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The programme Tenerife Artes Escénicas, fostered by the Cabildo with the collaboration of the town councils, is bringing to La Victoria de Acentejo the shows La Familia Pi, by puppet company Bolina, and El bosque de colores, by Komba Producciones. The shows are on in Plaza Rodríguez Lara, on Sunday, 26 at 5:00 pm

Bolina opens this cultural gathering in La Victoria with La Familia Pi [The Pi Family]. Jockeys, wading birds, chicks and leaping worms will make the youngest laugh and have a great time. In a passacaglia full of feathers and colours, these characters offer participative games and parade while interacting with the public.

At 6:00 pm, Plaza Rodríguez Lara welcomes El bosque de colores [The colourful forest]. This is a show for families and it includes magic, humour and participative songs. By interacting with the characters, the audience will meet the fantasy protagonists including a wicked witch who will try to spoil the party. With the help of magic and the audience, the cast makes the witch open her heart and let the party go on.

Tenerife Artes Escénicas is a professional programme for the performing arts and music by Cabildo de Tenerife, and it is part of the Tenerife 2030 strategy, which aims to develop coordination, administrative, economic and technical strategies to offer a quality artistic programme. This initiative has promoted more than 175 shows in all the municipalities in 2018.

Tenors Milos Bulajic and Li Biao are interpreting Lindoro in Rossini’s The Italian in Algiers, on stage in late October at Sala Sinfónica in Auditorio de Tenerife. Bulajic and Biao -both part of the sixth Opera (e)Studio production- will share the role of the man who loves Isabella in the four performances that will open the Ópera de Tenerife season.

This is the first time they are performing on the Island but this opera, which they highly praised, is not new to them. “This is Rossini’s best opera and the best comedy I’ve ever seen”, they say about Ópera de Tenerife’s production.  

Milos Bulajic is from Bonn (Germany), and he studied at Berlin’s Hochschule für Musik Hanns Eisler and at Hochschule für Musik de Würzburg. The performer, who was recently on the Island to enjoy The Traviata, heard about the academic programme of Opera (e)Studio through some friends. He highlights “the work it carries out to become a great opera reference”.

Li Biao comes from Gansu (China). He obtained his degree from Sichuan Conservatoire in 2011 and meant to take part in the auditions for Don Pasquale during the 2016-2017 season but different commitments prevented it.  He says that “he’s never been to Tenerife, but the Auditorio, apart from being a most beautiful building, has a great reputation outside the Island”.

Milos Bulajic, who has already played the role at Nationaltheater Weimar in the 2016-2017 season, points out that “it has high technical demands”. In Li Biao’s view, who has also performed this opera at Italian and Austrian venues, the challenge lies in “expressing the personality and nature of the role”. They both conclude that Lindoro requires “balance to deal with the notes, the coloraturas and the long phrases”.

Regarding their work at Opera (e)Studio under the direction of maestro Giulio Zappa, Bulajic hopes to “enjoy the time shared with other young artists”; as well as “being listened to by an opera-loving audience”. On his part, Biao, aspires to “improve and train to become a professional singer”. They both say “they’re looking forward to be on stage at Auditorio de Tenerife”, and state it will be a “fresh and attractive production”.

About their future projects, the German tenor says that he would like to “have a quiet career”, by which he means “far from media attention” so that I can “focus on my work and enjoy something that comes from deep inside my heart”. His preferences regarding future performances include “the roles of Ernesto in Don Pasquale, Tonio in La fille du régiment, Arturo in Puritani, and even Elvino in Sonnambula”. He also expects “to be able to aspire to the roles of Edgardo in Lucia de Lammermoor, Tito in Clemenza or Macduff in Macbeth in two decades’ time”.

Biao says he cannot make plans for the future and he’d rather “experience the moment on the stage” fulfilling his dream. Although he is not bent on one in particular, he again agrees with his colleague in that he would like to play the role of Tonio in La fille du régiment, “an opera I’d like to perform”, he concludes.

Before reaching those future goals, their minds are focused on Tenerife, where on 7 September they are starting a two-month artistic improvement process under the direction of Giulio Zappa, which would lead to four performances of The Italian in Algiers to be held from 25 to 28 October.

This title opens the new Ópera de Tenerife season and includes the debut of Maximilian Nägele as musical director and the return of Giorgia Guerra as stage manager. She has set this new coproduction of Auditorio de Tenerife and Teatro Comunale di Bologna in the surreal atmosphere of a spa located in 1980s Algiers and characters are dressed with the amusing, colourful costumes of that period.

Tenors Matías Moncada Albarrán and Alexander Utkin are sharing the role of King Mustafa in the Auditorio de Tenerife production The Italian in Algiers, by Rossini, which opens the Ópera de Tenerife season on 25 October. Their performance is part of the sixth Opera (e)Studio, whose training period is starting on 7 September.

Chilean tenor Matías Moncada, who studied at Universidad de Chile and obtained a grant from Fundación Ibáñez Atkinson and from Corporación Amigos del Teatro Municipal de Santiago, is “looking forward to coming to the Island”, as he has had “good references about the opera work done at Ópera de Tenerife”. Born in Russia, Alexander Utkin studied choral direction at Bryansk Regional College and at Rimsky-Korsakov Conservatoire in St. Petersburg, and describes the island’s Auditorio “as one of the most beautiful in Spain”. The Russian singer, who in his early years took up rock, has personal references about the training that has been carried out on the island in the last years.

Regarding Opera (e)Studio, which is starting in September and lasts two months, Utkin has purposefully prepared for it and believes “it’s a great chance to take part in an exciting production and gain stage experience by playing one of the leading roles”. He also highlights “the feedback you get when working with major musicians and young performers”, something Moncada also points out, as he hopes to have “many experiences that will enrich me and make me grow as an individual”.

Neither of them has performed the The Italian in Algiers before but they both believe it is “energetic”. Moncada likens it to “a wave that gets hold of you from the overture all the way to the end”. For his part, Utkin adds that Rossini’s classic “is full of humour and vital power”.  

The character of Mustafa “is a real challenge” according to Moncada, as, “you can’t fall off, you must keep active not to lose the audience attention”. He adds that “this histrionics, Rossini’s typical sparkle, means that if one of the characters doesn’t keep up the energy, the whole thing fades”. Utkin, refers to the different aspects of Mustafa’s multi-faceted personality to describe the difficulty of the role, “he’s a serious guy but behaves like a child; I think the most difficult thing is to combine these two features to make him interesting and amusing to the audience”.

With their eyes in the future, they are both realistic and take it step by step, as Utkin says “it wouldn’t be very original to say that my goal is to become a top-level professional, have an international career and sing across the world”. For the time being, he feels “very comfortable with Rossini, my commitment in Tenerife looks like a good start for a long successful path”. Moncada also focuses on the present and wishes “to go on learning as much as I can” as “whatever the future brings depends on how I live the present time”, he reflects.

When asked about the roles they would like to play in the future, Alexander Utkin recognises that when he discovered the beauty of Verdi’s The Troubadour, he was certain that it was “the role of my dreams”; although he admits that because he has a bass-baritone tessitura “it could be a problem”, so he goes for “Garibaldo in Rodelinda by Händel or Igor in Prince Igor by Borodin as the most suitable roles in my career at the moment”. Matías Moncada says that “he likes Mozart very much and the character of Leporello”. He claims to be enjoying every performance “to the full, as if each of them were the role of my dreams”.

Moncada and Utkin are two of the thirteen singers in this year Opera (e)Studio, where they will start a process of comprehensive artistic improvement, under the supervision of Giulio Zappa, to conclude with four performances of The Italian in Algiers to be held at Sala Sinfónica of Auditorio de Tenerife from 25 to 28 October. This production is bringing musical director Nikolas Maximilian Nägele to the Island and has Giorgia Guerra as stage manager.

The programme Tenerife Artes Escénicas y Música Profesional [Tenerife Performing Arts and Professional Music], fostered by the Island Cabildo and different town councils, and publicly and privately-owned venues across the Island, is offering on Wednesday [15 August], the concert Timples y otras pequeñas guitarras de mundo [Timples and other small guitars of the world] at 9 pm.

Germán López, Althay Pérez, Yone Rodríguez, and Beselch Rodríguez are some of the most outstanding timple performers of the new generation. On this occasion, they get together to show the timple and its relation to other similar instruments in the world. So, Timples y otras pequeñas guitarras de mundo also includes the ukulele, the cavaquinho, the charango, and the cuatro.

The four timple players will offer a repertoire of the major themes that best represent the place of origin of the different instruments. The concert is thus divided in the geographical areas of each instrument: Hawaii, Portugal, Brazil, the Andes countries, Venezuela, and the Canary Islands. They will play a maximum of four pieces from each area.

Tenerife Artes Escénicas is a professional programme for the performing arts and music by Cabildo de Tenerife, and it is part of the Tenerife 2030 strategy, which aims to develop coordination, administrative, economic and technical strategies to offer a quality artistic programme. This initiative has promoted more than 170 shows in 2018.

Sopranos Inés Lorans Millán and Anna Kabrera Eliseeva are the voice of Elvira, King Mustafa’s wife in The Italian in Algiers, the comic masterpiece by Rossini which opens Ópera de Tenerife’s  2018-2019 season and is on at Auditorio de Tenerife from 25 to 28 October. Both singers are excited about their debut on the Island in an opera they think is “brilliant and energetic”.

Inés Lorans is a French-Spanish soprano who trained at the Conservatoire de Rennes and at Guildhall School of Music & Drama in London. She has never been to Tenerife, but has heard about Auditorio de Tenerife productions, particularly about the Opera (e)Studio scheme “through sopranos Inés Ballesteros and Leonor Bonilla”, who have performed in previous Ópera de Tenerife seasons and who were finalists in the 2018 Tenor Viñas competition.

Anna Eliseeva was born in Russia and has lived in Madrid since 2016. Her training started at Moscow Children School to then go on to Escuela Superior de Canto de Madrid. She has not been to the island either but knows about the work being done here as she says that “there are very good productions and I know many singers who have performed in Ópera de Tenerife”.

Both singers have great expectations of the training programme starting in September at Auditorio de Tenerife. In Lorans’s case, “when I finished my musical studies in London, I decided to prepare for the auditions”, in order to “improve my training of the scene”. Eliseeva expects “to learn as much as she can from the Ópera de Tenerife team and her fellow singers”. Inés Lorans values this concept of “comprehensive training” with other artists.

Lorans and Eliseeva will add the role of Elvira to their repertoire. About this debut, Eliseeva points out that The Italian in Algiers deals with “important and complex social issues in a funny, light manner”. Lorans Millán, for her part, believes it is a composition whose “vocal and musical agility is so lively that it is a good chance for singers to show off their voices, not only in the arias but also in the ensembles”, which makes it a “perfect opportunity to make progress in my Rossini repertoire”.

Regarding the possible technical difficulties involved in the role of Elvira, Lorans says that “although it does not have a solo aria, there are many ensembles in a high G-A-B”. For her, “these notes are between high and very high, and as I am a coloratura soprano passing from one register to the other easily, involves technical work”; as she is currently working on it, she believes “this role will allow me to put this into practice and enjoy myself on the stage”. Eliseeva thinks that the most complex aspect of the character is “not to allow Elvira to show just one trait”. To achieve this, she aims at “finding her strength”, otherwise, “the role of the King of Algiers’s wife would be weak and languid”. 

Regarding her future, Lorans Millán recognises that “being part of this project in Tenerife is a goal achieved” and she is certain that “singing and being on stage” is what makes her happy.  As for characters, she hopes to be “lucky enough to play the role of Lakmé or The Queen of the Night”, but she highlights her leading role in Lucia di Lammermoor, by Donizetti, which she thinks is “very complete and difficult both in vocal and dramatic terms”. Anna Eliseeva would also like to play this role in the future, but she must first finish her studies at Escuela Superior de Canto de Madrid, although she is combining her training with her first professional experiences, like “the opportunity granted by Ópera de Tenerife”.

Both singers are arriving in Tenerife on 7 September to take part in the sixth Opera (e)Studio. Eleven other singers are also taking part in the course which is a process of comprehensive artistic improvement, under the direction of Giulio Zappa, and that ends with four performances –two for Lorans and two for Eliseeva- of The Italian in Algiers, to be held at Sala Sinfónica of Auditorio de Tenerife from 25 to 28 October.

This new coproduction of Auditorio de Tenerife and Teatro Comunale di Bologna will have Nikolas Maximilian Nägele as musical director while the stage management is in the hands of Giorgia Guerra, who has set the scene in a 1980’s spa in Algiers.

Auditorio de Tenerife has opened the call for the next Tenerife Artes Escénicas. Companies, groups and artists who work in the performing arts and music can submit their projects until 28 September. This scheme is part of the Cabildo Tenerife 2030 strategy and you can learn about the regulations and conditions on www.tenerifeartesescenicas.com  The aim of the call is to produce a catalogue by selecting stage productions as well as musical groups and artists so that programming agents can easily access the tool they need to choose and present their projects for 2019.

In the area of the performing arts, theatre, dance, circus and street arts can send in their projects while in the musical section, jazz, blues, soul, gospel, rock, opera, classical music, contemporary music and new creation projects are welcomed to take part in the selection process. The programme is fostered by the Cabildo de Tenerife with the collaboration of town councils and publicly and privately-owned venues on the Island. Tenerife Artes Escénicas programmed a total of 312 shows in 2018, 173 of which have already been held.

The programme Tenerife Artes Escénicas y Música Profesional, [Tenerife Performing Arts and Professional Music] fostered by the Cabildo and different town councils, and publicly and privately-owned venues on the Island, is offering the street show El paso de los cisnes by Reciclown in Vilafor. It will take place in Plaza de San Pedro at 7:30 pm. El paso de los cisnes was created by Gabriel Maldonado and by using classical ballet style it carries out a series of itinerant numbers that include dance, humour and the festive spirit characteristic of passacaglia.

This show by Reciclown is opened to all audiences and it is a lively piece that combines the strictness of classical ballet with a touch of easy-going wit. On this occasion, we will enjoy the performance of dancers Isabella Porteles and Ainhoa Jiménez, stilt-walkers Miguel Ramírez, Eduardo Feria, and Miguel Espinosa plus the driver of a mobile music box. Tenerife Artes Escénicas is a professional programme for the performing arts and music by Cabildo de Tenerife, and it is part of the Tenerife 2030 strategy, which aims to develop coordination, administrative, economic and technical strategies to offer a quality artistic programme. This initiative has promoted more than 170 shows in 2018.

Los cantantes Francesco Samuele Venuti y Esteban Sebastián Baltazar debutarán en Tenerife afrontando dos funciones cada uno el rol de Haly, el joven capitán de la guardia del rey de la composición La italiana en Argel, de Rossini. Los dos llegarán el próximo mes a la Isla para participar en la sexta edición de la academia Opera (e)Studio durante dos meses y que, un año más, se encargará de abrir la temporada de Ópera de Tenerife.

Graduado en el Conservatorio Luigi Cherubini de Florencia, Venuti (Lecce, Italia) nunca ha estado en la Isla, pero tiene importantes referencias de Ópera de Tenerife y concretamente del programa Opera (e)Studio, “gracias a unos amigos que me aconsejaron participar en el proceso de audiciones”, afirma. Considera que se trata de un “brillante programa de formación para jóvenes” y confía en que le haga “crecer mucho desde el punto de vista profesional”.

Baltazar se formó en la Escuela CasAzul Artes Escénicas de Argos y es uno de los aspirantes que realizó las audiciones en el Auditorio de Tenerife, proceso del que también tiene referencias por amigos que han participado en anteriores ediciones. El mexicano sostiene que es “uno de los teatros más importantes de España”. Además reconoce que este programa es “un trampolín para nosotros”, asimilándolo con un “radar para entrar en los grandes teatros del mundo”.

Ninguno ha tenido contacto previo con la ópera de Rossini La italiana en Argel, aunque es un título conocido por ambos. En el caso del intérprete italiano la define como una creación “muy entretenida, pero también desafiante que requiere de mucho cuidado en el estudio”. El artista mexicano coincide al adjetivarla como “divertida” y no duda en definirla como “muy compleja y muy precisa”, que exige mucho trabajo “tanto vocal como físicamente”.    

Respecto al rol que van a poner encima del escenario de la Sala Sinfónica del Auditorio de Tenerife, Francesco Samuele señala que el aspecto que entraña más dificultad se encuentra “en las partes concertadas, así como en los recitativos”. Por su parte, Esteban Baltazar hace hincapié “en la afinación perfecta” para un rol que “reclama mucho desde el punto de vista vocal e interpretativo”.

En cuanto a los objetivos que se plantean en un futuro próximo, ambos son realistas y precavidos. Los deseos de Venuti se centran en “mejorar y crecer artísticamente”, no sólo para ganar “competitividad en otros concursos líricos”, sino para “comenzar a trabajar en diferentes compañías”. Baltazar, por su parte, espera también “aprender muchísimo tanto desde el punto de vista personal como profesional” y deja bien claro su intención de  regresar a Tenerife “todas las veces que pueda”.

Ambos atesoran en su lista de deseos muchos papeles, aunque si tuvieran que concretar alguno, el artista italiano se decanta por “El barbero de Sevilla o Las bodas de Fígaro”, en este último título coincide con el azteca, quien también añade Don Giovanni.

En la primera semana de septiembre comenzará la sexta edición de la academia Opera (e)Studio donde trece artistas iniciarán un proceso de perfeccionamiento artístico integral. Esta iniciativa, dirigida por Giulio Zappa, concluirá con la representación de cuatro funciones de La italiana en Argel, que tendrán lugar en la Sala Sinfónica del Auditorio de Tenerife del 25 al 28 de octubre.

La italiana en Argel supone el arranque de la temporada 2018-2019 y traerá consigo el debut en Ópera de Tenerife de Nikolas Maximilian Nägele. Esta nueva coproducción de Auditorio de Tenerife con el Teatro Comunale di Bologna contará en la dirección de escena con Giorgia Guerra y transcurre en la década de los ochenta del siglo pasado en la atmósfera surrealista de un spa ubicado en Argel, todo ello aderezado con un vestuario divertido y colorido afín a la época.

El Auditorio de Tenerife ha decidido ya las quince compañías que participarán el próximo curso en la tercera edición del  programa Teatro en la Escuela, una iniciativa adscrita a la estrategia Tenerife 2030. El catálogo de espectáculos está integrado por Milagrosa Torres, I+D Danza, Contando ando, Bolina Títeres, Jaster & Luis Creaciones, Clownbaret, Teatrapa Plus, Delirium Teatro, Paula Quintana, Irene Sanfiel, Teatro Tamaska, Timaginas Teatro, Burka Teatro, Soluciones Dramáticas y Acerina Amador.

La principal novedad de esta tercera edición es que existen algunas propuestas que llevan incluida un proceso creativo, por lo que la implicación del centro y su alumnado será mayor al contar con cinco sesiones durante una semana, las cuatro primeras formativas y la quinta será la exhibición del trabajo realizado. En este formato se encuentran los espectáculos Bailar el principito, de Jaster & Luis Creaciones; Unpacking, de Irene Sanfiel; The Lieder, de Soluciones Dramáticas, y Refugio, de Acerina Amador.

La oferta está orientada a todos los ciclos formativos desde Infantil hasta Bachillerato y ahora serán los centros educativos los que tienen que formalizar su petición antes del 28 de septiembre. Cada centro podrá solicitar un máximo de cuatro funciones y cada compañía realizará un máximo de diez funciones. La información para la inscripción la pueden encontrar en www.tenerifeartesescenicas.com

En la segunda edición de Teatro en la Escuela, desarrollada en el curso escolar 2017/2018, se realizaron 150 funciones, que tuvieron una participación total de más de 13.500 escolares. Las quince compañías que conformaron el catálogo de espectáculos llevaron sus propuestas de teatro, danza, circo y demás artes escénicas a 82 centros educativos de 24 municipios.

La iniciativa Teatro en la Escuela, que está gestionada por Auditorio de Tenerife a través del programa Tenerife Artes Escénicas, pretende dar a conocer los lenguajes escénicos a los estudiantes en su propio contexto educativo, vincular aspectos académicos al sector profesional de las artes escénicas canarias y crear las bases para

 favorecer la socialización de estudiantes dentro del espacio de la escuela. Así, a través de actividades culturales se fomenta el desarrollo integral de los escolares, ya que las compañías representan en las instalaciones de los centros educativos obras adaptadas a sus necesidades curriculares.

Australian mezzosoprano Sophie Burns will perform as Zulma, Elvira’s slave and confidant, in the hilarious opera The Italian in Algiers by Rossini. The show opens the 2018-2019 Ópera de Tenerife season. She is the only singer from the Opera (e)Studio academy that is playing her role in all four performances to take place at Sala Sinfónica del Auditorio de Tenerife between 25 and 28 October.

Burns, born in Melbourne (Australia) and trained at the Monash and Melbourne universities, made her debut aged 20 in Italy, playing the role of Stabat Mater by Pergolesi. She then went on to sing on stages across Europe and Australia, performing in operas, concerts or competitions. The singer, who received an Elizabeth Luxton grant from Berlin Opera Academy, has never been to Tenerife although she highlights that “the nature of the island, the privileged by the sea location of the Auditorio and the interesting productions made”. She is “proud to sing in this company and in such an incredible place”, she also said she feels “honoured to join their ranks”. 

Her coach told her about the academic Project Opera (e)Studio and encouraged her to take part in a “programme that works with the best of the best and allows young artists to reach a further step in their careers”. Appealing to the simile “this opportunity is what dreams are made of” Burns talks about what she considers to be “the chance to perform in one of the major opera houses in Europe”. Also, “I’m singing one of my favourite operas”, she said.

Burns wishes “to grow as an artist in all the capacities” in her next participation in Opera (e)Studio and she hopes to “learn constantly through performance, the intensive study of my role, and the time shared with my colleagues”. To this aim, she trusts she “will be challenged every step of the way”.

Sophie Burns thinks that The Italian in Algiers is a “very funny” opera, defining it as a composition with “charming and impressive music to sing and experiment with.” She also points out that “the characters are rich and alive”, which means the audience will have “exceptional entertainment”. Regarding her role, she is certain that Zulma “has a strong personality, which also makes her be a schemer in the shadows.” She thinks that one of the main issues she could face when approaching the character “is portraying the nuances in her personality and her relationship with Elvira”. That is why she points out that it will be “a challenge to keep my energy up in order to deliver maximum quality in every single performance”.

As far as future projects are concerned, Burns states that one of her dreams is “to work in the best opera companies.” One of the roles she would like to play is that of Dalila, in addition to the “Italian repertoire”, as “it suits my personality and voice colour.”

The sixth Opera (e)Studio academy is starting in early September where thirteen singers will begin a process of comprehensive improvement. This initiative, directed by Giulio Zappa, will end with four performances of The Italian in Algiers, which will take place at Sala Sinfónica del Auditorio de Tenerife from 25 to 28 October.

The Italian in AlgiersThe Italian in Algiers opens the 2018-2019 season which includes the debut of Maximilian Nägele in Ópera de Tenerife. This new coproduction of Auditorio de Tenerife and Teatro Comunale di Bologna will have Giorgia Guerra as stage manager. The plot develops in the surreal atmosphere of a spa located in late 1980s Algiers and characters are dressed with the colourful, funny costumes of that period.

Both the box office and our phone service 902 317 327 will be closed during August. You can buy tickets for upcoming events via our website www.auditoriodetenerife.com, which will work as usual throughout the month.

From 1 September we will offer these services again from 10:00am to 7:30 pm Monday to Saturday, as usual.

Our guided tours will not be available in August either. They will start again on 1 September at the usual time: 10:00 am, 12:00 noon, 2:00 pm and 4:00 pm.

The shop at Auditorio de Tenerife, located at the box office, is also closed until September.

El taller de verano de teatro musical que oferta el Auditorio de Tenerife comienza el próximo lunes [día 23] con clases de interpretación, danza y voz que culminan el viernes 27 con una muestra al público. Los 27 alumnos que se han inscrito a este curso intensivo, que se presenta como una alternativa de ocio para mayores de 18 años, participarán en el montaje de varios números grupales e incluso algún solo de piezas de musicales populares.

Para formar parte de este taller no era necesaria la experiencia previa pero lo cierto es que muchos de los alumnos han participado en otras experiencias artísticas del Auditorio de Tenerife. Tampoco hay límite de edad, con lo que habrá veinteañeros con personas de más de 60 años trabajando juntos. Melodie Pérez, coordinadora del taller, asegura que “nuestro objetivo principal es que los alumnos se diviertan”.

Además de las nociones básicas de interpretación, danza y voz, los alumnos aprenderán historia de los musicales por medio de la contextualización de los grandes éxitos musicales. “Queremos que entiendan por qué fueron y son importantes”, recalca la directora de escena, quien ofrecerá a cada alumno “la posibilidad de montar con nosotros un solo”.

El equipo docente que dará las clases en este taller está compuesto por cinco profesores: Melodie Pérez, Mirela Fregolent, Alejandro de la Barreda, Elena Feria y Roxana Schmunk.

La actuación con la que se termina el taller tendrá lugar con entrada libre hasta completar aforo en la Sala Puerto del Auditorio de Tenerife el viernes [día 27] a las 20:30 horas. Este taller pertenece al Área Educativa y Social del Auditorio de Tenerife, que cuenta como colaboradores con la Fundación Cepsa y la Obra Social “la Caixa”.