the price is 5 euros.