Wed 27Mar19
Ópera de Tenerife will be holding auditions for extras to take part in their next production this season, Hänsel und Gretel (Humperdinck), under the Ópera en Familia programme. The title will be performed on 27 and 28 April 2019 at Sala Sinfónica in Auditorio de Tenerife.
The selection process is open to boys and girls aged from 18 to 30 who look young. The deadline for entries is until 12:00 noon on Friday, 5 April 2019. They should be sent to This email address is being protected from spambots. You need JavaScript enabled to view it.. The body of the message must include the following details: full name of candidate, date of birth, contact telephone number, email address, full-length recent photography, and artistic cv; and in the subject: 'Audiciones figuración Hänsel und Gretel'
Auditions will be held at 3:00 pm on Monday, 8 April at Sala Puerto in Auditorio de Tenerife, which is reached through the reception in the car park.
Tue 26Mar19
La Sinfónica de Tenerife ofrecerá en su nuevo concierto de temporada una mirada hacia la música de transición del s. XIX al XX a través de las obras de Chaikovski, Shilkret y Shostakovich. El programa, que tendrá lugar el próximo viernes [día 29] a las 19:30 horas en la Sala Sinfónica del Auditorio de Tenerife, estará dirigido por Nuno Coelho y contará en el trombón solista con la intervención del inglés Ian Bousfield.
Comenzará con la Obertura Romeo y Julieta, de Piotr Ilich Chaikovski (1840-1893), una de las piezas que ha hecho inolvidable a su autor. Con un tema sugerido por Balákirev, compositor fundamental del nacionalismo ruso, esta partitura permite explorar la oscuridad y la luz: un idílico y delicado tema de amor; la representación de Fray Lorenzo; el tema del conflicto entre Capuletos y Montescos, para acabar con el fatal desenlace. Como Wagner en su Tristán e Isolda, Chaikovski compone un final optimista, esperando el triunfo del amor prometido más allá de la muerte.
Escrito por encargo de Leopold Stokowski, director de Fantasía, que lo estrenó en 1945 por la Orquesta Sinfónica de Nueva York, el Concierto para trombón de Nathaniel Shilkret (1889-1992) estuvo perdido durante 60 años. Fue Bryan Free, trombonista de la Orquesta Nacional Escocesa (RNSO), quien lo recuperó en 2003 tras una búsqueda de dos décadas. La pieza ofrece una combinación exquisita entre la música clásica y la popular, reflejada esta en las reminiscencias cinematográficas y jazzísticas que se aprecian, además de una gran riqueza rítmica que ensalza la versatilidad del trombón.
Esta nueva cita de la Sinfónica de Tenerife con el su público finalizará, en la segunda parte, con la Sinfonía nº 6 en Si menor, op. 54 de Dmitri Shostakovich (1906-1975), la obra de un maestro que ya desde su estreno en 1939 fue recibida con entusiasmo. Si bien el autor había anunciado su intención de componer una sinfonía dedicada a Lenin, posteriormente no solo omite este aspecto de la obra sino que además anuncia que será una partitura desprovista del aspecto trágico y en la que predominará el tono contemplativo. El resultado no deja de ser una composición marcada por el carácter irónico de Shostakovich, donde queda patente su pesimismo sobre la existencia del ser humano.
Las entradas se pueden adquirir en la taquilla del Auditorio de Tenerife, de 10:00 a 19:30 horas de forma ininterrumpida de lunes a sábado; por teléfono en el 902 317 327; o por internet a través de www.sinfonicadetenerife.es y www.auditoriodetenerife.com.
Mon 25Mar19
Ópera de Tenerife’s 2019-2020 season features great composers like Donizetti, Verdi or Handel, but it also includes more avant-garde authors like Ullmann and Krenek, increasing the opera offer to a total of eight titles, which consolidates Auditorio de Tenerife as the major production centre in the Canaries. The details of this new season were disclosed today, Monday the 25th, by the President of the Cabildo, Carlos Alonso; the Island Director for Culture, José Luis Rivero, and Ópera de Tenerife’s intendant, Alejandro Abrante.
The President highlighted the success of the current Ópera de Tenerife season, “that is not over yet and is being very successful”. “As it happens, last Saturday tickets for Turandot were sold out and the audience at Sala Sinfónica gave standing ovation”, recalled Alonso, who added that “when one talks about opera, the first thing that comes to mind is creativity, that’s why Ópera de Tenerife helps understand what Tenerife 2030 means; and they take care of it from very young ages, with the Manos a la Ópera project”, to then admit that at the Cabildo “we are very proud of this project, which opens Tenerife to the exterior”.
Carlos Alonso explained that Ópera de Tenerife season is the most reasonably priced in Spain thanks to its subscriptions, discounts and price reductions. “A new thing is that we have extended to 30 the age limit to benefit from the Young Subscription or the young discount for standard single tickets”.
The island director for Culture detailed that “there are many factors that come into play for the success of Ópera de Tenerife, like professional, technical, educational, social, creative, territorial and the work done to increase audiences”. “Ópera de Tenerife carries Tenerife 2030 as a banner from its home, Auditorio de Tenerife, which has become an Opera house”, he stated.
The Orquesta Sinfónica de Tenerife and Auditorio de Tenerife are the two mainstays that make Ópera de Tenerife possible, “a project with which we are leaders in opera, at the same level as the great theatres in the world”.
José Luis Rivero detailed that more than 127 cultural activities related to opera are made with programmes that spread the knowledge of opera across the island, like the schemes Ópera en Ruta, Aperitivos Líricos or Ópera Fórum, and just 19 take place at Auditorio de Tenerife, as the remaining 108 go to different municipalities on the Island. “We have over 27,000 viewers, thanks to our pricing policy too, which is the right one to encourage access to opera”.
Alejandro Abrante was clear that “Ópera and Tenerife are two terms that must go together”. In Abrante’s opinion, “Opera (e)Studio is one of our major projects because it encourages young talent and leads to singers who feel from Tenerife”. “Great artists start here and later on come back during the season to return what they received”, said the intendant, who added that out of the 70 artists who have been to this voice improvement academy, 40 are currently following their careers. “We are now a model of opera production”, he concluded.
The season raises the curtain with the seventh Opera (e)Studio, the comprehensive training academy for the development of young artists, which this year is funded by the European Commission through Creative Europe. The title chosen by the projects’ artistic director, maestro Giulio Zappa, is the melodramma giocoso by Gaetano Donizetti, L’elisir d’amore. This co-production of Ópera de Tenerife, Teatro Comunale di Bolognia and Tbilisi Opera and Ballet State Theatre will be performed four times from 24 to 27 October.
On 19, 21 and 23 November, Rigoletto comes on stage. The title is part of Giuseppe Verdi’s famous popular trilogy, where the title role will be performed by one of the most acclaimed artists of Verdi’s repertoire, Leo Nucci.
To close the first quarter of the season, we’ll enjoy two operas composed by Austrian composers of the first half of the 20th century, who using sarcasm, deals with the issue of totalitarian power. Der Diktator (The Dictator) by Ernst Krenek, composed in 1928 in fascist Italy, and Der Kaiser von Atlantis (The Emperor of the Atlantid) by Viktor Ullmann, composed in 1943 at a concentration camp.
The adventures and misfortunes of the daughter of a Pope, Lucrezia Borgia, by Donizetti, reach Ópera de Tenerife on 17, 19 and 21 March. Stage director Silvia Paoli, who made her debut in Ópera de Tenerife with La Cenerentola (2014) and repeated, with equal success, with Le nozze di Figaro (2015) and I Capuleti e i Montecchi(2017), returns with this international co-production of Ópera de Tenerife, Teatro Comunale di Bologna, Ópera de Oviedo and Teatro de la Maestranza de Sevilla. Her interpretation of the opera transports us to the 1930s, where the rise of fascism in Italy marks female behaviour, ruled by the hidden vices and public virtues of a male-centred society.
Ópera en familia is putting on Rinaldo on 25 and 26 April. Ardent battles, spells, and beautiful melodies, like the famous ‘Lascia ch’io pianga’ make this title by George Frideric Handel one of the most acclaimed of his works. The next in-house production, for the Ópera Pocket programme will take us to the unforgettable love story composed by Verdi in The Traviata, which, as in previous occasions, will tour the Island municipalities with the intention of bringing opera to new venues and audiences. Continuing our support to zarzuela, the programme includes the romance La tabernera del puerto by Pablo Sorozábal, one of the most renowned zarzuela composers in the 20th century.
The new opera season also brings the 7th Opera de Tenerife Singing International Competition, which is now established as a not-to-be-missed engagement in the international opera world. We will once again enjoy a range of great voices in La final on 24 June, admission is free, and the Award-winner Concert on 25 June. This season includes masterclasses on voice and performance for young talents, to be held from 28 October to 2 November. In addition, the learning activity Ópera en Ruta, will explain to new audiences the ins and outs of the world of opera and the titles offered.
Antonio Méndez, Philippe Auguin, Pedro Halffter, Andriy Yurkevych, Giovanni Paganelli, Rubén Sánchez-Vieco and Alessandro Palumbo -the latter with Orquesta de la Academia Ópera de Tenerife- will be leading Sinfónica de Tenerife to put music to one more season of productions to be performed in Auditorio de Tenerife along with Coro de Ópera de Tenerife directed by Carmen Cruz.
As in previous years, Ópera de Tenerife offers the chance to get different types of subscriptions which do not only involve a discount on ticket prices, but they also allow you to enjoy exclusive advantages including securing your seat, priority access to the auditorium, free Ópera Bus, or receiving the digital programme ahead of the première.
The titles included in all types of subscription available, Club Ópera and Club Ópera Joven, are: L’elisir d’amore, Rigoletto, Der Diktator and Der Kaiser von Atlantis, Lucrezia Borgia and La tabernera del puerto. The Club Ópera Joven subscription also includes Rinaldo and the Award-winner concerts of the Singing International Competition. This will also enjoy an additional 15% discount for different events at Auditorio de Tenerife like Orquesta Barroca de Tenerife, Quantum Ensemble, Ópera en familia, Ópera Pocket. The offer also includes 10% off at Gastromag in Auditorio, as well as in some cafeterias and restaurants in Santa Cruz de Tenerife.
The Club Ópera subscription includes different rates like: Ambassador, First-timer, Corporate, Large Families and Groups (conservatoires, music schools and universities) which involve a specific discount for each group ranging from 30 to 40%. If you do not opt for a season subscription, Ópera de Tenerife offers a series of special discounts on standard single tickets for students, unemployed, large families, Ópera en Ruta participants and Ten+ Mayor card holders. Also, new this year, the age range to enjoy the young people discount has been extended to 30 years of age, with tickets at a single price of 5 euros.
The period to renew subscriptions starts tomorrow, [Tuesday, the 26th] and ends on 14 April. The period for new subscribers is from 7 May to 24 October. In both cases, the purchase can be arranged via the Internet, on www.auditoriodetenerife.com, or in person at Auditorio de Tenerife box office from 10 am to 7:30 pm, Monday to Saturday.
All the information on the titles of the 2019 - 2020 season are available on Ópera de Tenerife
Fri 22Mar19
El Coro Juvenil de Auditorio de Tenerife será el coro piloto del concierto final del Taller de Interpretación Coral que el director portugués Pedro Teixeira imparte el domingo [día 24]. El concierto, de entrada gratuita hasta completar aforo, se celebrará en el Real Casino de Tenerife a las 19:30 horas y servirá como broche final de esta actividad abierta al público y organizada por la Red de Coros de Tenerife.
El mismo Pedro Teixeira, Roxana Schmunk, directora del Coro Juvenil de Auditorio de Tenerife, y Núria Fernández Herranz, directora del Curso de Dirección Coral y del Coro de la Universidad Carlos III de Madrid, se repartirán la batuta de las diez piezas que podrá disfrutar el público. Además del Coro Juvenil, participarán en el concierto los alumnos del Curso de Dirección Coral y un coro compuesto por los participantes del taller.
Con un amplio reconocimiento en su trayectoria y dirigido por Roxana Schmunk, el Coro Juvenil celebró recientemente su segundo aniversario, convirtiéndose en uno de los proyectos corales más ambiciosos de la estrategia Tenerife 2030 del Cabildo. Teixeira trabajará con esta formación hoy [día 22], mañana [sábado 23] y el mismo día del concierto [domingo 24]. En estas sesiones se abordará el repertorio previsto para el concierto final del Taller y el que el Coro Juvenil llevará a los European Choir Games, un certamen europeo en el que ha sido seleccionado tras un proceso en el que participaban coros de todo el continente.
Considerado uno de los mejores especialistas europeos en interpretación coral y música renacentista y maestro en Dirección Coral por la Escola Superior de Música de Lisboa, Pedro Teixeira dirige este Taller, en el que participan 45 miembros y simpatizantes de los proyectos corales de Cabildo de Tenerife, haciendo especial hincapié en la sincronización de las emociones y técnicas a la hora de interpretar una pieza. Durante el fin de semana, ofrecerá también una clase magistral a los alumnos del Curso de Dirección Coral, dentro del programa de actividades propuestas por la dirección de la Red de Coros y Nuria Fernández Herranz.
El Cabildo, a través de la Red de Coros de Tenerife y la Escuela Coral de Tenerife, fomenta espacios comunes que aúnan y sirven de plataforma para promover la actividad coral de la Isla, favoreciendo intercambios de información, experiencias, recursos humanos y materiales entre todas las entidades que lo componen. Por otro lado, se persigue el perfeccionamiento y búsqueda de la excelencia en la actividad coral a través de distintas propuestas formativas abiertas a todos sus componentes.
Dentro de este marco, ya se encuentran abiertas las inscripciones de la segunda edición del Campamento Coral de Tenerife, una convivencia de cinco días, que aunará del 1 al 5 de julio talleres en canto e interpretación coral, dirección de coro y acompañamiento para pianistas.
Fri 22Mar19
Tres bandas federadas de Los Silos, Los Realejos y Arafo dan un concierto el domingo [día 24] en el marco del ciclo Primavera Musical, organizado por la Federación Tinerfeña de Bandas de Música en colaboración con el Cabildo Insular. La Sala de Cámara del Auditorio de Tenerife acoge a los 175 músicos que tocarán a partir de las 11:30 horas. La entrada para todos los conciertos es libre hasta completar aforo.
Los 45 músicos de la Agrupación Musical Nueva Unión Los Silos inician el programa con Cielo Andaluz, de Pascual Marquina. La banda, dirigida por Juana Mª Bolaños Polegre, tocará seguidamente Euterpe, la Musa de la Música, de Ferrer Ferrán, que contará con María Elizabeth Pérez García para la flauta solista. La banda sonora de West Side Story, de Leonard Bersntein con arreglos de Naohiro Iway y Michael Sweeney, cerrará la puesta en escena de esta formación cuyo origen se remonta al año 1899.
El programa de esta tercera sesión de Primavera Musical continúa con la Sociedad Musical Filarmónica de Los Realejos, que comenzarán con Robinson Crusoe, de Bert Appermont. Los 50 músicos dirigidos por Francisco José Hernández Padrón tocarán entonces la Overture, Entr'acte y Finale del Theatre Music de Philip Sparke. Esta banda, que debutó en 1847, finalizará su intervención con el pasodoble La Cruz, de Miguel Linares.
Cierra el concierto la Asociación Musical Nivaria, de Arafo, cuyos 80 músicos comenzarán con el pasodoble Juan Palomares, de Ferrer Ferrán. Seguidamente, la formación fundada en 1860, hará sonar la Overture to a New Age de Jan de Jaan. La banda, dirigida por Miguel Ángel Expósito Marrero, terminará con el intermedio de la zarzuela La Boda de Luis Alonso, de Gerónimo Giménez.
La próxima cita con el ciclo Primavera Musical tendrá lugar el domingo 7 de abril a la misma hora y lugar con un concierto en el que participarán la banda Ernesto Beteta, de Santa Úrsula, y las asociaciones musicales San Miguel de Abona, Arona y La Candelaria de Arafo.
Tue 19Mar19
El Teatro El Sauzal recibe a la Companhia do Chapitô, que mostrará al público esta producción en castellano por primera vez
La Muestra Escénica Iberoamericana (MEI) del Instituto de Artes Escénicas de Tenerife ofrece el viernes [día 22] Hamlet, la primera función de su programa internacional, que culminará el 12 de mayo. Se trata de un espectáculo de la portuguesa Companhia do Chapitô, que estrena en castellano esta versión del clásico de Shakespeare en la que sus protagonistas visten de traje y corbata. La función tendrá lugar a las 20:00 horas en el Teatro El Sauzal, sede de MEI.
La compañía portuguesa lleva unos días ensayando en El Sauzal, donde mantuvieron un encuentro con profesionales de la Isla. Actores, bailarines, críticos y gestores se dieron cita con los intérpretes lusos, quienes explicaron su concepción colectiva y creativa del teatro. “Partimos de textos clásicos, cuya escala es la dimensión humana, y comenzamos el proceso de creación mediante la improvisación y acabamos logrando un trabajo técnicamente muy afinado”, explica José Carlos García, miembro fundador de la compañía, nacida en 1996.
La programación de esta primera edición de MEI ofrece 17 funciones de espectáculos de teatro, danza y circo, tres de ellos estrenos mundiales, llevados a cabo por 13 compañías de Portugal, Cuba, México, Canarias y España. En cada edición de MEI habrá una semana de programación gratuita procedente de un solo país, que se llamará Foco, y que este año está dedicada a México.
Las entradas para todos los espectáculos -excepto los del Foco, que son gratuitos- están a la venta en la página web de MEI, www.muestraiberoamericana.com, y en la taquilla del Teatro El Sauzal 90 minutos antes del comienzo de cada función de MEI.
La tragedia shakespeariana cuenta la historia de cómo el Príncipe Hamlet intenta vengar la muerte de su padre, Hamlet el Rey, asesinado por Claudio, su hermano, que lo envenenó y luego tomó el trono, casándose con la Reina. Entre la locura real y la locura fingida, Hamlet explora temas como la traición, venganza, incesto, corrupción y moralidad.
Esta nueva creación colectiva de la Companhia do Chapitô, la trigésimo sexta de su repertorio, explora el estilo de comedia visual y física que invita a la imaginación del público y que ya ha recibido premios reconocidos en escenarios internacionales y nacionales.
La nueva pieza de la Companhia do Chapitô sigue las líneas maestras del texto original del escritor y dramaturgo inglés William Shakespeare, pero propone una reflexión mordaz y llena de humor sobre varios aspectos de la realidad física y social. Claudia Nóvoa, codirectora de la pieza, explica que “es otra manera de contar la historia, buscando encontrar el absurdo y lo insólito de las situaciones, derribando por el camino las paredes que limitan la imaginación del público”.
En Hamlet, la trama se traslada a la modernidad, haciendo una analogía entre el otrora Reino de Dinamarca, donde tiene lugar la pieza original, y una empresa multinacional de los tiempos actuales. Aunque el tiempo (cronológico) haya transcurrido entre una pieza y otra, las temáticas abordadas permanecen iguales. Se habla de traición, abuso y juegos de poder, de acoso, de la búsqueda voraz y sin escrúpulos del lucro y de inafectividad. La ausencia de contacto entre el elenco a lo largo de la pieza, por ejemplo, refleja una sociedad autista y deshumanizada.
En la inexistencia de escenario y usando un vestuario simple y contemporáneo (traje y corbata), el trabajo del actor no queda restringido a la representación o interpretación de un personaje, porque todos son Hamlet. Se comunica con la palabra pero también con el cuerpo, con el gesto, con el sonido. El hiperrealismo de la pieza y el recurso constante a las onomatopeyas transporta al público a un viaje verdaderamente sensorial y cinematográfico.
El despojo de la escenografía sirve también, en opinión del director José Carlos García, para “suscitar la imaginación del público que no puede ser pasivo”, por el contrario, “tiene que imaginar más allá de lo que ve”.
Al igual que en otras creaciones de la compañía, el uso de objetos es una de las formas de desafiar la imaginación de los espectadores. En este caso, son las corbatas las que ganan vida y asumen funciones distintas a lo largo de la acción. La elección de la corbata no es casual, asumiendo aquí una representación simbólica de poder, de estatuto y verticalidad.
El trabajo continuo y verdaderamente colectivo entre directores y actores en el desarrollo de la estética de la pieza y todo el proceso creativo que la subyace, hace que cada actuación sea única y que el espectáculo se mantenga vivo.
Talleres
Además, MEI ofrece tres talleres gratuitos para intérpretes profesionales de la Isla. La compañía mexicana Telón de Arena busca actores locales para participar en su función de MEI, la también mexicana Vaca 35 Teatro en Grupo impartirá un taller de teatro contemporáneo, mientras que la madrileña La Zaranda ofrecerá unas sesiones sobre actuación y dramaturgia actoral.
Las inscripciones para los talleres, gratuitas, pueden realizarse de manera online en www.muestraiberoamericana.com en el apartado de Actividades profesionales.
Tue 19Mar19
Quantum Ensemble, Auditorio de Tenerife’s resident group, dives into other art forms with their concert Artes, designed to highlight the possible relationships of music with other arts. The repertoire includes pieces by Franz Schubert, Enrique Granados, Magnus Lindberg and Robert Schumann which are inspired by painting, literature, film, and music too. Auditorio de Tenerife’s Sala de Cámara is the venue for this concert to be held at 7:30 pm on Thursday, 21st.
Accompanied by one of Quantum Ensemble’s founding musicians, clarinettist Cristo Barrios, the concert features soprano Anna Dennis, Tatiana Samouil violin, Yuval Gotlibovich, viola, Iván Siso cello and Javier Negrín piano. Rubens Askenar, a young Canarian composer based in London, doctor and teacher in composition at the Royal Academy of Music in London, will give a free talk to offer a context for the concert one hour before it begins.
Artes starts with Der Hirt auf dem Felsen (The Shepherd on the Rock), a famous lied by Schubert for soprano, clarinet and piano whose first four stanzas and the last one, were written by poet Johann Ludwig Wilhelm Müller, while the fifth and sixth are by Karl August Varnhagen von Ense. It is followed by Goyescas, a piano suite by Enrique Granados in which, although his intention is not to build a musical tale on a specific painting by Goya, he does describe the general atmosphere of his painting style.
After the break, Quantum Ensemble goes on to film. Finnish composer Magnus Lindberg was so impressed by Buster Keaton’s film Steamboat Bill, Jr. that in 1990 he decided to create a piece for clarinet and cello that tries to express the action of the film and follow its plot. Finally, Schumann’s Piano Quartet op. 47, which has a strong influence from Beethoven’s String Quartet op. 127. They are both in E flat Major and use similar structures. Schumann’s quartet starts with a Sostenuto assai, just like Beethoven’s.
As part of their activities for Auditorio de Tenerife’s Educational and Social Area, Quantum Ensemble is now also giving school concerts with the collaboration of Fundación Cepsa and Obra Social “la Caixa”. At 11:00 am on Thursday, the 21st they will welcome 200 secondary school children from six different schools in La Laguna, Puerto de la Cruz and Santa Cruz de Tenerife.
Also, at 5:00 pm tomorrow, [Wednesday, the 20th] under their Outreach programme, they welcome a group of people with eating disorders with the help of voluntaries of Obra Social “la Caixa”.
Finally, regarding their learning activities, on the 22nd clarinettist Cristo Barrios is giving a Performance class to students of Conservatorio Profesional and Superior de Música de Santa Cruz de Tenerife, which are collaborating institutions.
Tickets for the concert can be booked at Auditorio de Tenerife box office from 10:00 am to 7:30 pm, Monday to Saturday, on www.auditoriodetenerife.com or calling 902 317 327.
Tue 19Mar19
Danza en Comunidad, the social department of Tenerife Danza, starts a new course with 20 groups enrolled. The team welcomed the agents involved in the projects at a function that took place at Auditorio de Tenerife. The event was attended by the heads and participants of the groups or communities, open call applicants, local programmers, artistic collaborators and a representative of the project “Amiguitos y amiguitas” [Little friends] of Cabildo de Tenerife and La Laguna University.
The aim of these meetings is to agree initiatives regarding the work to be done during the project. “Danza en Comunidad also acts as mediator between different cultural agents, groups and individuals who want dance, body and movement to be used as a tool of personal and social transformation”, project coordinator Laura Marrero explained.
Professionals Cristina Hernández, Raquel Jara and Carmen Macías complete the Danza en Comunidad team, who for seven years has shared the experience of a professional of the art of movement through sessions structured in a dancer’s routine: warm up, working on stage presence and the construction of a dance show.
In this last stage, the atmosphere is filled with creativity, participation, collective creation and expression of the inner worlds of every participant. “Everyone contributes to the idea, the movements, the theme and even the costume for the stage design that will finally get made”, Marrero says.
The project currently has six programmes to offer the groups: Tarjeta de visita [Business Card], Juntos [Together], Cita a ciegas [Blind Date], Isla flotante [Floating Island], Transmisión [Transmission] and Paso a Paso [Step by Step]. There is also a continuation activity every Tuesday at Auditorio de Tenerife for people who have taken part in the project as a member of a group and wish to go on individually.
Also, Creadores en Comunidad is carried out once a year. It consists of a guest choreographer who makes a dance show for different participants. This year, Daniel Morales will be taking part in the project to work with teenagers. Danza en Comunidad also welcomes ideas of artists wishing to collaborate in the project.
There is an open call every year for people wishing to be part of the work done with the groups, they can register at Auditorio de Tenerife website.
Two new programmes were carried out last year and we started having two get-togethers a year with the participants to evaluate, create and build together. A total of over 700 people have experienced the art of movement thanks to Danza en Comunidad, which is part of Auditorio de Tenerife’s Educational and Social Area, with the collaboration of Fundación Cepsa and Obra Social “la Caixa”.
In the six years the Project has been on, the Danza en Comunidad team has put on as many shows as groups they have worked with using the values chosen by the groups: respect, beauty, friendship, justice, courage, sensitivity and love. Working with so many people has revealed two main concepts the project currently focuses on: identity and coexistence.
In Danza en Comunidad they respect the time every individual needs to take in the dance tools, trying to find maximum mobility for each body with the aim of maximising the physical pleasure of moving. The relationship with the group, agreements, taking part, movement and ideas are key to build an atmosphere where everyone can exercise their right to move, create and express their sensitivity.
Mon 18Mar19
El ciclo Primavera Musical, organizado por la Federación Tinerfeña de Bandas en colaboración con el Cabildo Insular, aborda su segunda sesión mañana [domingo 17] a partir de las 11:30 horas en la Sala de Cámara del Auditorio de Tenerife con 160 músicos de tres bandas. Las asociaciones musicales San Marcos, Nuestra Señora de Lourdes y Cruz Santa protagonizarán la sesión matutina, de entrada libre hasta completar aforo.
La Asociación Musical San Marcos, de Tegueste, compuesta por 35 músicos y bajo la dirección de Alicia Melián Rodríguez, abrirá el concierto. La formación fundada en el año 1989 tocará Doña Lola, de Francisco Grau Vergara; Land of Legends, de Andreas Ludwig Schulte; y, para terminar, sonará Dancing Show, de Josef Hastreiter.
Tomará entonces el relevo la Asociación Musical Nuestra Señora de Lourdes, de Valle Guerra, cuyos 45 músicos siguen la batuta de Samuel Hernández Ávila. El pasodoble Hispánico, de Nuno Osorio, será la primera pieza que toque la banda nacida en 1995, que continuará con Palindromía Flamenca, de A. Ruda Peco, para la cual contarán con José Manuel Molina al saxo soprano, Héctor González a la guitarra y Fabio García al cajón flamenco. Luego sonarán La Leyenda de Maracaibo, de José Alberto Pina, y Tico Tico, con arreglos de Naohiro Iwai.
Cierra el concierto la Agrupación Musical Cruz Santa, de Los Realejos, que contará con José Varela Pardo como director invitado, siendo José Manuel Álvarez Rodríguez el líder de la formación. Los 80 músicos de esta banda fundada en 1938 tocarán el pasodoble de concierto Enrique López, de Antón Alcalde Rodríguez; pasando luego a la Marcha mora de Ropería Ximo, de Francisco Valor Llorens; Ratafia, de Willy Fransen; para finalizar con Guilliver’s Travels, de Bert Appermont.
La siguiente cita de Primavera Musical tendrá lugar el domingo 24 de marzo a la misma hora y lugar y tocarán la A. M. Nueva Unión, de Los Silos; la S. M Filarmónica, de Los Realejos; y la A. M. Nivaria, de Arafo.
Fri 15Mar19
In the fourth production this season, stage director Giuseppe Frigeni blends tradition and reinterpretation
Ópera de Tenerife presented on Friday, the 15th the production of Turandot, to be put on next week at Sala Sinfónica in Auditorio de Tenerife. Performances are taking place on Tuesday, the 19th, Thursday, 21st and Saturday, the 23rd at 7:30 pm. This opera by Giacomo Puccini is one of his most-widely performed titles. Set in the Far East, this posthumous work by Puccini includes arias like ‘Nessun dorma’, ‘In questa reggia’ or ‘Signore, ascolta’, which have reached beyond the stage and are now part of popular culture.
The details of this production were revealed by the Cabildo’s Director for Culture, José Luis Rivero; Ópera de Tenerife’s intendant, Alejandro Abrante; musical director Giampaolo Bisanti, and stage director, Giuseppe Frigeni.
José Luis Rivero said that “we have the best cast possible to perform this opera, which is nearly sold out in all three performances”. “We have exceptional guest artists, who often perform with us, in addition to Auditorio de Tenerife team, who do an excellent job”. “We’re proud of this title, we were looking forward to putting it on”, he stated, and revealed that “this title left a lasting impression when it was premiered, which we’ll bring back with this staging in Tenerife”.
Alejandro Abrante explained that “since opera seasons are held in Tenerife, from 1965 to the present, Turandot has been put on three times: in 1991, 2007 and now, 2019”. The last two were staged at Auditorio de Tenerife during the Ópera de Tenerife season and were directed by maestro Frigeni. “Turandot is a very complicated opera, as there are 80 people, just in the choir, in addition to the orchestra plus the cast, so it makes up quite a large group”, Abrante admitted.
Giuseppe Frigeni thanked Ópera de Tenerife for placing their trust on him and revealed that “although I did this title here in 2007, there will be some differences, for instance, in lighting but also in the performance”. The maestro said that “the quality of the artists and their predisposition has led to characters being adapted to their singing characteristics. “They were open to the director’s conceptualization, which is something that is not very common, so it’ll show in the performance”, and highlighted “the readiness and generosity of Auditorio de Tenerife’s technical team, which is not very usual in today’s show business”.
For this Turandot production, Giuseppe Frigeni has put together not very loud stage and visual elements so that they allow the music to resound rather than illustrate what it evokes: transparencies and effects seen against the light, a fluid sliding of planes and dimensions, dynamic contrasts, rituals and a somewhat engrossed atmosphere. Although he does take into account the oriental nature of the context, he has gone for abstraction, avoiding an excess of exotic elements or Chinese ornaments.
Maestro Giampaolo Bisanti, who works at Ópera de Tenerife for the first time, stressed the mutual respect and good vibes with maestro Frigeni, “which is quite unusual between a stage director and a musical director in an opera”. “I wish to personally thank Ópera de Tenerife because they have made me feel at home, and again, I’ve experienced this quite unusual situation, not only with my theatre colleagues but in the city too”.
Bisanti admitted that there has been a bidirectional relationship with Orquesta Sinfónica de Tenerife, which he thinks is “professional and disciplined”. “Tenerife people will have the chance to see a top-quality product”, he promised.
This Ópera de Tenerife’s production includes the voices of Tiziana Caruso (Princess Turandot), Carlo Ventre (Calaf), Alexandra Grigoras (Liù), Carlo Malinverno (Timur), Blagoj Nacoski (Altoum); Alfonso Mujica, Biao Li and David Astorga (Ping, Pong and Pang, respectively), Aleksandr Utkin (a mandarin), Néstor Gálvan (Prince of Persia); María José Torres and Sara Ingrid Acosta (maids).
Costumes are by designer Amélie Haas. Her main inspiration is in the sober and pure Eastern designs, especially those from Japan; they agree with the intentions and principles of the aesthetics and dramatic direction, and the formal approach of the stage design so that her costumes go on stage in simple and pure abstract shapes, which are not didactic.
Performances are at 7:30 pm on Tuesday, the 19th, Thursday, the 21th and Saturday, the 23rd at Sala Sinfónica in Auditorio de Tenerife. Tickets can be booked at Auditorio de Tenerife box office from 10:00 am to 7:30 pm, Monday to Saturday; on www.auditoriodetenerife.com or calling 902 317 327.
Inspired in a Persian poem, the libretto in Italian is by Giuseppe Adami and Renato Simoni, and the music is by composer Giacomo Puccini [Lucca 1858 - Brussels 1924]. It tells the story of the cruel princess Turandot, who will only marry the suitor who deciphers the three riddles she suggests. If the answer is wrong, the candidate dies.
The opera was premiered at Teatro alla Scala in Milan on 25 April 1926 with director Arturo Toscanini. Since the composer did not finish the score, it was his pupil, Franco Alfano, who completed it.
There are several anecdotes about the premiere. Perhaps the best remembered is when the part for choir reached ‘Liù...Bontà!’, conductor Toscanini, to pay homage to his friend of many years, put down his baton and turning to the audience said: ‘This is where the opera ends, because the maestro died at this point’, and ended the performance without including Alfano’s composition, which was played the following day.
Thu 14Mar19
This weekend Auditorio de Tenerife celebrates the World Theatre Day with two days of stage activities that include performances by actors José Piris and Cristina Collado. Two hundred students of Cabildo’s Escuelas de Teatro [Drama Schools] will have the chance to attend the talks by guest specialists, who will explain theatre contents that students can then apply to their group work and, finally, showcase what they have learnt.
The event starts on Saturday, the 16th at 10:00 am with students aged under 15, who will enjoy a master class by José Piris. In this class they will work from four natural elements: water, air, earth and fire. In the actor’s opinion, “the four elements are, no doubt, an essential source of inspiration where the performance of body theatre grows”. “In every theatrical activity there’s an underlying dynamic, which comes from the effort and resistance through which our body evokes natural events and translates them into an imaginary reality”, Marcel Marceau’s student reflects.
José Piris, who was also invited last year to lead the World Theatre Day events at Auditorio de Tenerife, is the director of Escuela Internacional de Mimo y Teatro Gestual Nouveau Colombier [International School of Mime and Gestural Theatre]. He represents Marcel Marceau’s mime technique in Spain and is also the director of Compañía Internacional de Teatro Físico Mimox [Physical Theatre International Company] and honourable qualified member of Marcel Marceau’s L´Ecole Internacional de Mimodrame in Paris. He teaches at Real Escuela Superior de Arte Dramático de Madrid and at the University of Kent. His career spans over 30 years and he has created more than 65 productions in addition to taking part in a hundred of stage performances in many different countries.
The session on Sunday, the 17th is led by Cristina Collado. She will be dealing with expression by using the Viewpoints technique with her students aged over 16. The viewpoints are a working system developed by choreographer Marie Overlie, which were later on adapted to theatre by Anne Bogart. “This type of training is based on improvisation; we start from the limits and follow the guidelines that naturally generate a rich composition in the cast”, she explains, and then adds that “acting skills are not required and it’s an excellent system to develop listening on stage”.
Cristina Collado teaches Mime Style, Movement, Repertoire and Aquis at Escuela Internacional de Mimo y Teatro Gestual Nouveau Colombier. She trained in the Viewpoints technique for three years with Diana Bernedo at EIMTG Nouveau Colombier. Collado is a member of the Compañía Internacional de Teatro Físico Mimox Teatros. She has performed in some twenty shows and has also developed a gesture application for artistic creation and psychology.
The Drama Schools, part of Cabildo’s programme Tenerife Artes Escénicas under the Tenerife 2030 strategy, are carried out throughout the academic year in schools and cultural centres where children, youths and adults learn about theatre. The aim is to encourage quality artistic training and collaboration in the cultural development of their neighbourhood. They are taught by Canarian professionals who are graduates in Drama from Escuela de Actores de Canarias (EAC) [Canarian Drama School]. Enrolment is at the beginning of the academic year.
Since 1961 the World Theatre Day has been celebrated worldwide on 27 March. It was created by the International Theatre Institute (ITI), and a figure of international scope is asked to write a manifesto every year.
This year’s it is by Carlos Celdrán, stage director, playwright, theatre educator, and winner of prestigious awards. He lives and works in Havana, Cuba. Celdrán writes about forgotten masters from the past and defends the idea of living the present of the stage experience, “with the sole expectation of reaching the transparency of an unrepeatable moment, meeting with the other in the darkness of a theatre, with only the truth of a gesture, or a revealing word to protect you”.
Wed 13Mar19
The Sala de Cámara of Auditorio de Tenerife Adán Martín welcomes at 12:30 pm on Saturday, the 16th a concert by students of Conservatorio Profesional de Música de Santa Cruz de Tenerife (CPM). Four ensembles of the school are taking part in this morning session: CPM Percussion Ensemble, CPM Chamber Music Percussion Ensemble, CPM Guitar Ensemble, and Chamber Music Saxophone Quartet. Admission is free.
The concert starts with the Percussion Ensemble, ten musicians led by teacher Emilio Díaz. They will be playing Stick schtick, by Chris Brooks, and G. Giménez’s La boda de Luis Alonso. They are followed by Chamber Music Percussion Ensemble, made up by ten musicians and conducted by teacher Sixte Escrihuela. Their repertoire includes Xylophonia, by J. Green and arranged by Bob Becker, xylophone, and María Vera González as soloist; Hans-Günter Brodman’s Greetings to Hermann for quartet; lastly, an improvised sound experiment.
In the second part of the concert, the 25-strong Guitar Ensemble, led by teacher Inés Delgado, will play P. Telemann’s Concerto in D major, the tango Primavera porteña, by A. Piazzolla, and Abba’s Mamma mia. Finally, Chamber Music Saxophone Quartet, with teacher Beningno Cedrés, will perform Petit quatuor pour saxophones (first movement, allegro), by Jean Francaix, Toquades (first movement, tango), by Jerome Naulais, and Pedro Iturralde’s Dixie for Sax.
With this concert, the Conservatoire wishes to show the excellent level achieved and the work done by both students and teachers.
This activity is part of Auditorio de Tenerife’s Education and Social area with the collaboration of Fundación Cepsa and Obra Social “la Caixa”.
As part of their educational project, the Conservatorio Profesional de Música de Santa Cruz de Tenerife, wishes to encourage students to take part in activities outside the school. That is why they give a concert like this one at Auditorio at least once a year.