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The Cabildo de Tenerife has organised the third Reading Club Meeting to take place on Thursday the 7th at 6:00 pm in Auditorio de Tenerife’s Sala de Cámara. Participants at the forum include writers Sara Mesa (Madrid, 1976), Selena Millares (Las Palmas, 1963), Bruno Mesa (Santa Cruz de Tenerife, 1975), and Daniel Bernal (Santa Cruz de Tenerife, 1984), who will also moderate the exchanges between the authors and the readers of the Cabildo de Tenerife’s collective loan service for reading clubs which includes the Red Insular de Bibliotecas Públicas Municipales [Municipal Public Libraries Network], Biblioteca Pública del Estado [State Public Library], day centres for the elderly, and teachers associations, among others.

Admission is free and invites can be obtained at Auditorio de Tenerife box office on the day of the event. The meeting aims to be an encouragement to people who take part in the different activities organised by reading clubs throughout the year. At the event, the authors will deal with topics related to their experience and participation in reading clubs, and their literary works. They will also choose one of their own novels that they understand would suit a reading club.

Sara Mesa was shortlisted for the Premio Herralde de Novela for her novel Cuatro por cuatro and won the Premio El Ojo Crítico de Narrativa for Cicatriz, a work that was picked for book of the year by newspapers El País, El Mundo, ABC, El Español and other media. Her last work, Cara de pan, is a short novel that has been described as “disturbing” as there is no doubt one feels disturbed for quite a while after reading it.

Selena Millares has written books of poems, essays and has published two novels. The first one, El faro y la noche, earned her the Antonio Machado international award in 2014. La isla del fin del mundo, her second novel, also received good reviews, both for the topics and conflicts it deals with and the ways she solves them.

Bruno Mesa is the author of the books of poems El laboratorio (2000), El libro de Fabio Montes (2010) and Testigos de cargo (2015), in addition to the short story collection Ulat y otras ficciones (2007), the novel El hombre encuadernado (2010), the book of essays Argumentos en busca de autor (2009) and the Roman diary No guardes nada en tus bolsillos (2015). He has won the Loewe Foundation International Young Poets Award, Premio Internacional de Relato Breve Julio Cortázar and the Valle-Inclán Scholarship for literary creation by the Academia de España in Rome.

Daniel Bernal has won, among others, the Ciudad de Tacoronte poetry award (2008), the Luis Feria (2011) and Pedro García Cabrera (2013) poetry awards. He has published the books of poems Escolio con fuselaje estival (2011), Corporeidad (2012), Odiana (2014) and El tiempo de los lémures (2014), plus the microstory collection Manual de crucificciones (2019). He is the director of the La Salamandra Ebria magazine.

The Cabildo has a system of collective loans for reading clubs in which there are 47 groups from different public libraries, day centres for the elderly and educational and cultural associations currently registered. A reading club is made up by 10 to 20 people and its aim is to provide a new approach to reading. Shared reading, where different ideas about the same text are discussed, lead to mutual enrichment through the contributions of each participant. Reading clubs include people connected to different bodies, institutions and associations who take care of managing this cultural activity.  At weekly meetings, the club members discuss their impressions on a specific book, which they all read at the same pace under the supervision of a person acting as moderator.

Two Auditorio de Tenerife shows received four awards at the gala of the Premios Réplica de las Artes Escénicas de Canarias [Canary Islands Performing Arts Replica Awards] which was held on Monday, 4^th in Agüimes. Eti-Queta, by TP Danza, took the award for best children’s show and the Lava’s piece, Abisal, won the Best Dance Show award; Best Costumes went to Leo Martínez and Lava’s artistic director, Daniel Abreu, landed the Best Sound Space award.

Daniel Abreu, Tenerife-born dancer and choreographer, National Dance Award and Lava’s artistic director says that “it’s a beautiful recognition” and points out that “Abisal, the piece created by Lava Compañía de Danza, won three out of four awards it was nominated for”. “We’re very happy and I thank the wonderful team that made Abisal possible”, said the author of the award-winning contemporary dance show.

In Abreu’s view, Abisal, premiered at the opening of Mapas 2019 last July, “contains everything I can express: geography, water among sediments and air, shadow, peace, and unimaginable fauna in a place that no human can inhabit but is evocative enough to place landscapes in it”. “Love’s what moves the world and every single movement of these six dancers goes in that direction because I can’t regard dance as anything other than love”, the creator affirmed.

TP Danza is Tenerife Danza’s Pedagogic Unit, a project coordinated by Helena Berthelius, who picked up the award that recognises the work “of an excellent team who collaborates and participates from a sensitive standpoint making a huge joint effort”. The author and director, who is leading the III Foro La pedagogía se mueve this weekend, stressed the importance of “producing family and educational projects”.

Eti-Queta starts at the inauguration of the first lab for people where they make prototypes with human qualities in search of perfection. Through labelling, different skills are proposed and put into practice. However, the result is a mystery. Intelligence at this lab, led by Master G and his central computer, has managed to create the most wonderful beings. They may not be able to control everything, though…

The Tenerife Danza project works on three areas: social, through Danza en Comunidad; didactic, through its Pedagogic Unit, and its company, TP Danza; plus a creative side provided by the professional training of Lava Compañía de Danza.

Auditorio de Tenerife recibe el fin de semana el III Foro La pedagogía se mueve, tres jornadas de ponencias y talleres en los que la danza y el movimiento se convierten en técnicas educativas aplicables en las aulas. El plazo de inscripciones aún sigue abierto aquí.

On Sunday the 3rd at 12:30 pm Ópera de Tenerife is giving a recital in the courtyard of the former Convento de San Sebastián, in the municipality of Los Silos. The concert features opera pieces by Giuseppe Verdi, connected to the second title of the opera season, Rigoletto, that will be onstage on 19, 21 and 23 November at Auditorio de Tenerife’s Sala Sinfónica.

The pieces will be sung by soprano Beatriz de Sousa, mezzo-soprano Guadalupe Barrientos, baritone Lucian Petrean and tenor Biao Li, who will all be accompanied by pianist Claudio Marchetti. Ópera de Tenerife’s intendant, Alejandro Abrante, will present this admission-free show.

The event includes pieces like ‘Sul fil d’un soffio etesio’ [Falstaff]; ‘Stride la vampa’ [Il trovatore]; ‘Dio di Giuda’ [Nabucco]; ‘Re dell’abisso, affrettati’ [Un ballo in maschera]; ‘Questa o quella’ [Rigoletto]; ‘Gualtier Maldé... Caro nome’ [Rigoletto]; ‘Cortigiani, vil razza dannata’ [Rigoletto]; ‘Sì, vendetta’ [Rigoletto]; ‘La donna è mobile’ [Rigoletto] and ‘Un dì se ben rammentomi... Bella figlia dell’amore’ [Rigoletto]

Rigoletto is the first title of the famous “popular trilogy” by the Busseto maestro. Just like the heroes in Il trovatore and La traviata, Rigoletto is a social outcast, a hunch-backed jester who works in the corrupt Court of Mantua in the late 16th century, ruled by the beautiful and young Duke of Mantua, a seducer. When his efforts to safeguard the innocence of his daughter Gilda are shattered by the Duke’s lust, the jester will attempt an impossible revenge.

This activity, in collaboration with Los Silos Town Council, aims to spread the love for opera by giving recitals in different venues on the island. Previous events were held in Puerto de la Cruz, La Laguna, Güímar, Garachico, Santa Úrsula, La Orotava, Santa Cruz and Candelaria. This is the first opera titbit Ópera de Tenerife gives in Los Silos.

El Festival de Música Antigua de Tenerife (Fimante) ofrece este domingo [día 3] a las 12:00 horas el concierto Flores musicales, de Dresde a Nápoles, interpretado por el ensemble Il Passeggero. La Sala de Cámara del Auditorio de Tenerife recibe la propuesta en la que se propone al público realizar un viaje, una inmersión, en la Europa del Renacimiento, llena de vida y movimiento, abundante de ideas y experimentación.

En este programa se intercalan juegos de habilidad y color, reviviendo el diálogo de los compositores seleccionados y sus diferentes estéticas, cercanos entre sí por su sensibilidad y una gran fuerza expresiva. Il Passeggero está compuesto por Rémi Lécorché, al sacabuche y flauta de pico; Adeline Cartier, al clave, e Isaure Lavergne, quien además de interpretar las dulzainas y flauta de pico lidera la dirección artística del grupo.

Son numerosos los músicos que durante los siglos XVI y XVII realizaron uno o varios viajes a Italia, especialmente a Roma, Florencia o Venecia. Los compositores más talentosos se daban cita en estos lugares de creación y de imitación artística. Llevaban enseguida a toda Europa las nuevas sonoridades y las últimas creaciones musicales, motivados por el ideal de belleza y de expresividad de una Antigüedad revisitada.

Las entradas pueden adquirirse en los canales habituales de Auditorio de Tenerife, en taquilla de 10:00 a 19:30 horas el jueves y sábado, y el domingo dos horas antes del comienzo del concierto, a través de www.auditoriodetenerife.com o por teléfono en el 902 317 327.

Uno de los compositores de este programa, Girolamo Frescobaldi, aparece como una figura ineludible del Renacimiento italiano; titular en los órganos de San Pedro de Roma, vio venir hacia él a músicos de todo el mundo y ejerció una profunda influencia en las técnicas de interpretación y composición. Por medio de sus viajes, los músicos contribuyeron a alimentar una fuente musical que se volvió rápidamente común a todas las naciones.

Encontramos por ejemplo en este programa, bajo la pluma de diferentes autores, la canción La Mónica (en francés Une jeunefillette) y Doulcemémoire, compuesta sobre un poema del rey Francisco I. Apoyándose en los avances prodigiosos de la técnica, entre ellos la imprenta, la música instrumental se halló igualmente en pleno apogeo. Instrumentos como la flauta de pico, la dulzaina, las violas e incluso los clavecines se desarrollaron por familias.

Era un tiempo de experimentación de nuevos prototipos instrumentales que alimentarían una misma perfección sonora. El genio humano se expresaba en plena ebullición, estimulada por los intercambios entre las naciones, las artes y las ciencias.

“Hallamos dicha inventiva, a veces exuberante, en las piezas de Storace y de Bertoli, en las que el instrumentista alcanza los límites de la virtuosidad, sin abandonar nunca la elegancia indispensable, la sprezzatura, sin la cual ningún acto humano es digno de alabanza”, explica Conrado Álvarez, director artístico de Fimante.

Los tres jóvenes músicos que forman Il Passeggero son originarios de horizontes diversos y se encontraron en Tours, en el centro de Francia. Frecuentando a grandes especialistas de la música del Renacimiento, tales como Jérémie Papasergio, Franck Poitrineau o Sébastien Wonner, se apasionan por un repertorio a contrapunto elegante.

Comprometidos por la búsqueda y la experimentación de sonoridades antiguas, su panel instrumental les permite desarrollar, a merced de las partituras, un rico abanico de timbres característicos y llenos de color. Il Passeggero debe su nombre al uso de la ornamentación, práctica ineludible durante los siglos XVI y XVII que conduce al auditor a un viaje de sonidos y emociones.

The  Festival de Música Antigua de Tenerife (Fimante) [Tenerife Early Music Festival] is offering on Sunday the 3rd at 12:00 noon the concert Flores musicales, de Dresde a Nápoles, [Musical Flowers, from Dresden to Naples] interpreted by the ensemble Il Passeggero. Auditorio de Tenerife’s Sala de Cámara welcomes this proposal that wishes to take the audience on a journey across a Renaissance Europe that is full of life and movement, ideas and experimentation.

The programme alternates skill and colour games, re-enacting the dialogues of the selected composers and their different aesthetics, who are close to one another through their sensitivity and their great expressive strength. Il Passeggero is made up by Rémi Lécorché, sackbut and recorder; Adeline Cartier, harpsichord, and Isaure Lavergne, who in addition to playing the dulzainas and the recorder is the group’s artistic director.

Many 16th and 17th century musicians travelled to Italy one or several times, particularly to Rome, Florence or Venice. The most talented composers met in these creative and artistic imitation hubs. They would immediately take the new sounds and the latest musical creations across Europe, driven by the idea of beauty and expressiveness of a revisited Antiquity.

Tickets are available via Auditorio de Tenerife usual sale channels, at the box office from 10:00 am to 7:30 pm on Thursday and Saturday and on Sunday, two hours before the concert starts; via www.auditoriodetenerife.com or calling 902 317 327.

One of the composers in the programme, Girolamo Frescobaldi, appears as an unavoidable figure of Italian Renaissance; principal organist in St. Peter’s Basilica in Rome, musicians from all over the world came to him and he exercised deep influence on performing and composition techniques. Through their journeys, musicians contributed to feed a musical source that quickly became common to all nations.

For example, this programme includes -penned by different authors- the song “La Mónica” (in French Une jeune fillette) and Doulce mémoire, based on a poem by King Francis I. With the help of the phenomenal technical progress, including the press, instrumental music was also at its height. Instruments like recorders, dulzainas, violas and even harpsichords were built in families.

It was a time to experiment new instrument prototypes that would encourage the same sound perfection. Human genius was boiling over stimulated by the exchanges among nations, the arts and the sciences.

“We find this at times exuberant inventiveness in the pieces by Storace and Bertoli, in which the instrumentalist reaches the limits of a virtuoso without overlooking the essential elegance, the sprezzatura, without which no human act is worthy of praise” explained Conrado Álvarez, Fimante’s artistic director.

The three young musicians who make up Il Passeggero come from different backgrounds and they met in Tours, in central France. Visiting often great Renaissance music specialists such as Jérémie Papasergio, Franck Poitrineau or Sébastien Wonner, they grew passionate for an elegant counterpoint repertoire.

Committed to seeking and experimenting early sounds, their instrument combination allows them to develop, thanks to the scores, a rich range of characteristic colourful timbres. Il Passeggero owes its name to the use of ornaments, unavoidable practice in the 16th and 17th centuries, that takes listeners on a journey of sounds and emotions.

Auditorio de Tenerife is hosting nine performance of  The Addams Family musical from 28 December to 4 January. The details of the show on the island were revealed today, Wednesday the 30th by the Culture Councillor of the Cabildo de Tenerife, Concepción Rivero; the head of External Relations of LETSGO production company, Cristina de Póo; and the leading actors Carmen Conesa and Lydia Fairén, who play the roles of Morticia and Wednesday, respectively.

The Councillor for Culture welcomed The Addams Family team and said that “it’s an honour to have this production by LETSGO, which has been acclaimed in the best theatres in Spain”. “The production has been touring since 2017 and is reaching the island at Christmas with nine performances”, Concepción Rivero explained.

Cristina de Póo thinks that Tenerife “is a wonderful island and that’s why we always bring our productions, we love being here”. The head of LETSGO stated that “I’m very fond of this show because we’ve worked with it very carefully from the start and transferring the musical to Spanish culture has proven to be a good move, apart from the stress we’ve placed on stage design and costumes”.

Carmen Conesa is delighted to be in Tenerife, the musical’s first destination in the Canaries. “Whenever we reach a place, we make a splash of it with four containers and 50 people including actors, musicians, technicians and the production team”, the actor playing Morticia explained. “We promise a horribly unforgettable evening and we hope to win over the Tenerife audience, as we’ve already done in 25 cities”, she concluded.

Lydia Fairén said that the story in this musical has nothing to do with that of the comics, Tv series or films. “This Wednesday is a bit different because she’s now 18 and she’s in love; the problem is he’s an ordinary boy and they decide to break the news to their families getting them together in a wonderfully horrible dinner”. Although it’s a family show, Fairén explains that “the humour is quite like that of The Simpsons”.

Tickets can be bought via the usual sale channels of Auditorio de Tenerife: at the box office from 10:00 am to 7:30 pm, Monday to Saturday except holidays; via www.auditoriodetenerife.com  or calling 902 317 327. For the performances on 29th and 30th December there is a temporary 20 percent off on standard tickets or a four for three deal.

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

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

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

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

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

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

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

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

PuzzleAtípico, the Canarian video and performance group made up by people with the Asperger syndrome starts their fourth season with a call for artists and groups. The deadline to take part in this project by the Asociación Asperger Islas Canarias Aspercan [Canary Islands Asperger Association] and the Laboratorio de las Artes Vivas Tenerife LAV, with the support of the Teatro Leal in La Laguna, is 2 December.

The project proposes using different disciplines as mediation tools: theatre, dance, performance and video-art to make projects related to collective and individual identity in which audiovisual and body tools gain relevance, as they are designed and performed by the group with the company of the artists and facilitators of the activity. Information on the rules and registration is available on www.puzzleatipico.com.

The call is aimed at dance, movement and interdisciplinary artists and group of artists whose work relies mainly on the use of video and body performance in addition to other stage and/or stage-related techniques and practices (textuality, sound art, film, choir, video art and video installation, working with objects…). These projects should be aimed at working together with the group thus turning them into projects that feed on and are fed by PuzzleAtípico.

PuzzleAtípico is a video creation and performativity group made up by young people with Autism Spectrum Disorder, who started working with video as a tool of expression, by experimenting with recording what they felt and then putting the images together. Up till now the group has shown their work at the Centro Cultural de La Caja de Canarias (CICCA) in Las Palmas de Gran Canaria, Auditorio de Puerto del Rosario, at the Festival Barriometrajes and at Teatro Leal’s Sala de Cámara where they regularly work.

Shostakovich provocando [Provoking Shostakovich] is Sinfónica de Tenerife’s third subscription concert, which is to be held on Friday the 1st under the baton of its honorary conductor, Víctor Pablo Pérez. Apart from playing Dimitri Shostakovich’s Symphony nº9 for the first time, the orchestra will interpret Cervantina by Juan Durán and Edward Elgar’s Polonia.

This new concert by the Cabildo’s orchestra appeals to sensitivity and humane inspiration both in the case of the Russian maestro, who understood that victory can also be translated into the language of music and taken down a luminous path; and in that of Polonia which provided sound relief for Polish refugees during the First World War.

Cervantina, never played before on the island, is a symphonic suite about popular Spanish topics, composed by Juan Durán and commissioned by Fundación BBVA, which was premiered in September 2016. It refers to national cultural and musical tradition and starts solemnly with Folías de España variations, which are interspersed throughout the work. It dreamily travels across different regions and characters like “Tres morillas” in a clear tribute to poet Federico García Lorca. Nostalgia is also present in the work by means of dialogues between wind, wood, strings and the harp.

Also played in Tenerife for the first time is the piece Polonia by English composer Edward William Elgar. The composer, inspired by the dramatic events of the First World War, wrote this score appealing to patriotic feelings. Given the political situation and the border clashes of this European country, the compositional work of its maestros was exceedingly complicated and musical support had to be sourced abroad. Elgar uses different Polish national melodies, like the Warszawianka, introduced by the bassoon and the bass clarinet. This melodic motif will act as a joining point throughout the work which also features homages to Paderewski and Chopin, from whom he borrows the melody of the Nocturne in G minor which on this occasion, is played by the soloist violin.

Dimitri Shostakovich’s Symphony nº 9 in E-Flat major, op.70 swings from a patriotic homage and a provocation to Soviet official authorities, who listened to the premiere on 3 November 1945 in Leningrad. They expected a symphony that celebrated Stalin’s victory over Hitler’s troops. Despite political pressures, the maestro kept his ability to preserve his musical self against destructive forces.

It is a compact, satirical, and somewhat melancholy symphony in five movements. The first one is close to the Neoclassical model, starting with a joyful, youthful theme displayed by the strings in constant dialogue with woodwind instruments. The overflowing energy and the notes of the trombone break into the sound discourse.

A solo clarinet opens the second movement with a theme loaded with subtle, intimate chromatism that evolves in counterpoint with a second voice, thus creating an atmosphere of a certain moving concern. Dotted with winding strings, the main theme returns interpreted by the piccolo.

The last three movements, which follow one another with no interruptions, have very different patterns. The energy of the presto is in contrast with the solemn entry of the brasswind largo. A single introspective, the deep bassoon turns into a humoristic passage that leads to the final allegretto. Simplicity and humour develop into tension with some animato and rather than evolving into a heroic, triumphant final theme, it ends in the brilliant and satirical celebration of an allegro played with the tambourine.

Tickets for this subscription concert can be purchased at the box office from 10:00 am to 7:30 pm Monday to Thursday and on Friday from 5:30 pm on; by telephone on 902 317 327 or via the internet www.sinfonicadetenerife.es and www.auditoriodetenerife.com.

The Nova Ars Organorum series of the Festival de Música Antigua de Tenerife (Fimante) [Tenerife Early Music Festival] will offer at 7:00 pm on Saturday, the 26th  the concert El triunfo del espíritu reformista [The Triumph of the Reformist Spirit] by Zaragoza organist Esther Ciudad. Admission is free to enjoy the concert at Iglesia de Santa Úrsula in Adeje.

The concert offers a tour of Renaissance and Baroque Europe. The artistic director of the organ series, Rosario Álvarez, revealed that the programme is “a musical discourse that seeks to describe the conflict between the different musical narratives that developed from the confrontation between the Reformation and the Counter-Reformation. A musical essay that places two styles in a dialoguing position despite the religious unrest that led to differentiated languages”.

Born in Zaragoza, Esther Ciudad started her piano studies at the Conservatoire in her native city. She studied Organ and Clavicembalo at the Conservatorio Superior de Aragón and gained her degrees in Solfège Theory of Music and Musical Pedagogy. In Barcelona she followed improvement classes with Montserrat Torrent. In 1998 and 2001 she attended the interpretation courses organized at the C.S.I.C in Barcelona, where she got her Postgraduate and specialization in “Música Antigua para Tecla”. [Early Music for Keyboard Instruments].

In Europe she specialised in Organ and Clavichord with Heinrich Walther in Freiburg (Germany), Michael Bouvard in Toulouse (France), Ignace Michiels in Bruges (Belgium) and Pianoforte with Bart Van Oort (Holland). She has also had specialised classes from maestros Emilio Molina, Jan Willen Cansen, Andrea Marcon, Cristine Wiffen, Jesús Martín Moro, Cartenz Lorenz and J. Van Oortmersen. In 2015 she got the Diploma de Estudios Avanzados (DEA) from Universidad de Zaragoza and went on to do a Master in Musicology at Universidad de la Rioja.

Como intérprete solista y de cámara ha participado en el Festival Internacional del Camino de Santiago, Ciclo de Música Sacra de Palencia, Ciclo de Clavicordio Aguilera de Heredia, Ciclo Internacional de Santa Isabel de Portugal, Festival de Música de Palencia, Ciclo de la Comunidad de Navarra, Quincena musical de San Sebastián, Ciclo de Música Sacra de Torreciudad, Cicle d’orgue de la Catedral de Barcelona, etc.

In 2013 she did a European tour sponsored by the Government of Aragón and gave concerts in Bruges, Stockholm, Milan, Rome, Strasburg, Vienna and Cologne. In 2015 she travelled to the Festival Internacional de México (AMMAO) sponsored by the Spanish Ministry of Culture. In July 2019 she did a new tour of Milan, Andorra La Vella, Jávea, Timisoara (Rumania), Pamplona, Oporto and Venice.

El Área Educativa y Social del Auditorio de Tenerife pone en marcha la primera edición de los talleres de comunicación didáctica para la música, en los que tres expertas ofrecerán en la isla conferencias y sesiones prácticas para abordar las vicisitudes de este perfil de presentador pedagógico de conciertos. Esta propuesta responde a la necesidad de atender a un público de conciertos que cada vez es más activo y requiere de esta figura que acerque de una manera amena pero didáctica los contenidos, y actualmente no existe formación reglada al respecto en la isla.

Los talleres, que se dividen en tres sesiones, contarán con una jornada teórica impartida por Marina Hervás, Belén Otxotorena y Eva Sandoval, profesionales en el sector de la narración de conciertos educativos de 17:00 a 20:00 horas en la Sala Alisios del Auditorio de Tenerife. Además, a las 10:00 horas del día siguiente en la Sala de Cámara del espacio cultural del Cabildo se realizará una parte práctica en la cual los inscritos participarán en las sesiones escolares previas a los conciertos de la formación residente de Auditorio de Tenerife Quantum Ensemble. A esta actividad asistirán alumnos de centros educativos de la isla, que recibirán previamente el material didáctico realizado por las ponentes invitadas.

A través de este taller se pretende dotar a los asistentes de herramientas para enfrentarse a distintos públicos como el educativo, la tercera edad y los colectivos con riesgo de exclusión social. Se creará una bolsa de Comunicadores en didáctica de la música con aquellas personas que realicen el taller, continuando su formación práctica a través de otros conciertos de la programación de Auditorio de Tenerife.

Estos talleres están abiertos a estudiantes de música y periodismo, profesorado de conservatorios y de Magisterio, pedagogos, actores, narradores orales, bailarines, artistas, etc. La inscripción a los talleres es gratuita y se puede realizar enviando un correo con los datos personales y el currículum vitae a This email address is being protected from spambots. You need JavaScript enabled to view it..

El primero de estos talleres estará conducido por la tinerfeña Marina Hervás, profesora del máster de Industrias Culturales de la Universidad Europea Miguel de Cervantes y en la Escuela de Cinematografía y audiovisuales de Madrid (ECAM). La conferencia de Hervás, Educar (musicalmente) más allá del canon: hacia una comunicación y programación inclusiva, tendrá lugar el 21 de noviembre y la sesión práctica se realizará el 22 de noviembre en la actividad educativa previa al concierto Fricciones de Quantum Ensemble.

En esta primera ponencia la experta tinerfeña reflexionará sobre la responsabilidad que adquieren las instituciones culturales y sus programadores cuando deciden legitimar o poner en cuestión un cierto canon musical en su programación pedagógica, así como pensar qué significa “hacer pedagogía” en el marco de un concierto.

El objetivo fundamental es adquirir herramientas para desarrollar una voz y un posicionamiento propios, conociendo las fortalezas y debilidades de las propuestas de espacios culturales de referencia; así como generar destrezas de comunicación y programación de proyectos pedagógicos que alcancen a más rangos de públicos, edades, circunstancias y contextos.

Hervás es doctora en Filosofía por la Universidad Autónoma de Barcelona y licenciada en Filosofía (Universidad de La Laguna), en Musicología (Universidad de La Rioja) y Máster de Teoría del arte y Gestión Cultural (Universidad de La Laguna). Grado Profesional de violín y  miembro activo de orquestas jóvenes de Barcelona. Obtuvo en 2011, el Primer Premio en Ciencias Sociales y Humanidades del Certamen Nacional de Investigación ‘Arquímedes’ convocado por el MECD. Participa habitualmente en congresos nacionales e internacionales. Ha escrito crítica cultural para Scherzo, Codalario, Culturamas, Núvol, ABC, La Opinión de Tenerife, Sul Ponticello, etc. y en su propio proyecto, Cultural Resuena.

Belén Otxotorena, actriz, narradora y profesora de Dramatización, impartirá su ponencia, Narración y música, ¡qué buena pareja!,  el 12 de febrero y al día siguiente tendrá lugar el acto con los escolares asistentes a la previa al concierto Espejos de Quantum Ensemble. Por último, Eva Sandoval, profesora de piano, musicóloga y licenciada en Ciencias Ambientales, estará en la isla para su conferencia sobre música clásica el 13 de mayo y el 14 será la actividad práctica antes del concierto Prisma de la misma formación.

Los tenores César Arrieta y Klodjan Kaҫani ponen voz al rol de Nemorino, el joven campesino enamorado de Adina, en L’elisir d’amore, una de las óperas más representadas y aclamadas del compositor bergamasco Gaetano Donizetti, que será la encargada de inaugurar la temporada 2019/2020 de Ópera de Tenerife con cuatro funciones protagonizadas por integrantes de Opera (e)Studio.

La primera representación de esta coproducción de Ópera de Tenerife, el Teatro Comunale di Bologna y el Tbilisi Opera and Ballet State Theatre, tendrá lugar mañana [jueves 24] y continuarán el viernes [día 25], sábado [día 26] y domingo [día 27]. Todas las funciones de este proyecto, que este año cuenta con financiación del programa Europa Creativa de la Comisión Europea, tendrán lugar en la Sala Sinfónica del Auditorio de Tenerife a las 19:30 horas salvo la última, que comenzará a las 18:00 horas.

Ambos cantantes interpretarán el rol en días alternos: Kaҫani subirá a escena mañana y el sábado, mientras que Arrieta lo hará el viernes y el domingo. 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.

El cantante venezolano, César Arrieta, se forma desde muy joven en el Sistema Nacional de Orquestas y Coros Juveniles e Infantiles de su ciudad natal y en la Escuela Superior de Canto de Madrid. Aunque es la primera vez que pisa la isla, sí tiene referencias sobre el trabajo que se hace en Ópera de Tenerife por “el altísimo nivel artístico de las producciones”.

El tenor conoció el programa Opera (e)Studio por unos amigos que participaron en Don Pasquale (2016) y decidió presentarse a la actual edición por el título elegido. El cantante asegura que Nemorino “es un rol de cabecera de cualquier tenor”. Aunque nunca ha subido a escena con esta ópera, sí ha cantado gran parte de las piezas de la misma en conciertos, y reconoce que “ya había mucho de Nemorino en mi vida antes de enfrentarnos cara a cara”.

Klodjan Kaҫani, cantante albanés formado por la Universiteti i Arteve di Tirana, visitó la isla por primera vez en la temporada pasada para la producción Lucia di Lammermoor en el rol de Normanno, de ahí que conozca bien el trabajo de Ópera de Tenerife.

Para Kaҫani, que viene de participar en la producción Adriana Lecouvreur en la Fondazione Arena di Verona, al igual que Arrieta, es la primera vez que se enfrenta a L’elisir d’amore, un título del que destaca la complejidad del personaje de Nemorino y pone el énfasis en la evolución del personaje en el transcurso de la obra.

Estos dos jóvenes tenores, junto a otros ocho cantantes más, llegaron a la isla para formar parte de la séptima edición de Opera (e)Studio, la academia de perfeccionamiento artístico integral para cantantes. Esta formación, que dirige Giulio Zappa desde su fundación, está distribuida en diferentes clases magistrales con profesionales de primer nivel internacional y continúa con los ensayos habituales de una producción de ópera, fase en la que se encuentran actualmente. El programa culmina con la puesta en escena.

L’elisir d’amore supone el arranque de la temporada y contará con la dirección musical de Antonio Méndez, director titular de la Orquesta Sinfónica de Tenerife. Esta producción de Ópera de Tenerife -junto al Teatro Comunale di Bologna y el Tbilisi Opera and Ballet State Theatre- supone el debut en Europa del director de escena Pablo Maritano, quien trasladará a al público a la edad dorada del celuloide de Hollywood. Todo ello, aderezado con la escenografía de Serena Rocco, el vestuario de Lorena Marin y el diseño de luces de Virginio Levrio.