News

Auditorio de Tenerife and the Asociación Canario Polaca ARKA [Polish Spanish Association] present Leszek Możdżer on Sunday the 17th at 7:30 pm. Możdżer  is a distinguished Polish pianist, composer and producer who is bringing his show From Chopin to Komeda via jazz to the island. He is regarded as the greatest revelation in Polish jazz of the last decade. Thanks to his thorough classical training he feels free to improvise and so creates new musical landscapes to which he contributes timbre, eloquence and harmony of his own. The result is a subtle, often mystic atmosphere.

This concert has been organised by the Fundación Proyecto Perfecto and the Asociación ARKA and it is sponsored by Embassy of the Republic of Poland in Spain with funding from the Polish Foreign Affairs Ministry. Alliance Group, Cofila Asesores, and Memento Group collaborate with the show.

Dionizy Piątkowski, author of the Polish Jazz Encyclopaedia, says that "Leszek Możdżer [is] a distinguished pianist and composer who has managed to unleash a mental and stylistic revolution in Polish jazz that no other jazz player had ever achieved before ".

Tickets can be purchased at Auditorio de Tenerife box office from 10:00 am to 7:30 pm Monday to Saturday, and two hours before the concert; via the website www.auditoriodetenerife.com or by phone on 902 317 327.

Born on 23 March 1971 in Gdansk, Leszek followed and successfully completed formal musical education until he graduated at the Gdansk Music Academy, to then start applying his classical skills in a new way by playing in jazz bands. As a member of the Milosc band in the 90s, Leszek helped instigate a "yass" revolution in Polish music. At the time, he won every possible musical award in his native country.

Leszek has often recorded with Zbigniew Preisner (Requiem for my friend, 10 easy pieces for piano). He has also collaborated with Jan A. P. Kaczmarek (recordings for the Oscar – original score winner for "Finding Neverland" and the album "Kaczmarek by Możdżer"). In addition, Leszek has performed with the most talented and renowned Polish jazz musicians including Tomasz Stańko, Zbigniew Namysłowski, Anna Maria Jopek and Michał Urbaniak. He has also played and recorded with many internationally renowned artists including Arthur Blythe, Buster Williams, Billy Harper, Joe Lovano, Pat Metheny, David Gilmour, Marcus Miller, Archie Shepp, Eddie Daniels, Charles Fox, Nana Vasconcelos, Lars Danielsson, Zohar Fresco, John Scofield, Steve Swallow, Tan Dun.

Leszek Możdżer also writes film scores, and music for theatre plays and operas.
In 2012 he was president of the jury at the Montreux Jazz Piano Competition and he is the artistic director of the Jazz nad Odrą Festival and the Enter Music Festival.

Cuentos, cámara… acción es la propuesta educativa de Sinfónica de Tenerife para el público más joven de la isla que ha comenzado hoy [miércoles 13] en la Sala de Cámara del Auditorio y que reunirá 2.300 escolares de Educación Infantil, Primaria y Especial en seis sesiones, que proceden de 33 centros educativos. La actividad concluirá el sábado [día 16] con dos conciertos en familia, que comenzará a las 11:00 horas para menores de 3 años y a partir de las 12:30 horas para mayores de 3 años. En ambos casos, las entradas ya están agotadas.

Este nuevo concierto didáctico evocará cinco historias musicales interpretadas por sus respectivos solistas, el ensamble musical estará formado por Irina Peña (violín), Sviatoslav Belonogov (viola), Raúl Mirás (violonchelo), Iker Sánchez (contrabajo) y Victoria Carlisle (arpa).

A excepción del cuento musical El toro Ferdinando de Alan Ridout para violín, las otras cuatro narraciones se han creado especialmente para este programa a partir de piezas seleccionadas por los propios solistas de la Sinfónica de Tenerife. Así, el programa contempla las partituras Pastorale und Gavotte de H. Ritter para viola, Alone de G. Sollima para violonchelo, Motivy de E. Tabakov para contrabajo y Fire Dance de D. Watkins para arpa.

La voz de Ana Hernández Sanchíz y de Francisco Javier Burón hilvanarán esta propuesta en donde se irán presentando estos instrumentos a través de las historias que van surgiendo desde unos animales muy peculiares vinculados al carácter de los propios útiles musicales: serpiente, hormiga, delfín, tigre y toro.

Los intérpretes no estarán solos, ya que el público infantil podrá participar desde sus butacas en las melodías a través de canciones, ritmo o danza, convirtiéndose en un evento cultural interactivo.

Ópera de Tenerife presents Giuseppe Verdi’s Rigoletto, to be performed on the 19, 21 and 23 November at Auditorio de Tenerife’s Sala Sinfónica. The details of this production were revealed today, Wednesday the 13th by the Cabildo’s Director of Culture, Leopoldo Santos; Auditorio de Tenerife’s artistic director, José Luis Rivero; stage director Mario Pontiggia; musical director Giuseppe Finzi, and the singers Luis Cansino and Leonor Bonilla on behalf of the cast.

Leopoldo Santos pointed out that this Ópera de Tenerife’s production “is valid today”; he highlighted the work done by all the people involved in staging Rigoletto and said that “bringing together the Sinfónica de Tenerife and Ópera de Tenerife is always a pleasant cooperation”.  José Luis Rivero said that “the three performances will pay tribute to Alfredo Kraus, on the occasion of the twentieth anniversary of his decease”.

Mario Pontiggia, who is also artistic director at the Fundación Alfredo Kraus, stated that the president of the foundation was grateful for the homage paid to the Canarian tenor. “Kraus kept a great relationship with this island since the 1960s and one of his last activities was a recording with the Sinfónica de Tenerife in 1998”, the maestro explained. “Verdi managed to grasp Victor Hugo’s concept, which is about the relationship of a father with his daughter, who loved him out of compassion in a monstrous context”, concluded Pontiggia, who is the stage director of this Rigoletto.

For his part, Giuseppe Finzi, who is making his debut with the Orquesta Sinfónica de Tenerife, believes that this opera “is the most modern and interesting of Verdi’s trilogy, and it harshly criticizes power and vice”; “these are current issues for which Verdi created wonderful music, nearly expressionist”, the musical director added.

Luis Cansino disclosed that "I’ll offer my view on Rigoletto supported by Finzi’s view"; the part, in his opinion, “is one of the most wonderful roles for a baritone”. The singer also admitted that "I’m really happy to work again with someone who’s very dear to me, Mario Pontiggia.; he gave me my first opportunity to perform a first-rate role in this country”; and also being able to work with Leonor Bonilla, “who I worked with when she was a child and I’m thrilled with her successful career”.

Leonor Bonilla admitted that "gratitude is an understatement whenever I come to Tenerife". Regarding the phrase "chicharrera de adopción" [native of Santa Cruz by adoption] used by José Luis Rivero to refer to her at this press conference, the soprano explained that "it delights me because ever since I took part at the 2014Opera (e)Studio, coming here has always been a pleasure". Regarding her role as Gilda, she shared her personal satisfaction at having Luis Cansino as her father in fiction because she regards him as her father on the stage.

Rigoletto is a drama in three acts with music by Giuseppe Verdi and libretto in Italian by Francesco Maria Piave, based on the theatre play Le roi s’amuse (The King has Fun) by Victor Hugo. In this opera, Verdi portrays all the deep-rooted passions characteristic of man’s nature. Until it was premiered on 11 March 1851 at Teatro de La Fenice in Venice, the composer suffered agonies as he saw it clash against the censorship walls of the Lombardy-Venice state authorities [Austrian Empire], as it deals with topics which were far too thorny in Italian society before unification. After making some changes, which did not distort the characters or the colour of the work, it was finally premiered to great success.

Rigoletto is the first title of the famous “popular trilogy” by the Busseto maestro. Like the heroes in Il trovatore and La traviata, Rigoletto is a social outcast, a hunchbacked jester who worked at the corrupt court of Mantua in the late 16^th century, ruled by the beautiful and young Duke of Mantua, a morbid 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.

Giuseppe Finzi is the musical director of the production that features the Orquesta Sinfónica de Tenerife, and the voices of Luis Cansino (baritone); Leonor Bonilla (soprano); Yijie Shi (tenor); Simón Orfila (bass); Guadalupe Barrientos (contralto); Sophie Burns (mezzo soprano); Aleksandr Utkin (bass); Silvia Zorita (mezzo soprano); Jorge Franco (tenor); Matteo Mollica (baritone); Gianni Giuga (baritone) and Beatriz de Sousa (soprano).

The performances on Tuesday, the 19th, Thursday the 21^st, and Saturday, the 23^rd are taking place at 7:30 pm at Auditorio de Tenerife’s Sala Sinfónica. Tickets for this Ópera de Tenerife show are available through Auditorio de Tenerife usual sale channels, the box office from 10:00 am to 7:30 pm Monday to Saturday; via www.auditoriodetenerife.com or calling 902 317 327.

This weekend Auditorio de Tenerife’s Coro Juvenil  is taking part in the IV Semana Canaria de la Música Coral [4th Choral Music Week] with two concerts in Gran Canaria.  Forty-two choirs are taking part in the festival, which also features eighteen shows that started in Agüimes on 1 November and end on Sunday, the 17th with a closing concert in which eight groups will premiere works that received awards at the 2^nd Concurso de composición coral de Canarias [Canary Islands Choral Composition Competition]. The Tenerife choir, conducted by Roxana Schmunk, will perform Arrorró, newly arranged by Beatriz Corona.

Prior to their participation in the closing concert, the Coro Juvenil will participate in an event that is taking place on Saturday, the 16^th in Santa Lucía de Tirajana. The venue is Casa de la Cultura de Sardina del Sur and the show, that also features Coro Infantil de la Escuela de Música de Santa Lucía and Coral Flor de Oroval, will start at 8:00 pm.  The repertoire chosen for the occasion includes some of the pieces that received awards at the European Choir Games last August, like The Music’s always there with you by John Rutter, O Love by Eliane Hagenberg and A Song For You de Leon Russell. The Seal Lullaby by Eric Whitacre and Rudyard Kypling plus Huddy Ledbetter’s Bring Me Little Water Sylvi to round off the repertoire.

At the final concert, which is taking place at the Teatro Pérez Galdós at 12:00 noon, the Choir will be singing Beatriz Corona’s arrangement of Arrorró and A Song for You. This event also includes the performance of two groups that obtained national and international awards this year: the Coro de Voces Blancas of the Conservatorio Profesional de Música de Tenerife and the Coro de Cámara Ainur. The Coro de Cámara COMCANTO, the Coro de la Escuela Menvus, Orquesta Filarmónica de Gran Canaria’s Coro Juvenil, Súbito Koral and Cantares Estudio Coral are also joining this special event where, according to Javier Toledo, coordinator of the Semana Canaria de la Música Coral, “some of the best island choirs’ performances will take place”.

Auditorio de Tenerife organises this weekend the III Foro La Pedagogía se mueve  [3rd Pedagogy Moves Forum], through the Festival Internacional de las Artes del Movimiento FAM, which started this morning, Friday, the 8th with the participative workshop Diversidad actual [Current Diversity] by the Centro Coreográfico de La Gomera. You can still enrol for free via the website www.auditoriodetenerife.com or coming to Auditorio de Tenerife directly.

The forum, whose motto this year is Ser cuerpo [Being a Body], provides a space to reflect and participate from the perspective of dance and movement art pedagogy.   The intention is to offer a space for dialogue where specific creative ideas and proposals can be contributed in addition to working on the possibility of including and making the most of them in all the spheres of education.

The forum coordinator, Helena Berthelius, welcomed the fifty participants, and told them that “we wish to practise the theory and theorise the practice of what we do at the forum”. “The idea is to enrich contemporary education with formal and non-formal tools and get movement to be present in classrooms”, Berthelius added. Regarding the motto, the expert explained that “we needed to go back to the origins and remember that we are bodies”.

One of the goals of the event is to find common ground, a conjunction of new approaches and achieve creative synergies. The forum is aimed at teachers, educational and cultural agents, pedagogues, communities, artists, associations, students and other people who are interested in the topics being dealt with.

Talks and workshops will go on tomorrow, Saturday, the 9th and will end on Sunday, the 10th with the show CloseEnough by Swedish company ZebraDans at Teatro Leal in La Laguna, which is part of the programme of the Festival de Artes Escénicas Telón Tenerife.

Among other activities, there will be a talk by Lisa Spets and My Gren, members of ZebraDans, who will share with us their experience of teaching dance since 1999 plus a practical workshop entitled ¿Cómo crear espacios de diálogo en el ámbito de la danza y las artes en movimiento?[How to create spaces for dialogue in the sphere of dance and the movement arts]

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.