News

Lava is performing their new double programme at Teatro Pérez Galdós at 8:00 pm on Thursday, the 5th. The dance company will put onstage two original creations that were premiered at Auditorio de Tenerife’s Sala Sinfónica last Sunday. They are the work of two choreographers of international scope: Yalacha, by Korean Dongkyu Kim and Hush, by Israeli Roy Assaf.

Both creators were invited by the company’s artistic director, Daniel Abreu (Premio Nacional de Danza 2014), to work with the dancers who currently make up Lava’s dance troupe: Emiliana Battista Marino, Fabiana Mangialardi, Virgina Martín, Paula Parra, Alicia Pirez and Amanda Rubio, who were selected through public notice. These pieces have been expressly created for the group resident at Auditorio de Tenerife.

This programme, which is now travelling to Gran Canaria with tickets on sale on www.teatroperezgaldos.es, displays the versatility and strength of creation for international dance. Israel and South Korea are the countries currently leading the international arena of contemporary dance thanks to their great creativity and command.

Daniel Abreu explains that "turning to these places led us to Roy Assaf’s talent, with his peculiar use of body gestures and the deep, clear message conveyed; on the other hand, Dongkyu Kim is accurate regarding the body and shows quality in movement; his works convey strength, impetus and an interesting questioning of everything human".

Roy Assaf’s advice is that “while seeing Hush I encourage you to ignore the unswerving temptation of seeking for the plot; refuse the stubborn need to understand, trust your instinct -being honest and sincere about it- and follow your tender heart, that has a great capacity for imagination”.

Dongkyu Kim, who has worked on the island with his assistants Nara Yoon and Jiho Jang, also a composer, says that “we all make our own sound”. That’s why in Yalacha “sound doesn’t come from the mouth but from life: I live my own life and I make my own sound through the sound of others but, what sound do you make? he wonders. The piece is part of the Jisoo Gook Laboratory Dance Project.

Bartok and the violin is the title of Sinfónica de Tenerife’s next concert to be held on Friday the 6th at 7:30 pm in the Auditorio de Tenerife. It features British conductor Alexander Shelley -in his first time on the island- and Dutch violinist Simone Lamsma as guest soloist.

On its fifth season concert, the Sinfónica de Tenerife will deal with love and indifference, or the world of dreams by means of pirates and sacred woods, with sound strokes that range from colourist musical impressionism to Neoclassicism. The programme includes Suite nº 1 and 2, for small orchestra by Igor Stravinsky; Violin concerto nº 1, op. posth., BB 48a/Sz36 by Béla Bartok, and Daphnis et Chloe: Suites nº 1 and 2 by Maurice Ravel.

Alexander Shelley studied cello and conducting in Germany and attracted the attention of the general public when he was unanimously awarded the first prize at the Leeds Conductors Competition in 2015. That year he took over Pinchas Zukerman as musical director of the National Arts Centre Orchestra in Canada and became first assistant conductor at the Royal Philharmonic Orchestra, with which he conducted a series of concerts at Cadogan Hall and toured national and internationally.

The guest soloist is Dutch violinist Simone Lamsma, one of the most impressive and captivating musical personalities at present, according to the critics. Lamsma started to study violin when she was 5 years old and later travelled to the United Kingdom to train at the Yehudi Menuhin School and at the Royal Academy of Music in London, of which she is associate since 2019, as designated by the Honorary Awards Committee.  

In her performances, Simone plays a 1718 “Mlynarski” Stradivarius thanks to the generous loan of an anonymous benefactor. In the last seasons she has given more than 60 violin concertos, playing with the best orchestras in the world. Her recent performances include her debut with the New York Philharmonic, Orchestre Symphonique de Montréal, Pittsburgh Symphony Orchestra, Sydney Symphony Orchestra, Detroit Symphony Orchestra, Wiener Symphoniker, Gürzenich Orchester, Cleveland Orchestra, Cincinnati Symphony Orchestra, Royal Concertgebouw Orchestra, City of Birmingham Symphony Orchestra or Houston Symphony.

Stravinsky, Bartok and Ravel, the three authors the Sinfónica de Tenerife revisits in this concert, lived in one of the most artistically fruitful periods in western civilization, although they were greatly affected by the political situation in their respective countries and the great world wars. In the midst of this social and geopolitical unrest, the avant-garde drive of the three composers led them to introduce revolutionary compositional innovations in the musical language of the time, thus answering the many aesthetic issues that had been raised in the previous century.

Igor Stravinsky’s Suite nº 1 and 2, for small orchestra will open this Sinfónica de Tenerife event. A composition written while in exile in Switzerland and France that starts with a cryptic introduction “Andante”, of an acid and dissonant lyricism, that gives way to three national dances. In the ingenious Suite nº 2, of a more robust timbre, the author proposes a chromatic “March” with the winds leading the melody; the famous, histrionic  “Waltz” without strings, with the flute and the piccolo in the lead; a densely textured circus “Polka” that plays with the contrasting dialogue between brasses and woods to conclude in a final, dizzy “Galop”.

Together with Zoltan Kodaly, Béla Bartok is regarded as one of the pioneers in scientific ethnomusicology research on Eastern Europe folklore. In 1908 they both embarked on a journey across rural Hungary and Romania in order to gather, among others, Magyar songs, whose influence was to remain forever in their compositions. Although he wrote the Violin concerto nº 1, op. posth., BB 48a/Sz36 in the same year, it remained unknown until after his death in 1945. Bartok dedicated this composition to the young violinist Stefi Geyer with whom he was in love. The composer’s bliss is perfectly portrayed in the Andante sostenuto.

The programme ends with Daphnis et Chloe: Suites nº 1 and 2 by Maurice Ravel, a choreographic symphony that aims at portraying the author’s neoclassical view of Antiquity. The score follows a very strict tonal plan by means of a small number of motifs whose development guarantee symphonic homogeneity in a work that is based on the pastoral novel by the Greek poet Longus, Daphnis and Chloe. It starts with an ethereal “Nocturn”, which gets its disturbing atmosphere from the string tremolos and the use of wind machines. It is followed by the “Interlude”, with evocative harmonies, and concludes with the frenzied “War Dance” by Bryaxis’s pirates, who kidnapped Chloe.

The second suite opens with one of the best-known passages of the score, the bright “Dawn” on a fainted Daphnis outside the cave of the nymphs. The water that runs among the rocks flows in flutes, clarinets and harps; the sun rises in the orchestra’s deepest instruments; the violin and the piccolo imitate the birds singing at dawn over a winding accompaniment that flows into a great central orchestral climax focused on the musical theme of love. In the “Pantomime”, the lovers evoke in their dance -helped by wind and wood instruments plus a relevant solo flute- the love of Syrinx and Pan, the god who saved Chloe. Finally, the frantic, orgiastic “General Dance” is a bacchanalian with an unbridled 5/4 time and exuberant orchestration.

Tickets for this subscription 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 www.sinfonicadetenerife.es and www.auditoriodetenerife.com.

Auditorio de Tenerife is putting on a jazz concert by Mikael Godée & Eve Beuvens Quartet (MEQ) this weekend. In the show, which is on at 8:00 pm on Saturday, the 30th at Sala de Cámara, the saxophonist and the pianist are presenting their new work with their band.

The ensemble is led by the Grammy-winner Swedish musician and the Belgian pianist. Their sound is characteristically elegant and melodic. The piano and soprano saxophone Will be accompanied by drummer Johan Birgenius, and double bass Magnus Bergström.

Mikael Godée and Eve Beuvens met a long time ago on the Myspace platform. Nine years later and after tens of concerts they are releasing their second record as a quartet: Looking Forward.

From the very beginning the two musicians naturally took to each other. They added bass player Magnus Bergström and Johan Birgenius at the drums, one of the best-liked rhythmic sections in Sweden, to set up the MEQ quartet.

The repertoire, surprisingly homogenous, consists of original themes by Godée and Beuvens. Through mutual trust shared by the four of them, they take on risks that make the music flow very naturally.  

Although their music draws on Nordic lyricism, it is also energetic, unique and warm: a stroll through a forest full of surprising colours in the Distant North.

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

Ópera de Tenerife is taking Der Diktator and Der Kaiser von Atlantis, a double programme in concert version, to nine municipalities of the island through the programme Ópera en Ruta [Itinerant Opera]. In sixty-minute talks the audiences will learn about the main features of these two operas.

There will be a total of nine talks to be held in the afternoon at different venues of the island’s Public Library network. The talks, that started in La Orotava, will be held in Candelaria on Friday, the 29th, at the Biblioteca Pública de Garachico on 2 December, at Biblioteca Adrián Alemán de Armas, in La Laguna on the 3rd; at Biblioteca Pública del Estado de Santa Cruz on the 4th; at Biblioteca Municipal de la Villa de Adeje on the 5th; at Biblioteca de Tabaiba on the 9th; at Biblioteca Municipal de Santa Úrsula on the 10th and finally, at  Biblioteca Tomás de Iriarte in Puerto de la Cruz on 11 December.

This double programme brings together two operas that were composed by Austrian authors in the first half of the 20th century. Through the use of sarcasm, they tackle the issue of totalitarian power. When Ernst Krenek composed Der Diktator in 1928 fascism already ruled in Italy and it was to reach Germany soon. Viktor Ullmann’s Der Kaiser von Atlantis was composed in 1943 at a concentration camp.

Der Diktator [The dictator] is a tragic opera in one act with music and libretto in German by the composer and was premiered at Hessisches Staatstheater in Wiesbaden on 6 May 1928. This short work with a tremendous rhythm and composed in a melodic style that resembles Puccini’s, portrays the irresistible attraction of populist power, represented by a character who many thought to be inspired by Mussolini.

Der Kaiser von Atlantis [The Emperor of Atlantis] is a one-act opera by Austrian composer Viktor Ullmann and libretto in German by Peter Kien. It was composed while in prison at Theresienstadt concentration camp, where they were both jailed for being Jewish. In fact, Der Kaiser von Atlantis, a surrealist legend of a tyrant that is leading humanity to a cruel massacre, pushing Death himself to go on strike, was composed with all the characteristics the Nazis considered as ‘degenerate music’ (atonality, jazz...). When the camp authorities realized the figure of Emperor Overall was a not very veiled parody of Adolf Hitler, they forbade its premiere. Ullmann was deported to Auschwitz in 1944 where he was killed in the gas chamber.

In addition to the learning experience, Ópera en Ruta will also seek to undo some myths about the world of opera such as its supposed elitism or language barriers in performances; dress code and Auditorio de Tenerife’s ticket sale channels will also be dealt with.

Ópera en Ruta is part of the communication strategy of Ópera de Tenerife and Auditorio de Tenerife for the new 2019-2020 season. In addition to spreading opera, it also adds to the economic drive of this Tenerife project, which encourages the local cultural industry.

At 7:00 pm on Sunday in Auditorio de Tenerife’s Sala Sinfónica, the Festival de Artes Escénicas Telón Tenerife presents the premiere of the new double programme by Lava Compañía de Danza, that includes two original creations by choreographers of international scope: Hush, by Israeli Roy Assaf, and Yalacha, by Korean Dongkyu Kim.

Both creators were invited by the company’s artistic director, Daniel Abreu (Premio Nacional de Danza 2014), to work with the dancers who currently make up Lava’s dance troupe: Emiliana Battista Marino, Fabiana Mangialardi, Virgina Martín, Paula Parra, Alicia Pirez and Amanda Rubio, who were selected through public notice. These pieces have been expressly created for the group resident at Auditorio de Tenerife.

Tickets can be purchased at Auditorio de Tenerife’s box office from 10:00 am to 7:30 pm Monday to Saturday except on holidays; via the websites www.auditoriodetenerife.com and www.telontenerife.com or calling 902 317 327. On the day of the show, the box office will be opened two hours before the event starts.

This programme displays the versatility and strength of creation for international dance. Israel and South Korea are the countries currently leading the international arena of contemporary dance thanks to their great creativity and command. Daniel Abreu explains that "turning to these places led us to Roy Assaf’s talent, with his peculiar use of body gestures and the deep clear message conveyed; on the other hand, Dongkyu Kim, who is accurate regarding the body and shows quality in movement; his works convey strength, impetus and an interesting questioning of everything human".

Roy Assaf’s advice is that “while seeing Hush I encourage you to ignore the unswerving temptation of seeking for the plot; refuse the stubborn need to understand, trust your instinct -being honest and sincere about it- and follow your tender heart, that has a great capacity for imagination”.

Dongkyu Kim, who has worked on the island with his assistants Nara Yoon and Jiho Jang, also a composer, says that “we all make our own sound”. That’s why in Yalacha “sound doesn’t come from the mouth but from life: I live my own life and I make my own sound through the sound of others but, what sound do you make? he wonders. The piece is part of the Jisoo Gook Laboratory Dance Project.

All the information about circus, theatre, dance and family shows of the Telón programme, tickets and discounts available in each venue can be checked on www.telontenerife.com and on their social networks.

Tchaikovsky’s Symphony nº 1 leads Winter Daydreams, Sinfónica de Tenerife’s fourth concert in the 2019-2020 season to take place on Friday the 29th at 7:30 pm in the Auditorio de Tenerife. The orchestra will play under the baton of Gergely Madaras, in his first time leading the Cabildo’s ensemble.

In this new show the Sinfónica de Tenerife is shrouded in a post-Romantic halo that looks to classicism and European nationalisms to perform, in addition to Tchaikovsky’s Symphony nº 1, The Bartered Bride by Bedrich Smetana and the Flute Concerto in D Major op.283 by Carl Reinecke. 

Bedrich Smetana’s The Bartered Bride is a forerunner in exploring the Czech character and it set the path for other authors like Antonín Dvórak. Smetana’s second opera is a comic piece about a love trio in a rural Czeck area; its initial strains develop into a frantic melody that goes through different voices in the orchestra, slightly recalling Mozart’s The Marriage of Figaro. With this music, the author portrays the fun in a village on a holiday, including its chatter and bustle. Although this work got a cold reception due to the threat of a Prussian invasion and because the audience did not quite see themselves portrayed in those rural characters, it gradually became one of the fundamental pieces of Czech music.

The Flute Concerto in D Major op.283 by Carl Reinecke will be played in Tenerife for the first time. Written in 1908, the piece has a Romantic touch despite being contemporary with the first vanguards, and it includes a combination of proposals and languages. A very brief choral creates the atmosphere that marks the movement and after a false flute entry, it is the violas and the clarinets the ones that present the main theme. The growing rhythm gradually turns the simple initial melody into a powerful ending that leads to the last movement, in which Felix Mendelssohn’s influence can be appreciated.

Symphony nº 1 in G minor Op. 13, by Piotr Ilich Tchaikovsky, also known as Winter Daydreams, was the first project the Russian maestro embarked on when he obtained the chair of harmony at Moscow’s Conservatoire in 1866. In the score the author tackles his admiration for the European composition principle, fundamentally German, and his interest for his country’s folklore.

Inspired by a night journey across Russia and by his oneiric world, the vast landscapes, the snow and the stars are the images that frame the first movement. His composition has a circular structure therefore, the elements of the introduction are repeated at the end. This piece concludes with a bright, triumphant tutti, based on popular musical airs. Tchaikovsky wanted to show his technical command to his master; hence the energetic, exaggerated end which is an ironic gesture about the difficulty of finishing any creative process, especially when what is expected from a young composer is at stake.

Gergely Madaras is the current musical director of the Orchestre Philharmonique Royal of Liège and principal conductor of the Savaria Symphony Orchestra. He has been guest conductor of prestigious orchestras including the BBC Symphony, BBC Philharmonic, Hallé, Philharmonia, Filarmonica della Scala, Maggio Musicale Fiorentino, Orchestra Sinfonica Nazionale della RAI, Orchestre Philharmonique de Radio France, Filarmónicas de Copenhague y Oslo, Deutsches Symphonie-Orchester Berlin, Scottish Chamber Orchestra, among others.

He is also an established conductor of opera repertoires having led the English National Opera, Dutch National Opera, Hungarian State Opera and Grand Théâtre de Genève. Gergely keeps a close relationship with new music and has approached more than one hundred works composed after 1970. He has also collaborated closely with composers Pierre Boulez, George Benjamin, György Kurtág and Péter Eötvös.

The versatile Swiss artist Sébastian Jacot is one of the most brilliant flute players of his generation. This is the first time Jacot, who was dubbed “flute rock star’ on his appointment as Solo Flutist at the Leipzig Gewandhaus Orchestra - is playing on the island. His outstanding work took him to Hong Kong Philharmonic Orchestra when he was 18. Sébastian has received first prizes at major international competitions such as the Kobe International Flute Competition (2013), the Carl Nielsen International Flute Competition (2014) or the Munich ARD Music Competition (2015). 

His solo engagements have taken him across Europe and Japan to perform at top concert halls. His skills have also made him an outstanding saxophonist and an ice-skating champion. He is currently taking part as a dancer, acrobat and musician in the Project 1001 Lives by choreographer Juliette Rahon, in addition to preparing a circus and musical show with his five siblings.

Tickets for this subscription 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 www.sinfonicadetenerife.es and www.auditoriodetenerife.com.

El Auditorio de Tenerife recibe mañana [sábado 23], a las 16:00 horas, la fase autonómica de Canarias del 18º Intercentros Melómano en la categoría de Grado Profesional. El primer clasificado que surja de esta jornada será el representante de Canarias en la fase final, que tendrá lugar el 8 de diciembre en el Auditorio de la Diputación de Alicante. La entrada es libre hasta completar aforo.

En estas audiciones participarán nueve alumnos de los conservatorios profesionales de Santa Cruz de Tenerife y Las Palmas de Gran Canaria de diversas especialidades instrumentales: flauta travesera, guitarra, oboe, violonchelo, percusión, violín y clarinete. Las intervenciones de los músicos tendrán una duración máxima de 15 minutos y el repertorio que ejecuten será de libre elección. Tras las actuaciones, el jurado se retirará a deliberar y, posteriormente, se hará público su fallo para conocer al representante canario de este certamen.

En la fase final de Alicante participarán los diecisiete representantes autonómicos que tratarán de hacerse con el premio: una gira de conciertos por toda la geografía española, que incluye recitales solistas y conciertos con orquesta sinfónica, como el ofrecido por la Orquesta Metropolitana de Madrid o la Orquesta Filarmonía Granada.

El Intercentros Melómano es una iniciativa de la Fundación Orfeo creada en el año 2002 con el objetivo de fomentar la participación activa de los alumnos de los conservatorios de música en concursos de carácter profesional. La idea es servir como experiencia práctica a los músicos, que puedan enfrentarse a un público y a un jurado que valora su interpretación, no únicamente su destreza técnica.

Lava is travelling to Pamplona to perform at Navarra University’s Teatro del Museo. The group resident at the Auditorio de Tenerife is putting on a double programme at 7:30 pm on Friday the 22nd. Their show includes the pieces Bending the Walls, by choreographer Fernando Hernando Magadan, and Beyond, by La intrusa’s Virginia García and Damián Muñoz. At 12:00 noon on the same day, the company’s artistic director, Daniel Abreu, will have a meeting with the audience.

This double programme, which was the first show the company put on a year ago, reaches Navarra as part of the section Museo en Danza of the university’s cultural centre. In the morning, the same venue is hosting a meeting with Daniel Abreu, Premio Nacional de Danza 2014 [National Dance Award], to talk about the Tenerife dancer’s career and his work with the company, which started in 2018.

Bending the Walls is an exploration of the world of restrictions and limitations in the search for happiness, freedom and understanding. Through the piece, the physical and psychological limits of the individual and the surrounding world are explored. It is a metaphor about the psychological, physical and emotional forces human beings can approach in order to reach beyond palpable reality, overcome sorrow and escape into the world of the imagination.

Beyond deals with the experience of searching through the emotional landscapes of memory, presenting a scenario full of uncertainties, which forces us to create or reflect on our own life and on the landscape every individual shapes for themselves either consciously or unconsciously.

Lava’s calendar continues on 1 December, at the Auditorio de Tenerife where at 7:00 pm they will premiere their new double programme, created by two choreographers, Hush, by Israeli Roy Assaf, and Yalacha, by Korean Dong Kyu Kim, to be presented at the Festival de Artes Escénicas Telón Tenerife. Also, on 5 December the dance company is travelling to Las Palmas de Gran Canaria to perform their new repertoire at Teatro Pérez Galdós.

Tickets for Lava’s premiere on 1 December are available 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 the website www.auditoriodetenerife.com  or calling 902 317 327. On the day of the performance, the box office will open two hours before the show starts.

At 7:30 pm on Friday the 22nd Quantum Ensemble, group resident at Auditorio de Tenerife, will give their second season concert at the Sala de Cámara. The programme offers a striking contrast in its four pieces by 20^th century composers: Britten, Birtwistle, Cage and Copland. Fricciones  also features Canarian dancer Carmen Macías, the British Elias String Quartet, clarinettist Cristo Barrios and pianist Gustavo Díaz-Jerez, who are both founding members of the Quantum Ensemble.

This repertoire, which combines tradition and the avant-garde, will be put in context by Miguel Ángel Marín, Fundación Juan March’s music programme director, in a talk taking place the same day of the concert at 6:30 pm in Auditorio de Tenerife’s Sala de Cámara. Admission to the talk is free.

Violinists Sara Bitlloch and Donald Grant along with viola player Simone van der Giessen and cellist Marie Bitlloch make up the Elias String Quartet, which was set up in 1998 at the Royal Northern College of Music, in Manchester, where they worked with the late Dr Christopher Rowland.

Fricciones, following a well-established tradition in the programmes of the Quantum Ensemble, allows us to contrast the styles and creative personalities of two pairs of composers whose biographies overlap in space and time.

The concert starts with a mature and profound work by Benjamin Britten, namely, his String Quartet No 3. The contrast here is established with his compatriot, the English composer Harrison Birtwistle, who belongs to a later generation that broke in a radical fashion with the past.

Víctor Durà-Vilà, lecturer at the University of Leeds, explains that “Birtwistle creates with Linoi a very singular work for clarinet, piano, and dancer”.

Next, we will have the opportunity to perceive the differences between the two US composers. “In spite of their being contemporaries and the premieres of their works close in time, John Cage and Aaron Copland belong to two very distant aesthetic universes”, Durà-Vilà says, to then conclude with “what is shown by the pairing of these four compositions, similar as regards to nationality and time-frame, but provoking very different aesthetic experiences, is that audience members should cultivate an attitude of flexibility and curiosity—one devoid of preconceptions—when attending concerts that showcase the amazing wealth of 20th century music”. 

Tickets can be bought through Auditorio de Tenerife usual sale channels: t 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.

Quantum Ensemble’s public activity this week starts on Thursday the 21st at 11:00 am at the Conservatorio Superior de Música de Canarias with a master class for Donald Grant’s students. Grant is one of the Elias String Quartet’s violinists and he also teaches chamber music at the Royal Northern College of Music. The ensemble’s outreach concert is taking place at 5:00 pm and will be attended by people who have been diagnosed with the Asperger syndrome. There will be volunteers of Obra Social “la Caixa” collaborating in the event.

Also on Friday the pedagogic concert will take place at 11:00 am for school children taking part in this programme. It will also work as the practical session for the first Taller de Comunicación Didáctica para la Música [Workshop on Didactic Communication for Music], organised by Auditorio de Tenerife’s Social and Educational Area. This learning session includes teaching resources, a talk and a presentation by musicologist Marina Hervás. This concert, to take place at Auditorio de Tenerife’s Sala de Cámara, will be attended by 370 Secondary School children coming from 10 different schools in Güímar, La Laguna, San Miguel de Abona, Santa Cruz de Tenerife and Tacoronte.

Organised by Auditorio de Tenerife’s Education and Social Area, the first session of  Taller de Comunicación Didáctica para la Música [Workshop on Didactic Communication for Music] is starting on Thursday, the 21st. In this meeting, musicologist Marina Hervás will deliver a theoretical session with the paper Educating (musically) beyond the canon: towards inclusive communication and show programming which will be followed the next day by a practical class with school children at 10:00 am, during the Quantum Ensemble’s concert Fricciones.

This is the first time the meeting is taking place. It includes three experts who will give talks and practical sessions dealing with the different situations concert pedagogical presenters have to deal with. Learning resources have been previously prepared for them. The initiative comes in answer to the need of providing for increasingly active audiences who require this type of figure to explain the contents in an amusing way. There is currently no formal education of this field on the island.

These workshops are open to students of music and journalism, conservatoire and primary school teachers, pedagogues, actors, narrators, dancers, artists, etc. You can enrol for free by sending an email with your personal details and CV to This email address is being protected from spambots. You need JavaScript enabled to view it..

The workshop aims to give participants tools to address different kinds of audiences like learners, the elderly and groups at risk of social exclusion. People who do the workshop will be included in a list of music didactic communicators and they will go on with their training through other concerts included in Auditorio de Tenerife’s programme.

After this first experience, the next workshop will be with Belén Otxotorena, actor, narrator and dramatization teacher, who will read her paper Narración y música, ¡qué buena pareja!, [Narrating and Music, what a good match!] on 12 February. The following day there will be an event with school children attending the Espejos pre-concert talk by Quantum Ensemble. Finally, Eva Sandoval, piano teacher, musicologist and an Environmental Science graduate, will be on the island to read a paper on classical music on 13 May. The practical activity will take place on the 14^th before the Prisma concert by the same ensemble.  

In her paper, Tenerife expert Marina Hervás, who teaches at the Master in Cultural Industries of the Universidad Europea Miguel de Cervantes and at the Escuela de Cinematografía y audiovisuales de Madrid (ECAM), will talk about the responsibility cultural institutions and their programmers have when they decide to either support or question a certain musical canon in their pedagogical programmes. She will also share her thoughts on what it means “to be pedagogical” in a concert.

The main goal is to learn the tools to develop one’s own voice and stance, getting to know the strengths and weaknesses of the proposals of leading cultural venues; it also aims to build communication skills and to learn to program pedagogical projects that cater for a wider range of audiences, ages, circumstances and contexts.

Hervás has a PhD in Philosophy from the Universidad Autónoma de Barcelona and has a degree in Philosophy (Universidad de La Laguna), in Musicology (Universidad de La Rioja) and a Master in the Theory of Art and Cultural Management (Universidad de La Laguna). She has a professional degree in violin and is an active member of Barcelona young orchestras. In 2011 she won the first prize in the MECD’s Social Science and Humanities at the Certamen Nacional de Investigación ‘Arquímedes’ [National Research Competition]. She usually takes part in national and international conventions. She has written cultural reviews for Scherzo, Codalario, Culturamas, Núvol, ABC, La Opinión de Tenerife, Sul Ponticello, etc. and for her own project Cultural Resuena.

The Cabildo organised today, Friday the 15^th, the fourth Tenerife Artes Escénicas event that brings together the companies, distributors, plus public and private programmers  that make up the network of venues and shows. Cabildo de Tenerife’s island director of Culture, Leopoldo Santos, and the artistic director of the Auditorio de Tenerife, José Luis Rivero, welcomed those present at the meeting.

Leopoldo Santos said that the Office he leads intends to go on holding these meetings in order to “listen to and make decisions by consensus and based on the evidence rather than just on good intentions”. “Our concepts may be different but through intellectual humbleness we’ll seek common ideas to understand the other’s reality. These meeting will only be successful when people not only come to them but also share their doubts and build common paths to follow”, the island’s head of culture stated.

José Luis Rivero specified that “these meeting were set up following the changes that took place in the circuit, which is more like a network” and said clearly that “the Cabildo acts as a mediator of this meeting between the different parties with the agreement of the sector’s professional associations, Réplica and PiedeBase, with whom we have agreed to find the right formula to communicate in a way that is useful to everyone”.

The meeting was attended by some fifteen town councils and tens of companies and programmers. The call is still open for town councils to forward their applications to Tenerife Artes Escénicas 2020. Please see all the information on the website www.tenerifeartesescenicas.com.

Tenerife Artes Escénicas is a Cabildo de Tenerife’s programme which is carried out jointly through the Auditorio de Tenerife, Town Councils and public and private venues across the island with the aim to develop administrative, financial and technical coordination strategies in order to offer a quality artistic programme. It functions as a mechanism that coordinates and manages the programme of activities to encourage people in general to join stage and musical events.

The meeting is part of the professional activities organised by the Festival de Artes Escénicas Telón Tenerife that have taken place at the Auditorio de Tenerife with different public and private institutions.

The outreach scheme Danza en Comunidad will put on stage a performance that includes more than 200 people of the different groups that take part in this initiative. Today, Friday the 15th, project coordinator Laura Marrero announced that the show titled La gran cita a ciegas [The Great Blind Date] will be performed on 7 June 2020.

The event was announced during the annual meeting of all the Danza en Comunidad groups, where they reviewed the activities carried out throughout the year. They have participated in quite a large number of festivals and events including the Mercado de las Artes Performativas del Atlántico Sur MAPAS, Muestra Internacional de Arte en la Calle Mueca, Festival de las Artes del Movimiento FAM, Festival de Artes Escénicas Telón Tenerife and the Despacio Market.

Next, the participants shared their perceptions with the Danza en Comunidad team, explaining how the group they belong to fits in the project, what the scheme has meant to them at an artistic level and the personal relationships they have built during these activities. “We’ll take into account all the opinions and draw conclusions of their experiences to seek ways to improve”, Laura Marrero revealed.

Those invited to the event are the heads of the different groups, artistic collaborators, festival and project programmers, people from the open call, participants of the Danza en Comunidad programme and the Auditorio de Tenerife team.

In these meetings they jointly develop the basis for the Auditorio de Tenerife to plan its activities throughout the year: programmes, the Creadores en Comunidad project, continuity activities, etc. This is a place to reflect, act, share, communicate; it is where dialogue, connections, interests come up.