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 The artists will work on the different aspects involved in an opera production

The ten singers of the 7th Opera (e)Studio have started their training on the Island through different master classes. The teachers this year include the project’s artistic director, Giulio Zappa; the Italian soprano, Mariella Devia; the stage director, Pablo Maritano, and Ópera de Tenerife’s intendant, Alejandro Abrante.

The first of these master classes is under the guidance of maestro Giulio Zappa, who teaches in performative vocal technique, and specifically, the importance of Italian phonetics applicable to the model of opera performance in the first half of the 19^th century, which features composers like Donizetti, Bellini and Rossini.

For his part, Pablo Maritano will tackle stage performance. As in previous years, the soprano Mariella Devia will share with the singers her technique and experience, which made her stand out in the main opera houses in the world throughout her long career. To round off their training, Alejandro Abrante will give a talk to disclose the keys an artist needs to connect, from a comprehensive point of view, with the different aspects that make up the professional management of an artistic career, offering them the necessary tools to be competitive in the demanding opera market.

This training process will lead to the performance of Gaetano Donizetti’s L’elisir d’amore from 24 to 27 October. The title opens Ópera de Tenerife’s 2019–2020 season.

The cast for this production is double as they will sing in alternate days in the four performances of the opera. It includes the voices of Maria Rita Combatelli (soprano); Beatriz de Sousa (soprano); Klodjan Kaçani (tenor); César Arrieta (tenor); Alberto Bonifazio (baritone); Jacobo Ochoa (baritone); Givi Gigineishvili (bass); Matteo Andrea Mollica (bass); Sofía Esparza (soprano) and Leonora Tess (soprano). The ten members were selected in the auditions held in February in Bologna, Tbilisi, Madrid and Tenerife, which were attended by a total of 181 candidates from 33 countries.

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El Cabildo de Tenerife, dentro de la Temporada de Ópera de Tenerife 2019/2020, presenta la VII Masterclass en repertorio de ópera, impartida por el Maestro GIULIO ZAPPA para cantantes y pianistas acompañantes.

El periodo de celebración de la masterclass será del 28 de octubre al 2 de noviembre de 2019. En el marco de esta iniciativa, los alumnos admitidos participarán en una gala lírica de clausura programada para el día 2 de noviembre de 2019, a las 19:30 h, en el Real Casino de Santa Cruz de Tenerife.

Los interesados deben enviar antes del 15 de octubre 2019 a las 13:00h un correo electrónico a This email address is being protected from spambots. You need JavaScript enabled to view it., indicando en el asunto “Nombre y apellido del participante – Masterclass Zappa”, adjuntando:

• un currículum (archivo pdf o doc de 1 o 2 páginas);
• el formulario cumplimentado;
• una grabación recién audio o video de una aria con orquesta o piano.

Por motivos de seguridad, Auditorio de Tenerife no acepta ficheros adjuntos de los siguientes tipos: .zip, .rar, .7z, .gz, .tar, .taz, .tgz o archivos cuya suma sea superior a 19MB. Si no es posible reducir el tamaño de los archivos adjuntos, se pueden usar servicios como Wetransfer o enviar varios correos electrónico (en el mismo día) numerados (por ejemplo “María Pérez – Masterclass Zappa – 1 de 2”).

Si dos días laborables después de haber enviado la inscripción no se ha recibido una confirmación de su recepción, los candidatos deberán ponerse en contacto con la organización (a través del mismo correo electrónico This email address is being protected from spambots. You need JavaScript enabled to view it. o telefónicamente al número +34 922568600 ext. 179

El 16 de octubre se comunicarán a través de correo electrónico los nombres de los admitidos como alumnos efectivos de la Masterclass y los datos bancarios para efectuar la transferencia del importe de la matrícula (150 euros). También se admitirán asistencias como oyente a la Masterclass al precio de 50 euros por todo el período.

FICHA DE INSCRIPCIÓN

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7th Masterclass in Opera Repertoire, Giulio Zappa

As part of the Ópera de Tenerife 2019/2020 Season, Cabildo de Tenerife presents the 7th Masterclass in Opera repertoire for singers and repetitors led by Giulio Zappa.

This Masterclass will take place from October 28th to November 2nd 2019. The accepted students will participate in a lyric gala on November 2nd 2019 at 7:30 pm in Real Casino de Santa Cruz de Tenerife.

Those interested in this Masterclass should send an e-mail to This email address is being protected from spambots. You need JavaScript enabled to view it. before October 15th 2019 at 13:00h indicating in the subject: “Name and surname of the candidate – Masterclass Giulio Zappa” and the following attached files:

• curriculum vitae (1 or 2 pages in .doc or .pdf format);
• the completed registration form;
• a recent live audio or video recording of an aria.

For security reasons, Auditorio de Tenerife cannot receive e-mails with attached files with the following extensions: .zip, .rar, .7z, .gz, .tar, .taz, .tgz or files larger than 19MB. If it’s not possible to reduce the size of the attached files, contestants can use cloud-based transfer services such as Wetransfer or send several numbered e-mails (e.g. “Mary Smith – Masterclass Zappa – 1 of 2”). If two working days after having sent the application no confirmation has been received, candidates must contact the organization (via the same e-mail address  This email address is being protected from spambots. You need JavaScript enabled to view it. or by phone +34 922568600 ext. 179).

On October 16th 2019 the names of the singers that have been selected as active participants will be communicated via e-mail, along with the bank details for the payment of the registration fee (150€). Listeners may attend the Masterclass for a 50€ fee.

REGISTRATION FORM

On Friday, the 13th  Sinfónica de Tenerife is performing En tono al mar [About the Sea], the concert that opens the 2019-2020 season at the Auditorio de Tenerife. Under the baton of its principal conductor, Antonio Méndez, it features four pieces inspired by the watery world. From the strength of the ocean that shapes Peter Grimes and The Flying Dutchman to the colourist Fontani di Roma, this is a rotund musical homage the Tenerife orchestra pays to the natural surroundings of the island.

Premiered in 1843, The Flying Dutchman Overture WWV 63 by Richard Wagner (1813-1883), was the first drama by the German composer about which he said “my career as a poet starts here”. The very essence of the work is present in the overture through its main motifs: the storm, the ship in the mist fighting against the inclemency of the sea, the joy of the seafarers and the redemption of the Dutchman; in addition to the well-known ballad of his beloved Senta.

British composer Benjamin Britten (1913-1976) immerses listeners in a sea that reflects the characters of his opera Peter Grimes, premiered in 1945.  Four Sea Interludes, op. 33a is a symphonic piece that synthesizes his own opera. It starts at dawn, which is represented by violins that could very well be the beams of the early sun on the peaceful waters of the ocean. A rougher writing anticipates Sunday and the anxiety that is beginning to gain hold of Ellen.

Luz de luna (Moonlight) introduces listeners to a tense calmness, simulating waves that come and go in the darkness, since the sea is an open wound in the fisherman Peter Grimes. Finally, the storm, the inner portrait of the hero that Britten moves from the original first act to the end of these four movements; here is where he suggests that although calmness seems to have arrived, it is really just pretence, as the end is an absorbing spiral of the fate he cannot escape from.

The second part of the programme starts with Fontane di Roma by the colourist Italian Ottorino Respighi (1879-1936), one of the major representatives of Italian symphony. This symphonic poem comes straight from French impressionism; it is a real sound stroll around the fountains of Rome. So, the tour will takes us from the wavy waters of the Valle Giulia fountain in a bucolic, pastoral atmosphere; to Fontana di Tritone, where the horns will bring to life Triton’s conch, which, as in Ovid’s Metamorphoses he plays to control the waters. There is also room for Fontana di Trevi, where the atmosphere becomes triumphant upon the distinguished appearance of god Neptune. The melancholy nightfall gazes at the Fontana di Villa Medici until the darkness of night makes everything vanish.

The first subscription concert in the season ends with La mer CD 111 by Claude Debussy (1862- 1918), an exquisite sensory experience. The French author started to work on his childhood memories of the beach and portrayed a sea that sways in exoticism, symbolism and impressionism. The composer plays with the light by drawing different sun reflections on the water and the waves, executing a continuous movement in which harmony and rhythm gain greater importance.

Antonio Méndez, who took up the position of principal conductor of the Sinfónica de Tenerife last season, has become one of the best established and most sough-after conductors in his generation. The Mallorca maestro has built links with the main orchestras in Europe, having conducted the Tonhalle-Orchester Zürich, Symphonieorchester des Bayerischen Rundfunks, Mahler Chamber Orchestra, Rotterdam Philharmonic, Danish National Symphony Orchestra, hr-Sinfonieorchester, Royal Stockholm Philharmonic, StaatskapelleDresden, Scottish Chamber Orchestra or Orchestre Philharmonique du Luxembourg.

In the 2018-2019 season, apart from his participation in the Sinfónica de Tenerife, Antonio Méndez returned to the Orquesta Nacional de España, Bournemouth Symphony Orchestra and the Kammerakademie Potsdam, making his debut with Konzerthausorchester Berlin and Orchestre de Chambre de Paris.

During the current season, the conductor of the Cabildo’s orchestra will return to Orchestre de Chambre de Paris or to Iceland Symphony, in addition to making his debut with Orquestra Gulbenkian and Stavanger Symphony. In Spain he will continue his connection with Orquesta Sinfónica de Galicia and Orquesta Sinfónica de Castilla y León. He will also make his debut in the opera productions L’elisir d’amore, Lucia di Lammermoor and Don Carlo.

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

The Cabildo Insular has opened a new enrolment period for the 2019/2020 course of Escuela Coral de Tenerife. You can enrol until 25 September here via the website www.tenerifeartesescénicas.com. Classes are due to start on 8 October at the Auditorio de Tenerife.

The groups will be divided by age in order to include all the sectors of the community wishing to join choral singing: children’s choir, from 8 to 11 year-olds; pre-junior, from aged 12 to 15; young, from 16 to 26 year-olds; and the adult choir from 27 years of age on.  There is no enrolment fee and all the teaching resources, and the classes are free of charge.

This training is adapted to the needs of each age group and it includes choral singing, musical language, voice technique, body language and staging. With a hands-on methodology, the Escuela features teachers specialising in singing, body percussion, expression and interpretation. It can thus provide comprehensive training, guaranteeing students’ progress in their choral technique execution.

Working professionals such as the composer, organist and director Josu Elberdin; the teacher and choral singing director Basilio Astulez; the singer, author, composer and performer Vanina Fernández; plus the director and composer specialising in interpretation Pedro Teixeira, have all shared their knowledge with the students in special sessions.

Some two hundred and fifty people have already taken part in the different choirs of the Escuela Coral in its first two years, a fact that makes the project stronger and clearly shows the interest Tenerife people have in choral training.

La academia de alta especialización inicia la formación de los cantantes que concluirá con la puesta en escena en octubre de ‘L’elisir d’amore’

Los diez cantantes que han sido escogidos en la séptima edición de Opera (e)Studio han iniciado hoy [viernes 6] las sesiones de trabajo de esta formación lírica integral que van a realizar en el Auditorio de Tenerife. Este trabajo de perfeccionamiento artístico concluirá con la puesta en escena del 24 al 27 de octubre del título L’elisir d’amore, que supone el inicio de la temporada de Ópera de Tenerife 2019-2020 y se hace posible por medio de una coproducción con el Teatro Comunale di Bologna y el Tbilisi Opera and Ballet State Theatre, en un proyecto financiado a través del programa Europa Creativa.

El director insular de Cultura, Leopoldo Santos; el director artístico del Auditorio, José Luis Rivero; el intendente de Ópera de Tenerife, Alejandro Abrante, y el director artístico de Opera (e)Studio, Giulio Zappa, dieron la bienvenida a los cantantes, elegidos entre los 181 participantes que concurrieron a la convocatoria de la presente edición.

El elenco de la producción de esta ópera está compuesto por dos cast que actuarán en funciones alternadas durante las cuatro representaciones y contará con las voces de Maria Rita Combatelli (soprano); Beatriz de Sousa (soprano); Klodjan Kaçani (tenor); César Arrieta (tenor); Alberto Bonifazio (barítono); Jacobo Ochoa (barítono); Givi Gigineishvili (bajo); Matteo Andrea Mollica (bajo); Sofía Esparza (soprano) y Leonora Tess (soprano). Los diez componentes de esta edición surgen de las audiciones celebradas en el mes de febrero en Bolonia, Tbilisi, Madrid y Tenerife, a las que concurrieron un total de 181 candidatos de 33 nacionalidades.

Los artistas inician los trabajos musicales y escénicos que se requieren para la formación de una compañía lírica novel y contará con una serie de clases magistrales de mano del propio director artístico del proyecto, Giulio Zappa; la soprano italiana, Mariella Devia; el intendente de Ópera de Tenerife, Alejandro Abrante o el director de escena de esta producción, Pablo Maritano, en las que se abordarán tanto aspectos técnicos como la gestión profesional de una carrera artística. Todo esto se intercalará con las sesiones de trabajo al ritmo que demanda una compañía profesional, junto a las pruebas de vestuario y maquillaje o los pertinentes ensayos con la Sinfónica de Tenerife.

El actual director principal de la Orquesta Sinfónica de Tenerife, Antonio Méndez, será el encargado de la dirección musical de la producción, que junto al director de escena, Pablo Maritano, y la diseñadora de vestuario, Lorena Marin, darán vida a esta obra que nos traslada a los años dorados del celuloide de Hollywood.

Las funciones tendrán lugar el jueves 24, viernes 25 y sábado 26 de octubre a las 19:30 horas y la del domingo 27 será a las 18:00 horas en la Sala Sinfónica. 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; a través de www.auditoriodetenerife.com o por teléfono en el 902 317 327.

Cabildo’s Laboratorio de Artes Vivas Tenerife LAV presents the event Revelarnos: el laboratorio [Revealing ourselves: the Lab], to take place from 3 to 6 October. It consists of four sessions to take place at Auditorio de Tenerife and at other venues in Santa Cruz and La Laguna in which artists, curators, live arts professionals, culture professionals, thinkers and people connected to Tenerife LAV will take part.

Attendees include artists Alina Ruiz Folini (Arqueologías del Futuro, Buenos Aires) and Abraham Hurtado (AADK Centro Negra, Murcia) so that, quoting the project’s coordinator Javier Cuevas, “they lead us, challenge us and help us to look, touch, move and concentrate the powers offered by the Island in all its layers and dimensions”.

These activities call for a changing, physical and careful context to question the Tenerife LAV model as a project on relationship, research and reflection where contemporary live arts can have a place through the Island, making the most of the recent transformation of Leal.LAV into Tenerife LAV and all the powers displayed in this transfer.

The programme includes morning sessions, from 11:30 am to 1:00 pm at Sala Puerto in Auditorio de Tenerife. Every morning, Alina Ruiz Folini will show gymnastics-warmup exercises in order to share with the participants the interests, questions and concepts that will be dealt with in depth at the afternoon sessions. Gimnasias, from common Greek gymnos (γυμνός), which means nudity, related to the verb gymnazein, which means doing physical exercise.

The afternoon working sessions will be held from 5:00 pm to 8:00 pm and will be done through written and spoken conversations in different locations. Tomorrow [Tuesday, the 3rd] the venue will be Sala de Cámara of Teatro Leal; on Wednesday [the 4th], the sessions will take place at Biblioteca Municipal Adrián Alemán de Armas de La Laguna; on Thursday [the 5th], the activity will be carried out in one of the offices Solar Acción Cultural, in Calle San Lucas, in Santa Cruz de Tenerife; and finally, Ateneo de La Laguna will host the fourth “Revelarnos” session.

El Coro Juvenil de Auditorio de Tenerife, dirigido por Roxana Schmunk, ha hecho valer las Medallas de Oro con las que partió del Festival Coral de Verão de Lisboa, y ha cosechado dos terceros puestos en las categorías de Coro Joven y Música sacra con acompañamiento, las dos pruebas en las que ha competido en la cuarta edición de los European Choir Games, celebrados en Gotemburgo (Suecia).

El jurado, compuesto en cada categoría por siete especialistas procedentes de distintos países, otorgó a la formación joven de Auditorio de Tenerife -un total de 81 puntos sobre los 100 posibles en la competición de formaciones jóvenes y 80,6 en la de música espiritual. El Coro, único español presente en la cita, participó en el nivel European Champions, reservado para los galardonados en otras competiciones europeas y a la que ha podido acceder la formación tinerfeña tras sus éxitos en Lisboa en 2017 y 2018.

La actuación del Coro Juvenil de Auditorio de Tenerife se inició el pasado domingo [día 4] con su participación en la Categoría Joven, donde logró el triunfo el Dublin Youth Choir, mientras que el Instituto Gregoriano de Lisboa quedó en segundo lugar. En la categoría de Música sacra con acompañamiento fueron dos formaciones portuguesas las que se situaron por delante de Tenerife: el Instituto Gregoriano de Lisboa y el Coro de Cámara de la Academia de Música de Castelo de Paiva, que fueron primero y segundo, respectivamente.

Roxana Schmunk afirma que “veníamos de afianzarnos en un festival más pequeño, pero de mucha trascendencia a nivel europeo como era el de Lisboa, pero esta cita es un evento a nivel mundial y era un gran reto para nosotros venir a estos juegos, era zambullirnos en una realidad diferente”. La directora apunta que “el resultado conseguido nos aporta tranquilidad y nos apunta que estamos en una línea de trabajo muy buena”.

Schmunk considera que “ha sido muy estimulante ver la reacción de los componentes del coro frente a la perfección de otras formaciones; en el nivel del Grand Prix compiten coros casi perfectos y ellos han podido ver hasta donde puedes llegar si te esfuerzas, verlos con un sonido perfecto y una puesta en escena y control increíble” y añade que “ellos han descubierto otro mundo y creo que nadie vuelve igual a casa tras participar en un evento como este”.

En una valoración, donde se tienen en cuenta la afinación, la calidad del sonido, la fidelidad con la obra y la interpretación, “lo más significativo es que los jueces han destacado con puntuaciones altísimas la calidad del sonido del coro y la interpretación” -destaca Roxana Schmunk-, que se siente “muy satisfecha porque son las líneas que definen a este grupo, por las que hemos apostado y en las que queremos seguir trabajando”.

Respecto a los planes de futuro, Roxana Schmunk considera que la cita sueca también ha sido muy fructífera porque los organizadores del próximo Festival Mundial, que se celebrará el año próximo en Flandes “nos han dicho que nos esperan ver allí” y también la directora de un festival de Basilea que se celebra cada dos años “le gustaría contar con el Coro Juvenil de Auditorio de Tenerife en la edición de 2022 y para ello me ha invitado a ir en la edición del próximo año”. Según Schmunk, “le ha encantado la propuesta del Coro” y se trata de un certamen no competitivo y en el que participan diez coros ante 30.000 espectadores.

El Coro Juvenil de Auditorio de Tenerife, que se creó hace tres años, es una de las iniciativas que el Cabildo Insular ha puesto en marcha para impulsar, formar y conservar la cultura coral existente en la Isla. Otros proyectos en este mismo sentido son la Red Insular de Coros y la Escuela Coral de Tenerife.

El Coro Juvenil de Auditorio de Tenerife, dirigido por Roxana Schmunk, ultima los preparativos para su participación en los IV European Choir Games, una de las competiciones corales más prestigiosas de Europa, que este año se celebrará en Gotemburgo, Suecia, entre los días 3 y 10 de agosto. Tras una selección en la que han participado coros de todo el mundo, la formación del Auditorio será la única representante de España en el Festival.

Antes del viaje, el Coro Juvenil pondrá en escena parte de su repertorio sacro el sábado [día 27] a las 19:30 en la Catedral de La Laguna, dentro del programa de actos de las Fiestas de San Cristóbal. La entrada es libre hasta completar aforo.

En esta cuarta edición del certamen de Gotemburgo, el Coro Juvenil de Auditorio de Tenerife tendrá la oportunidad de mostrar su evolución y comparar habilidades con 4.500 coralistas procedentes de otros 35 países, que se agrupan en 129 coros. Las categorías a las que se presentará la formación tinerfeña serán las de Coro Joven-Voces Mixtas y Música Sacra con acompañamiento, dos de las diez en las que se divide la competición y que acogen todo tipo de tendencias musicales, desde la contemporánea hasta la espiritual, pasando por el folclore.

El Coro se enfrenta así a una competición exigente, que supone un paso adelante tras ganar el Concurso de Canto Coral de Canarias en 2017 y cosechar cinco premios en sus participaciones en el Festival de Coros de Verano de Lisboa (Portugal) en sus ediciones de 2017 y 2018.

El repertorio elegido para los European Choral Games incorpora canciones insignia que acompañan al coro desde su fundación, como Azul, de Julio Domínguez, y nuevas incorporaciones como Izar Ederrak, de Javier Busto; A Song For You, de Leon Rusell y The Music’s Always There With You, de John Rutter, completan el repertorio que se presentará a la categoría de Coro Joven-Voces Mixtas.

En la categoría de Música Sacra con acompañamiento, interpretarán Ubi Caritas, de Ola Gjeilo; Indodana, una canción tradicional sudafricana cantada en isixhosa, una de las lenguas del país, con arreglos de Michael Barrett y Ralf Schmitt; Ave Verum, de Camile Saint- Saëns y O Love, de Elaine Hagenberg.

Tras su fundación en 2016, el Coro Juvenil de Auditorio de Tenerife se enfrenta a su prueba más exigente en Gotemburgo, la segunda ciudad más grande de Suecia, país que acoge el Festival gracias a su riqueza coral: más de 600.000 coralistas en activo.

Para Roxana Schmunk, directora del Coro, esta cita es una oportunidad para dar un paso adelante en la trayectoria de la formación, que aunque cuenta con pocos años de experiencia, ha cosechado buenos resultados en otros encuentros internacionales: "Lisboa fue una gran ilusión al medirnos contra coros de otras naciones y ver que estábamos haciendo un buen trabajo”.

“Esto nos impulsa a competir en Gotemburgo, sobre todo para empaparnos de la cultura de coros de todos el mundo, conocer otros estilos y fijarnos nuevos objetivos como formación coral", explica la directora.

Este coro es un proyecto del Área Educativa y Social de Auditorio de Tenerife, dentro de la estrategia Tenerife 2030 del Cabildo Insular, que promueve también la Red de Coros y la Escuela Coral de Tenerife, proyectos dedicados al impulso, formación y conservación de la cultura coral de la Isla.

On 19 July, Sinfónica de Tenerife held their last season concert entitled “Costa Adeje Sinfónico”. This year the orchestra has given a total of 67 concerts which were attended by more than 80,000 people. Cabildo de Tenerife’s orchestra also visited three other islands: Gran Canaria, La Palma and La Gomera.

In addition to their usual subscription season, which included 19 concerts featuring 47 pieces by 27 composers, Sinfónica de Tenerife offered the extraordinary concerts of Fiestas del Cristo in La Laguna, La Laguna Cathedral, San Pedro Apóstol Church in Güímar, their traditional Christmas concert at the Port of Santa Cruz de Tenerife, Parque de la Torre del Conde in La Gomera and Costa Adeje Sinfónico in the south of the island.

Once again, Sinfónica de Tenerife provided the music to all the opera productions performed at Auditorio de Tenerife in the Ópera de Tenerife season. Apart from these fifteen shows, the orchestra was also present at Tenerife International Film Music Festival (Fimucité), the Festival Internacional de Música de Canarias, and La Palma Festival Internacional de Música, which amounted to five performances.

The Sinfónica de Tenerife also continued their outreach programme by offering 22 didactic concerts for schoolchildren and families, in addition to four masterclasses, three talks, three workshops plus visits to hospitals and health centres on the Island.

Cabildo de Tenerife’s orchestra will be back in September. The first concert will be held on the 6th at Cristo de La Laguna while their subscription season is starting on 13 September. You can learn all about subscriptions and ticket prices for the 2019-2020 season at Auditorio de Tenerife’s Box Office, calling 902 317 327 or on the websites www.sinfonicadetenerife.es and www.auditoriodetenerife.com.

The Festival de Música Antigua de Tenerife (Fimante) [Tenerife Early Music Festival] next concert is Dialectic of Bach and Couperin by The Goldfinch Ensemble to be held in Guía de Isora. Baroque maestros can be listened to at 8:45 pm on Saturday, the 27th at Centro Cultural Playa de San Juan. Admission is free.

The members of The Goldfinch Ensemble are Pablo Sosa (traverso), Salomé Gasselin (viola da gamba) and Emmanuel Frankenberg (harpsichord) whose performance of early music enjoys international recognition. They are specialised in the repertoire of the late 17^th and the 18^th centuries and stand out for the liveliness and spontaneity of their interpretation.

The group has received different international awards including the first prize at the chamber music competition "International Händel Festpiele Gottingen Competition" (2016), or second prize in the French chamber music contest "International Early Music Competition Lorey Valley" (2015). Their international career started in 2015, when they took part in renowned early music festivals like Festival de Sablé (France), Festival de Musique Baroque d'Ambronay (France), Festival di Natale (Italy), York Early Music Festival (England) or Festival Son Antigos Sul Lagos (Portugal), among others.

It was in 1722 when Johann Sebastian Bach finished his first book Das Wohltemperierte Klavier in Köthen, Germany. That same year, François Couperin published his Concerts Royaux in Paris, France. It was a highly creative time for both musicians who delivered a good deal of compositions some of which have remained among the most important works of the first half of the 18th century.  

Fimante’s artistic director, Conrado Álvarez, explains that “both Bach and Couperin were influenced by their respective national styles -German and French- although they never stopped seeking new musical possibilities”.

Through this programme we try to show what these two maestros represented and even how they may have been reciprocally inspired. The goût français had considerable influence in German music in the 18^th century. Bach himself was familiarised with the French style, apart from knowing many French musicians, including meeting the composer, organist and harpsichordist Louis Marchand in 1717. He also copied and used Jean-Henri d’Anglebert’s famous table of ornaments.

François Couperin’s music had a great influence on Bach. Although undocumented, it is quite likely they both exchanged correspondence. “True or not, what we certainly know is that Bach knew some of Couperin’s compositions. He even copied some pieces both for himself and for his wife, Anna Magdalena”, Álvarez explains, to then goes on to say that “thanks to a 1790 piece of writing of one of Bach’s student, Gerber, we also know he loved Couperin’s music and he recommended his students to study it”.

“Although both composers were strongly influenced by music from the past, it was their creativity that turned their compositions into groundbreaking music as it reflected the lively culture of their time”, Fimante’s artistic director concludes.

“Aun siendo dos compositores fuertemente influenciados por la música del pasado, fue su creatividad la que convirtió su música en revolucionaria, componiendo música que reflejaba la vívida cultura de su tiempo”, sentencia el director artístico de Fimante.

Quantum Ensemble, the chamber music ensemble resident in Auditorio de Tenerife, will give seven concerts in their 2019/2020 season. In addition to international performers, they are also inviting ensembles, singers, choirs plus a dancer to round off their offer. The group is led by its founding musicians, Cristo Barrios and Gustavo Díaz-Jerez. The first concert, Vínculos, will take place on 17 October at Auditorio de Tenerife’s Sala de Cámara.

The ensemble, who has a modern, more flexible, and warmer approach to the interpretation of classical music, is calling in international musicians like cellist Tim Gill, violinist Priya Mitchell, clarinettist Romain Guyot, violinist Frederieke Saeijs, pianist Rolf Hind and ensembles like Elias String Quartet, Fauré Quartett and Lendvai String Trio. We will also have the chance to listen to soprano Anna Dennis, mezzo soprano Marta Fontanals-Simmons and baritone Tristan Hambleton.

Pre-concert talks are reinforced this season. They are free of charge and are held at the same place of the concert one hour before it starts. The talks look into the repertoire, its contexts and the guest musicians, and will be given by personalities like the manager of Scherzo magazine, Juan Lucas; the director of the music programme of Fundación Juan March, Miguel Ángel Marín; the University of Leeds lecturer, Víctor Durà-Vilà; or the director and presenter of the RNE show Entre dos luces, Carlos Santos.

Vínculos brings together composers Arnold Schoenberg, Alexander Zemlinsky and Gustav Mahler, three figures who through their co-existence in time and space in the Vienna of the late 19^th century and early 20^th century illustrate the extraordinary creative wealth of this Austrian city.

The second concert in the season will be Fricciones, on 22 November, featuring the performance of dancer Carmen Macías. The repertoire will confront creative styles and personalities in two pair of composers whose biographies overlap in space and time: Benjamin Britten and Harrison Birtwistle; and John Cage and Aaron Copland.

The end of the year brings Texturas, on 19 December. The unquestionable protagonist of this concert is the piano quartet Fauré Quartett, with a special programme that includes compositions by George Enescu, Gabriel Fauré and Paul Dukas.

Espejos is on in February 2020, featuring three works which are most unusual in current repertoires. These are very different compositions by Wolfgang Amadeus Mozart, Francis Poulenc and Bohuslav Martinů. Lendvai String Trio is playing in this concert.

Quantum Ensemble’s next concert is Estructuras, on 20 March, with three compositions spanning three centuries, an evidence of the time and stylistic ambition of the Tenerife ensemble’s repertoire. It also features the premiere of a piece composed by Gustavo Trujillo expressly for this concert.

Voces comes on 23 April with a programme that makes a contrast between outstanding compositions by Gioacchino Rossini with the work of two 20^th century Italian composers: Luigi Nono and Salvatore Sciarrino.

Finally, Quantum Ensemble’s last concert this season is Prisma to be held on 14 May. They will be counting on Camerata Lacunensis, conducted by José Herrero and eleven clarinets, which are needed to perform Steven Reich’s New York Counterpoint. The event also includes works for mixed choir with and without piano by Samuel Barber and George Crumb’s composition for two pianos and two percussionists.

Quantum Ensemble is part of the Education and Social Area of Auditorio de Tenerife with their new didactic concerts for schoolchildren and their usual outreach activities, which offer sensory work sessions to bring music to people in a different way, also used as a means of expression.  They carry out these activities with different social groups included people with functional diversity, at risk of exclusion, users of penitentiaries, etc.

Tickets for all these concerts, which are held at 7:30 pm at Auditorio de Tenerife’s Sala de Cámara are available through Auditorio’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 by phone on 902 317 327.

Orquesta Barroca de Tenerife, Auditorio de Tenerife’s resident ensemble, will offer six concerts in their third season, four of which at their main base and two at the churches of Granadilla de Abona and Buenavista del Norte. Many of its members have steady positions in other European groups but with the OBT these young musicians bring to life instruments and scores from the past. Their first engagement in the new season Will be on 12 September with Baroque Tulips.

The artistic director of the Orquesta Barroca de Tenerife, Conrado Álvarez highlights this season “the repertoire that includes great composers of the 18th century, the accuracy of the interpretation, and the historical performance with our young interpreters to share the sound of the Baroque by using period instruments”.

Dutch Jacques Ogg, Valencia-born Juan de la Rubia and Alfonso Sebastián from Zaragoza will join us again to conduct different concerts, in addition to the young Adrián Linares from Tenerife, concert master of OBT since the beginning and a soloist of violins II at the Orquesta Sinfónica de Galicia.

Also, from 2019 the Orquesta Barroca de Tenerife is joining the activities of the Auditorio de Tenerife Educational and Social Area with tailor-made concerts for primary school children from the 3rd to the 6th year plus for social groups. The main goal of these special concerts is to encourage active listening to Baroque music and learning about the period instruments the performers play.

Baroque Tulips pays tribute to Dutch good taste -inherited from the Baroque period- especially to the delight of their tulips and the excellent music they printed. This programme, to be conducted by Jacques Ogg, includes compositions by Unico van Wassenaer, Willem de Fesch, Antonio Vivaldi, Pietro Locatelli and Jean-Marie Leclair. Their outreach activity will take place during a specific music session with a group of elderly people who are part of the Cabildo’s social entertainment scheme “Ansina”.

The second concert will be held at the end of the year: Baroque Christmas Music (Barocke Weihnachtsmusik). It is taking place at 7:30 pm on 12 December at Auditorio de Tenerife’s Sala de Cámara. The programme includes a selection of cantatas, one of the musical forms that best represent the sound laboratory of the Baroque; works from the vocal catalogue of the so-called German Baroque music and the instrument practices of the workshop of J. Rosenmüller, G. Muffat and J. C. F. Fischer.

The programme of Festival de Música Antigua de Tenerife (Fimante) [Tenerife Early Music Festival] includes again two concerts by Orquesta Barroca de Tenerife, their two season extensions. The programme  Baroque Christmas Music (Barocke Weihnachtsmusik) will be played on 14 December at 7:00 pm in the church of Nuestra Señora de la Merced in El Médano, Granadilla de Abona. The following day, OBT will perform at 5:00 pm in Nuestra Señora de los Remedios, in Buenavista del Norte. Entry to both concerts is free.

The first concert of OBT in 2020 will be Mulieribus, on 12 March at 7:30 pm in the Auditorio de Tenerife. Their repertoire pays homage to the performers of the Ospedale della Pietá in Venice, where one of the European great music conservatoires of the time was set up; it is also a tribute to the maestros who built a better world through music during the Baroque. This concert will be conducted by the leader of the orchestra Andrés Linares.

Finally, the ensemble will close the season on 21 May at 7:30 pm at Auditorio de Tenerife’s Sala de Cámara with Sounds from Brandenburg . The event includes a selection of Johann Sebastian Bach’s Brandenburg Concertos with the organist of the Basílica de la Sagrada Familia in Barcelona, Juan de la Rubia, as harpsichordist and conductor.

Most of the period instruments the Orquesta Barroca de Tenerife play belong to the collection of the Real Academia Canaria de las Bellas Artes, at whose base they hold some of their rehearsals.

Tickets for all the concerts taking place at Auditorio de Tenerife are no won sale through the usual channels of this Cabildo’s cultural venue: 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 Orquesta Barroca de Tenerife, part of the Tenerife 2030 strategy, was established by Andmúsica, Asociación para la Normalización de la Música Antigua en Canarias [Association for the Standardization of Early Music in the Canaries], in 2017. Its goal is to promote young Canarian interpreters, who have been educated in Europe, in period styles and instruments, providing a suitable coordination platform to encourage the historical musical heritage from different sound perspectives, bringing all the music forms of the 17th and 18th centuries to new audiences, thus adding to the cultural events available on the island.