News

Auditorio de Tenerife wishes you a Happy International Dance Day 2020 and shares with you this tribute to the island’s dance schools that every year hold a great festival with us at the foyer and on the grounds of our building. There’s room for all ages, styles and, of course, the family.

We hope you enjoy it :)

This year the official message of Dance International Day, designated by UNESCO in 1986, is from Gregory Vuyani Maqoma, a South African dancer, choreographer, teacher and actor and founder of the Vuyani Dance Theatre. We echo his words so that his voice is heard as far as possible:

It was during an interview I had recently that I had to think deeply about dance, what does it mean to me? In my response, I had to look into my journey, and I realized that it was all about purpose and each day presents a new challenge that needs to be confronted, and it is through dance that I try to make sense of the world.

We are leaving through unimaginable tragedies, in a time that I could best describe as the posthuman era. More than ever, we need to dance with purpose, to remind the world that humanity still exists. Purpose and empathy need to prevail over years and years of undeniable virtual landscape of dissolution that has given rise to a catharsis of universal grief conquering the sadness, the hard reality that continues to permeate the living confronted by death, rejection and poverty. Our dance must more than ever give a strong signal to the world leaders and those entrusted with safeguarding and improving human conditions that we are an army of furious thinkers, and our purpose is one that strives to change the world one step at a time. Dance is freedom, and through our found freedom, we must free others from the entrapments they face in different corners of the world. Dance is not political but becomes political because it caries in its fibre a human connection and therefore responds to circumstances in its attempt to restore human dignity.

As we dance with our bodies, tumbling in space and tangling together, we become a force of movement weaving hearts, touching souls and providing healing that is so desperately needed. And purpose becomes a single hydra-headed, invincible and indivisible dance. All we need now is to dance some more!!!!

If you’d like to see more remember that we have many more contents for you on our social networks and Youtube channel. If you wish, you can also sing up to Our newsletter below and get all our contents and more on your email.

Long live dance!

Check last information about how to participate in Opera (e)Studio

Ópera de Tenerife, ante la situación extraordinaria y de emergencia de salud en la que se encuentra el mundo y dadas las restricciones de movilidad vigentes en toda Europa, está analizando la mejor solución para llevar a cabo las audiciones de Opera Estudio 2020. 

Saturday 25 April was the date we had chosen to show our Rinaldo to you all, an Ópera de Tenerife in-house production that we had put together to be enjoyed by all the family, as well as by schoolchildren on 23 April. We had to put off our meeting, but we didn’t want to let these days go by without paying tribute to this production, which was premiered in 2016 and where so many, many people have worked.

First of all, we’d like you to travel to Rinaldo oneiric world with this sample of the show:

Pay attention to the details: the floor is a chessboard, there is a Medieval castle, a Viking boat that sails through mid-air, the black and white contrast, a journey across the clouds…

We’ve opted for focusing on the characters, that’s why the make-up artist, costume designer and dressmaker, who made the ideas of director Stefania Panighini become a reality, tell us about them here. 

How is this world staged? Stage director Stefania Panighini and musical director, Alesandro Palumbo told us all about it at a digital meeting we had during lockdown.

Now that you know our Rinaldo well, we invite you to share it with your kids at home. Here are the teaching resources where you’ll find a lot of materials and fun activities about this family opera.

Download the teaching resources

1.Play Rinaldo’s most famous aria with the recorder.

Download the score

2. Find the words in these word search games.

Download the word search game voices

Download the word search game composers

3.Colour the protagonists.

 Download Rinaldo to colour

Download Almirena to colour

Finally, we’d like to share with you something that brings us together to adapt operas for the youngest: the Ópera en Familia programme.

We hope you had a good time. Remember we have many more contents for you  on our  social network and our  Youtube channel. If you like, you can also sign up to our newsletter below and get all these contents and more on your mail.

We’ll meet again soon!

We know it’s difficult to let your imagination run wild being with the little ones for so long in the same place: your home. That’s why Auditorio de Tenerife also thinks about families and tries to bring its Education & Social Department right to your living-room.

To begin with, we thought it would be good fun to work with the protagonists of 'Eti-Queta', a show of Tenerife Danza’s Learning Section. Here are some suggestions of things to do with the kids. 

Let’s dance together!

Create coloniavirus cologne

A lab at home

Robot kids

Positive breakdancing 

We also have exercises to do at home. Ópera en Familia suggests colouring our Pulgarcito [Tom Thumb].

Download here! 

Danza en Comunidad makes available to everybody one of their sessions in full so that you can feel the wellbeing movement provides and develop your creative skills too.

Did you enjoy yourself? Remember that we have many more contents for you on our  social networks and our Youtube channel. If you wish, you can also sing up to our newsletter below and get all our contents and more on your email.

Take care of yourself and your loved ones. We’ll meet again soon.

Auditorio de Tenerife ha estrenado en sus redes sociales dos primeros videoclips: O Love, del Coro Juvenil del Auditorio de Tenerife, y Seasons of Love, de Musical.IES. Ambas canciones han sido grabadas, imagen y audio, desde las casas de cada uno de los componentes de estos proyectos del Área Educativa y Social del Auditorio de Tenerife. Estos videoclips, que trasladan un mensaje de amor y esperanza, se pueden disfrutar en la web y redes sociales del espacio cultural, que depende del Área de Cultura, Educación, Juventud y Deportes del Cabildo insular de Tenerife.

El Coro Juvenil se encuentra realizando videollamadas lideradas por su directora, Roxana Schmunk, para cubrir los ensayos físicos que no pueden llevar a cabo. La canción elegida es O Love, de Elaine Hagenberg, interpretada al piano por Stefanie Brandl y las voces la treintena de coralistas de entre 16 y 26 años que integra esta formación. Uno de ellos, Jorge Porto, ha sido el encargado de unir virtualmente sus voces y editar el videoclip.

Musical.IES, que cumple diez años, estrena también su versión de Seasons of Love, del musical Rent, un tema que forma parte del espectáculo Diez, que iba a tener lugar los días 12, 13 y 14 de abril pero que las circunstancias actuales han obligado a aplazarlo. Estos chicos y chicas de educación secundaria, dirigidos por Melodie Pérez, han grabado desde casa esta versión, cuyas voces ha unido Ubaldo Pérez para la ocasión.

El espectáculo Diez es la celebración del décimo aniversario de Musical.IES, en el que también participa el Coro Juvenil. En él, se narra la historia y las anécdotas de un grupo nuevo de alumnos en el propio proyecto. Para su sorpresa descubrirán que durante su proceso de aprendizaje contarán con la inestimable ayuda de unas presencias paranormales. Los fantasmas de los musicales pasados serán la personificación de las vivencias experimentadas por todos los alumnos que han pasado por el proyecto antes que ellos.

Desde que comenzó esta situación excepcional que se está viviendo en el país, Auditorio de Tenerife se ha esforzado en crear y compartir contenidos de sus artistas en las redes sociales, así como cuidar de los espectadores que se han quedado sin sus conciertos y festivales. De esta manera, se han compartido vídeos de integrantes de sus proyectos lanzando mensajes positivos desde sus casas y se ofrecen alternativas de ocio como las de la Unidad Pedagócia de Tenerife Danza, pensadas para moverse con los más pequeños de la casa.

Todos estos contenidos están reunidos en la lista de reproducción titulada Quédate en casa con Auditorio de Tenerife del canal de Youtube de Auditorio de Tenerife.

Auditorio de Tenerife te anima a seguir las recomendaciones de las autoridades y que te quedes en casa hasta que todo esto pase. Por eso, te dejamos por aquí algunos de los contenidos que estamos creando para acompañarte en estos días.

Aunque nuestro edificio esté cerrado, nuestro equipo sigue trabajando y, para compartir contigo estos momentos, los artistas que forman parte de los proyectos de Auditorio de Tenerife nos han abierto sus casas con música, canto y baile.

Puedes ver el resto de contenidos que estamos creando estos días en la lista de reproducción Quédate en casa con Auditorio de Tenerife de nuestro canal de Youtube.

En este canal también puedes acceder a decenas de vídeos con contenidos realizados por Auditorio de Tenerifel de diferente índole, desde resúmenes y espectáculos hasta making of.

También estamos trabajando para compartir contigo las mejores óperas que han pasado por nuestra Sala Sinfónica. De momento, podemos anunciarte la emisión el sábado 21 y domingo 22 de marzo a las 19:30 horas (hora canaria) en el Facebook de Ópera de Tenerife de L’elisir d’amore, una reciente coproducción, para que todos puedan disfrutarla desde sus casas.

¿Tienes ganas de volver a visitarnos? Por ahora sabes que no es posible pero puedes vernos como nunca desde casa con nuestra visita virtual , donde podrás transitar por las diferentes estancias de la obra diseñada por el arquitecto valenciano Santiago Calatrava, pudiendo descubrir espacios y perspectivas nuevas.

On Friday, 27 March 2020 we celebrate the World Theatre Day with a message by Pakistani playwright Shahid Nadeem, “Theatre as a Shrine”.

Auditorio de Tenerife joins in this celebration as we contribute to the chain value involved in creating for the stage. The Instituto de Artes Escénicas de Tenerife [Tenerife Institute for the Performing Arts] encourages both training and shows through courses, festivals and schemes like Tenerife Artes Escénicas, Escuelas de Teatro, Teatro Aficionado and Teatro en la Escuela. [Tenerife Performing Arts, Drama Schools, Amateur Theatre, Theatre at Schools]

The students of the Escuelas de Teatro [Drama Schools] congratulate you on the World Theatre Day with some videos you can enjoy here, sorted out by municipalities:

The Government of the Canary Islands has made a video where many theatre professionals of the Canaries read this year’s message, including Auditorio de Tenerife’s artistic director, José Luis Rivero. You can watch it here. 

Theatre as a Shrine

It is a great honour for me to write the World Theatre Day 2020 Message. It is a most humbling feeling but it is also an exciting thought that Pakistani theatre and Pakistan itself, has been recognized by the ITI, the most influential and representative world theatre body of our times. This honour is also a tribute to Madeeha Gauhar1, theatre icon and Ajoka Theatre2 founder, also my life partner, who passed away two years ago. The Ajoka team has come a long, hard way, literally from Street to Theatre. But that is the story of many a theatre group, I am sure. It is never easy or smooth sailing. It is always a struggle.

I come from a predominantly Muslim country, which has seen several military dictatorships, the horrible onslaught of religious extremists and three wars with neighbouring India, with whom we share thousands of years of history and heritage. Today we still live in fear of a full-blown war with our twin-brother neighbour, even a nuclear war, as both countries now have nuclear weapons.

We sometimes say in jest; “bad times are a good time for theatre”. There is no dearth of challenges to be faced, contradictions to be exposed and status quo to be subverted. My theatre group, Ajoka and I have been walking this tightrope for over 36 years now. It has indeed been a tight rope: to maintain the balance between entertainment and education, between searching and learning from the past and preparing for the future, between creative free expression and adventurous showdowns with authority, between socially critical and financially viable theatre, between reaching out to the masses and being avant-garde. One may say that a theatre-maker has to be a conjurer, a magician.

In Pakistan, a clear division has existed between the Sacred and the Profane. For the Profane, there is no room for religious questioning, while for the Sacred, there is no possibility of open debate or new ideas. In fact, the conservative establishment consider art and culture out of bounds for its “sacred games”. So, the playing field for the performing artists has been like a hurdles race. They have to first prove their credentials as good Muslims and compliant citizens and also try to establish that dance, music and theatre are “allowed” in Islam. A large number of observant Muslims have hence been reluctant to embrace the performing arts even though the elements of dance, music and theatre are embedded in their daily lives. And then we stumbled on a sub-culture which had the potential to bring the Sacred and Profane on the same stage.

During the military rule in Pakistan in the 1980s, Ajoka was launched by a group of young artists who challenged the dictatorship through a socially and politically bold theatre of dissent. They found that their feelings, their anger, their anguish, were so amazingly expressed by a Sufi bard3, who lived some 300 years ago. This was the great Sufi poet Bulleh Shah4. Ajoka found it could make politically explosive statements through his poetry, challenging corrupt political authority and bigoted religious establishment. The authorities could ban or banish us but not a revered and popular Sufi poet like Bulleh Shah. We discovered that his life was as dramatic and radical as his poetry, which had earned him fatwas and banishment in his lifetime. I then wrote, “Bulha”, a play about Bulleh Shah’s life and struggle. Bulha, as he is lovingly referred to by the masses across South Asia, was from a tradition of Punjabi Sufi poets who fearlessly challenged the authority of the emperors and the clerical demagogues, through their poetry and practice. They wrote in the language of the people and about the aspirations of the masses. In music and dance, they found the vehicles to achieve a direct association between Man and God, by-passing with disdain, the exploitative religious middlemen. They defied gender and class divides and looked at the planet with wonder, as a manifestation of the Almighty. The Arts Council of Lahore rejected the script on the grounds that it was not a play but merely a biography. However, when the play was performed at an alternative venue, the Goethe Institute, the audience saw, understood and appreciated the symbolism in the life and poetry of the people’s poet. They could fully identify with his life and times and see the parallels with their own lives and times.

A new kind of theatre was born that day in 2001. Devotional Qawwali music5, Sufi Dhamal dancing6 and inspirational poetry recitation, even the meditative Zikir chanting7, became parts of the play. A group of Sikhs8, who were in town to attend a Punjabi conference and had popped in to see the play, invaded the stage at the end, hugging and kissing the actors and crying. They were sharing the stage for the first time with Muslim Punjabis after the Partition of India in 19479, which resulted in the division of Punjab on communal lines. Bulleh Shah had been as dear to them as he was to Muslim Punjabis; for Sufis transcend religious or communal divides.

This memorable premiere was followed by Bulleh Shah’s Indian odyssey. Starting with a trail-blazing tour of the Indian part of the Punjab, “Bulha” was performed in the length and breadth of India, even in times of gravest tensions between the two countries and in places where the audience did not know a single word of Punjabi but loved every moment of the play. While the doors for political dialogue and diplomacy were being closed one by one, the doors of theatre halls and the hearts of the Indian public remained wide open. During the Ajoka tour of Indian Punjab in 2004, after a very warmly received performance before a rural audience of thousands, an old man came to the actor playing the role of the great Sufi. The old man was accompanied by a young boy. “My grandson is very unwell; would you please blow a blessing upon him.” The actor was taken aback and said, “Babaji10, I am not Bulleh Shah, I am just an actor playing this role.” The old man started crying and said, “Please bless my grandson, I know he will recover, if you do.” We suggested to the actor to grant the old man his wish. The actor blew a blessing upon the young boy. The old man was satisfied. Before leaving, he said these words: “Son, you are not an actor, you are a reincarnation of Bulleh Shah, his Avatar11.” Suddenly a whole new concept of acting, of theatre, dawned upon us, where the actor becomes the reincarnation of the character he or she is portraying.

In the 18 years of touring with “Bulha”, we have noticed a similar response from an apparently uninitiated audience, for whom the performance is not just an entertaining or an intellectually stimulating experience but a soul-stirring spiritual encounter. In fact the actor playing the role of Bulleh Shah’s Sufi Master, was so profoundly influenced by the experience that he himself became a Sufi poet and has since published two collections of poems. The performers involved in the production have shared that when the performance starts, they feel that the spirit of Bulleh Shah is among them and the stage seems to have been elevated to a higher plane. An Indian scholar, when writing about the play, gave it the title: “When Theatre Becomes a Shrine”.

I am a secular person and my interest in Sufism is mainly cultural. I am more interested in the performative and artistic aspects of Punjabi Sufi poets but my audience, who may not be extremists or bigoted but may hold sincere religious beliefs. Exploring stories such as that of Bulleh Shah, and there are so many in all cultures, can become a bridge between us, the theatre-makers and an unacquainted but enthusiastic audience. Together we can discover the spiritual dimensions of theatre and build bridges between the past and present, leading to a future which is the destiny of all communities; believers and non-believers, actors and old men, and their grandsons.

The reason why I am sharing the story of Bulleh Shah and our exploration of a kind of Sufi Theatre is that while performing on stage, we sometimes get carried away by our philosophy of theatre, our role as harbingers of social change and in doing so, leave a large section of the masses behind. In our engagement with the challenges of the present, we deprive ourselves of the possibilities of a deeply moving spiritual experience which theatre can provide. In today’s world where bigotry, hate and violence is on the rise once again, nations seem to be pitted against nations, believers are fighting other believers and communities are spewing hatred against other communities… and in the meanwhile children die of malnutrition, mothers during childbirth due to the lack of timely medical care and ideologies of hate flourish. Our planet is plunging deeper and deeper into a climatic and climactic catastrophe and one can hear the hoof-beats of the horses of the Four Horsemen of the Apocalypse12. We need to replenish our spiritual strength; we need to fight apathy, lethargy, pessimism, greed and disregard for the world we live in, the Planet we live on. Theatre has a role, a noble role, in energizing and mobilizing humanity to lift itself from its descent into the abyss. It can uplift the stage, the performance space, into something sacred. In South Asia, the artists touch with reverence the floor of the stage before stepping onto it, an ancient tradition when the spiritual and the cultural were intertwined. It is time to regain that symbiotic relationship between the artist and the audience, the past and the future. Theatre-making can be a sacred act and the actors indeed can become the avatars of the roles they play. Theatre elevates the art of acting to a higher spiritual plane. Theatre has the potential of becoming a shrine and the shrine a performance space.

World Theatre Day was initiated in 1961 by the International Theatre Institute ITI. It is celebrated annually on the 27th March by ITI Centres and the international theatre community. Various national and international theatre events are organized to mark this occasion. One of the most important of these is the circulation of the World Theatre Day Message through which at the invitation of ITI, a figure of world stature shares his or her reflections on the theme of Theatre and a Culture of Peace. The first World Theatre Day Message was written by Jean Cocteau in 1962.Ever since, each year on the 27th March (date of the opening of the 1962 "Theatre of Nations" season in Paris), World Theatre Day has been celebrated in many and varied ways by ITI Centres - of which there are now more than 90 throughout the world. Moreover theatres, theatre professionals, theatre lovers, theatre universities, academies and schools celebrate it as well.

Each year an outstanding figure in theatre or a person outstanding in heart and spirit from another field is invited to share his or her reflections on theatre and international harmony. What is known as the International Message is translated into more than 50 languages, read for tens of thousands of spectators before performances in theatres throughout the world, and printed in hundreds of daily newspapers. Colleagues in the audio-visual field lend a fraternal hand, with more than a hundred radio and television stations transmitting the Message to listeners in all corners of the five continents.

It is a measure adopted by the Cabildo de Tenerife

Auditorio de Tenerife, in agreement with the measures adopted by the Cabildo de Tenerife, suspends or postpones all the shows and activities that involve audiences in attendance for the next 14 days starting from today, Thursday, 12 March 2020.

Tickets purchased for Mulieribus by the Orquesta Barroca de Tenerife (on today, 12 March), Lírica of the Creativa Música Panhispánica series (14 March), Lucrezia Borgia of Ópera de Tenerife (17, 19 and 21 March), Quantum Ensemble’s Estructuras (20 de March) will be automatically refunded as soon as possible using the same payment method you made your purchase with. For any doubt, you can write us to This email address is being protected from spambots. You need JavaScript enabled to view it..

Regarding Lucrezia Borgia, although audience access is suspended, we are working to offer a streaming on social networks of the performance on Tuesday, 17 at 7:30 pm. We will keep you informed.

The following concerts have been suspended: Primavera musical (15 March), Un concierto con dos caras [A two-sided concert] by Fimante+Nao (14 March), Concierto escolar by Quantum Ensemble (20 March), Concierto Conservatorio Profesional (21 March) and Primavera Musical (22 March).

The Escuelas de Teatro event scheduled for Sunday, the 15th in El Sauzal has also been cancelled. The event was part of the Día Internacional del Teatro and Jornadas de las Becas de Inversión Lingüística BIL by the Cabildo’s Education department, which was to be hosted by the Auditorio de Tenerife.

The following rehearsals have been suspended: Musical.IES, Coro Juvenil de Auditorio de Tenerife, Escuela Coral de Tenerife, Escuelas de Teatro and Teatro Aficionado. The meeting with teachers of schools participating in Musical.IES, which was due on 17 de March, has also be cancelled.

The 25 theatre, music and dance performances included in the Tenerife Artes Escénicas programme that were scheduled to take place in different municipalities in these fourteen days, have all been cancelled.

The sessions included in Escuela del Espectador, Ópera en Ruta, Danza en Comunidad and Teatro en la Escuela have been postponed.

The stage design course by Ricardo Sánchez Cuerda (16, 17 and 18 March) and Romancero gitano by Cía. Nuria Espert have been postponed.  Tickets will be automatically refunded as soon as possible by the same means of payment used to buy them. We hope to be able to offer new dates for both events as soon as possible. 

So, the only activities that will take place are a performance of Lucrezia Borgia behind closed doors, Lava Compañía de Danza rehearsals, Tenerife LAV residencies and the office work.

Auditorio de Tenerife apologises for any inconvenience caused and hopes audiences and participants understand.

La consejera de Educación, Cultura, Juventud y Deportes del Cabildo de Tenerife, Concepción Rivero, asistió ayer (lunes 9 de marzo) al primero de los encuentros programados con padres, profesores e intérpretes del programa Musical.IES gestionado por Auditorio de Tenerife, a través de su Área Educativa y Social. Este proyecto alcanza en 2020 su décima edición con el musical Diez y en la correspondiente a este año se trabajará con 11 centros educativos, un grupo de exalumnos y exalumnas y el Coro Juvenil de Auditorio de Tenerife. El grupo de participantes está compuesto por unos 70 integrantes que han actuado en alguna o varias ediciones anteriores. El número total de componentes de esta edición supera los 180.

Musical.IES está pilotado por ocho profesores, Melodie Pérez, coordinadora del proyecto, Alejandro de la Barreda, Ariadna Simó, Daniel Morales, Elena Feria, Juan Manzano, Roxana Schmunk y Ubaldo Pérez y para este año se han programado cuatro funciones, dos escolares y dos públicas, que se desarrollarán en abril y cuyas entradas ya están a la venta. Las entradas pueden adquirirse en los canales habituales de Auditorio de Tenerife, en taquilla de 10:00 a 19:30 horas, de lunes a sábado excepto festivos; a través de www.auditoriodetenerife.com o por teléfono en el 902 317 327.

En el espectáculo ‘Diez’, el propuesto para celebrar la década de actuaciones se narra la historia y las anécdotas de un grupo nuevo de alumnos en el propio proyecto. Para su sorpresa descubrirán, que durante su proceso de aprendizaje contarán con la inestimable ayuda de unas presencias paranormales. Los fantasmas de los musicales pasados serán la personificación de las vivencias experimentadas por todos los alumnos que han pasado por el proyecto antes que ellos.

Musical.IES es una comunidad de cuidado y apoyo, es por esto que la marca que deja en todas las personas que participan es tan patente y los diferencia del resto. Esta marca se traduce a nivel escénico con un maquillaje fluorescente que se realizará en todo el alumnado participante. Este maquillaje enmarcará las facciones de los rostros ya que dibujará el perfil, la sien, el pómulo y la mandíbula en el lado izquierdo del rostro, correspondiéndose con el hemisferio del cerebro encargado del aprendizaje, el desarrollo y la creatividad.

El Cabildo de Tenerife presenta la ópera Lucrezia Borgia, de Gaetano Donizetti, que se representará en la Sala Sinfónica del Auditorio de Tenerife con tres funciones los días 17, 19 y 21 de marzo a las 19:30 horas. Se trata de una coproducción de Ópera de Tenerife, una de las mayores que ha puesto en pie, junto al Teatro Comunale di Bologna, Ópera de Oviedo y Teatro de la Maestranza de Sevilla

Los detalles del estreno fueron dados por la consejera de Cultura, Educación, Juventud y Deportes del Cabildo de Tenerife, Concepción Rivero; el director general de Cultura del Gobierno de Canarias, Rubén Pérez Castellano; el director artístico del Auditorio de Tenerife, José Luis Rivero; la soprano canaria Yolanda Auyanet; el tenor Francesco Castoro; la directora de escena, Silvia Paoli, y el director musical, Andriy Yurkevych.

La consejera presentó esta “importante obra que tenemos el honor de producir y en la que contamos con una de las grandes voces canarias que destaca en el panorama internacional como es Yolanda Auyanet”. Concepción Rivero destacó, además, “el gran esfuerzo económico y de equipos que requiere un proyecto de esta envergadura”.

El director general habló de la renovación de la colaboración del Gobierno de Canarias con el Auditorio de Tenerife y reconoció que “esto es un ejemplo de proyecto internacional que asume riesgos y animamos a todos a ver este espectáculo en el que se reivindica la mujer”. “Es un orgullo tener a Yolanda Auyanet, que ahora recorre los grandes teatros del mundo”, añadió Rubén Pérez.

El director artístico del Auditorio de Tenerife explicó que este proyecto sin la unión de instituciones púbicas es imposible y agradeció el trabajo de todo el equipo. “Esta es una de las producciones más ambiciosas de Ópera de Tenerife y para ello contaremos con nuestra soprano preferida, Yolanda Auyanet, a la que acompañaremos en su estreno en el rol de Lucrezia”, comentó Rivero, quien además hizo hincapié en que gran parte del elenco comenzó su carrera siendo cantera de la academia vocal Opera (s)Studio.

Por su parte, Auyanet aseguró que se trata de una “gran oportunidad participar en esta megaproducción, como lo es cantar en Ópera de Tenerife, un proyecto al que estoy unida desde 2012 y de cuya internacionalidad me enorgullezco”. Castoro confesó que “volver a Tenerife es como volver a casa y esta es la cuarta vez con compositores diferentes”.

La directora de escena, que ha convertido la Sala Sinfónica en un matadero de los años 40, “un contenedor de violencia e injusticia”, dio las gracias “de todo corazón al equipo del Auditorio de Tenerife y en especial al equipo de vestuario”. “Esta es mi casa artística”, sentenció la directora, quien explicó que la historia de Lucrezia Borgia se ha tergiversado. “Su padre la vendía para conseguir beneficios, sobre todo que le dieran poder; es una víctima y no una envenenadora, es por eso que elegí el fascismo italiano para ambientar la obra, me parece importante hablar de esto en los tiempos que corren”.

Se trata del cuarto título de Paoli en Ópera de Tenerife después de La Cenerentola (2014), Le nozze di Figaro (2015) e I Capuleti e i Montecchi (2017), producciones dentro del programa de Opera (e)Studio. Paoli traslada este melodramma que relata las aventuras y desventuras de la hija del Papa a la Italia fascista del Duce para reforzar el sentido de opresión y claustrofobia que sugiere la historia. Recientemente ha dirigido Otello (Verdi) en el Teatro Sociale de Como y Enrico di Borgogna (Donizetti) en el Festival Donizetti de Bérgamo.

Finalmente, el director musical recordó que “el bel canto es muy difícil musicalmente”. Yurkevych explicó que esa dificultad también se palpaba en la época en la que Donizetti compuso esta ópera. “Las orquestas de las galas para las que se hizo se llegaron a quejar e incluso el propio Donizetti tuvo que interceder en uno de los actos y recolocar a la orquesta, una disposición de músicos que se mantiene hoy en día”, recordó el director musical del Teatr Wielki Opera Norodowa (Ópera Nacional de Polonia), una de las batutas más solicitada en el panorama internacional

El maestro Yurkevych debuta en Ópera de Tenerife al frente de la Orquesta Sinfónica de Tenerife y Coro de Ópera de Tenerife. después de una extensa carrera como director residente en el Teatro de Ópera y Ballet Solomiya Krushelnitska, director principal del Teatrul Naţional de Operă şi Balet din Republica Moldova y en el Teatr Wielki de Polonia. También, ha sido director musical en el Teatro de Ópera y Ballet de Odessa. Es invitado regularmente a importantes teatros, festivales e instituciones musicales de todo el mundo.

Al frente del diseño de vestuario estará Valeria Donata Bettella siendo Lucrezia Borgia su segunda producción en la isla. Debutó en la temporada pasada con el título Il viaggio a Reims de Rossini. Como diseñadora de vestuario ha trabajado para diversas producciones operísticas en importantes teatros y festivales líricos como en el AsLiCo, Festival della Valle d'Itria, Wexford Festival Opera, Teatro Regio di Parma, Opéra de Nice, Fondazione Teatri di Piacenza, Theatre St. Gallen, Teatro Massimo di Palermo, Teatro Nacional de Croacia en Zagre, Teatro Comunale di Modena o, próximamente, en el Innsbrucker Festwochen der Alten Musik, entre una larga lista.

Lucrezia Borgia es un melodrama en un prólogo y dos actos con música de Gaetano Donizetti y libreto de Felice Romani basado en el drama, con el mismo nombre, del escritor francés Victor Hugo basada libremente sobre la figura histórica de Lucrecia Borgia. Se estrenó en el Teatro alla Scala de Milán el 26 de  diciembre de 1833. El compositor hace una radiografía del mito morboso de la hija del papa Alejandro VI, crecida en una familia rodeada de rumores de incesto, adulterio, infidelidad, traición, asesinato y horror, creando un potente retrato psicológico de una mujer poderosa y frágil a la vez.

El elenco se completa con Mirco Palazzi (Alfonso I d’Este); Na’ama Goldman (Maffio Orsini); Jorge Franco (Jeppo Liverotto); Lorenzo Barbieri (Don Apostolo Gazella); Matías Moncada (Ascanio Petrucci); Biao Li (Oloferno Vitellozzo); Borja Molina (Gubetta); Mario Méndez (Rustighello) y Eugenio di Lieto (Astolfo).

Las entradas pueden adquirirse en los canales habituales de Auditorio de Tenerife, en taquilla de 10:00 a 19:30 horas, de lunes a sábado excepto festivos; a través de la web o por teléfono en el 902 317 327.

The Orquesta Barroca  de Tenerife, resident at Auditorio de Tenerife, which is under the Department of Culture, Education, Youth and Sport of the Cabildo de Tenerife, led by Councillor Concepción Rivero, presents the concert Mulieribus (Women, in Latin) on Thursday, the 12^th at 7:30 pm. With this programme, this young ensemble pays tribute to the performers at Ospedale della Pietá in Venice and to the maestros who during the Baroque period built a better world through music.

At 11:00 am on the same day, there will be a session adapted to primary school children that will be attended by 419 students from four schools of the island. The musicians will talk about the peculiarities and mysteries of the Baroque music they play with historical instruments.

The concert features Orquesta Baroque  de Tenerife’s leader of the orchestra and conductor, Adrián Linares plus a cast of female performers: Lorena Padrón and Laura Díaz, Baroque violins I; Judith Verona, Alexandra López and Raquel Sobrino, Baroque violins II; Leticia Moros and Alaia Ferrán, Baroque violas; Elsa Pidre, Baroque cello; Calia Álvarez, viola da gamba; Silvia Jiménez, violone; and Talía Franco, harpsichord.

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

The Venice of the time was a cosmopolitan city full of contrasts and social differences. The projects for social inclusion and to support the population in their most basic needs included charitable organizations that, through education, trades, handicrafts and tasks provided training for abandoned children to redirect their lives towards a brighter future.

One of the four main hospices was the Ospedale della Pietá, where one of the major music “conservatoires” of the Europe of the time was established. In the abundant letters which are kept at different libraries, we have evidence of the music heritage they left and the excellence of the performers, who filled the salons with famous concerts during most of the Venetian Baroque and Rococo periods.

According to Walter Hill, in Vivaldi’s lifetime, the maestri di coro della Pietá were Francesco Gasparini, Carlo Luigi Pietragrua, Giovanni Porta, Gennaro D'Alessandro, Nicola Porpora and Andrea Bernasconi. Before them, Johann Rosenmüller held this position. That is why tonight’s performance starts with a piece by this composer.

Conrado Álvarez, artistic director of the Orquesta Baroque de Tenerife, stated that “the excellent technical skill and the command of the Italian style of these female performers, who were educated at la Pietá, is clearly evident in the works chosen for this evening, which were expressly composed for them. The pieces show the distinguished laboratory and the interpretative scale and accuratezza of Italian music of the time.”