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Next week, a coproduction between the Auditorio de Tenerife and the operas of Oviedo and Chile will be enjoyed on an 11-metre-high stage.


Ópera de Tenerife presents the second title of its 2023-2024 season: Manon, by Jules Massenet, in which the main character is torn between love and wealth. On 21, 23, and 25 November it takes place at 7:30 p.m. in the Symphony Hall. The tickets are available for regular audiences for 25 euros (5 euros for the audience under 30 years of age), and there are also discounts for students, the unemployed, large families, and groups.

The details of this coproduction between the Auditorio de Tenerife, the Municipal Theatre of Santiago-National Opera of Chile, and the Opera of Oviedo were announced by the artistic director of the Auditorio de Tenerife, José Luis Rivero, the musical director, Christopher Franklin, the stage director, Emilio Sagi, and the star who plays Manon, the soprano Sabina Puértolas.

José Luis Rivero explained that "for us, this Manon is the first production with the Opera of Chile and one of the many that we have already tackled with the Opera of Oviedo”. The artistic director highlighted that "for Ópera de Tenerife, this is the premiere of Manon, as we had not staged it, so it will be a discovery for our audience”. Lastly, he wanted to highlight that "opera culture is more alive than ever”.

The soprano Sabina Puértolas admitted that since arriving on the island she has written to family and friends with "kisses from paradise”. “I love the Ópera de Tenerife and the affection with which we are treated here, we have formed a great team in order for the audience to feel the same as we do when we go on stage”. With regard to the lead role, she explained that "Manon is a girl who gulps up life, who doesn't see who her decisions may affect, and who does what she wants down to the logical conclusion”. For Puértolas, "Each production is different, and there are always nuances because I respond to inputs such as the acoustics of theatres and my colleagues on stage”.  

Christopher Franklin, who will lead the Sinfónica de Tenerife, recalled that Manon was one of the first operas he conducted. Despite the fact he has lived in Italy for many years, where Puccini's version of this story (Manon Lescaut) is more recognised, "I personally feel closer to the score by Massenet”. With regard to working with this title "that is unusual in the repertoire", he shared "the intensity of the days working on this great stage with stairs that revolve, difficult to organise and direct with the musicians from the pit and the singers on the stage”.

Emilio Sagi made his debut in December 2003 at the recently opened Auditorio de Tenerife with the opera L'equivoco stravagante by Rossini, production at the Rossini Festival in Pesaro. “I am returning 20 years later very happy with this Manon, work that I have always wanted to conduct, and the fact that these three theatres have awarded me this opportunity”. “It is a wonderful work, full of nuances that star Manon, a woman in a world of men, a poor young girl who has nothing, and who is sent to a convent by her parents, which was common at the time, and she has to manage in a world she doesn't know and is amazed by how high society lives" analyses the multi award winner from Oviedo. He quoted Borges, who in his stories wanted nothing other than to excite and entertain, to explain that "our job is to excite and offer the greatest possible show”.

This opera in five acts and six scenes has a libretto by Henri Meilhac and Philippe Gille, based on the novel Manon Lescaut by Abbé Prévost. It was first performed at the Opéra-Comique in Paris on 19 January 1884.

Manon is a very young character who oscillates between love at first sight, passionate love, and her desire for wealth and freedom. The story, which takes place in France under the reign of Louis XV in the 18th century, begins when Manon goes to the convent to fulfil the wishes of her parents, who are worried upon seeing her leaning towards earthly pleasures.

Then, she finds herself by chance in an inn with Chevalier Des Grieux, a young student. A single look suffices for them to fall in love. They decide to escape to Paris but the idyll is short-lived. Manon cannot live on loving alone and accepts the offer of a life of luxuries in exchange for being the lover of a rich lord, Guillot Morfontaine. Des Grieux is not willing to leave her and will follow her on a tortuous path.

The team of Sagi, which has worked on stage and on the artistic direction in national and international theatres, is completed with the stage design of Daniel Biano, 11 metres high and taking up 240 square metres of the Auditorium. It is inspired by the work of the 18th-century painter Jean-Honoré Fragonard to offer an eighteenth-century feel of luxury. The costumes, in a classic style, are by Pablo Núñez and the lighting design is by Eduardo Bravo.

Christopher Franklin will conduct the Sinfónica de Tenerife, which will be accompanied by forty voices from the resident choir Coro Titular de Ópera de Tenerife-Intermezzo, directed by Andrés Juncos, among whom there will be nine secondary singers with more notable roles.

The soprano Sabina Puértolas will be transformed into Manon, as she did in November 2022, at the première of this proposal at the Municipal Theatre of Santiago and last September at the Ópera of Oviedo. The Armenian tenor Liparit Avetisyan will play Le chevalier des Grieux, the lover of Manon. The baritone Luis Cansino will be transformed into Lescaut, the cousin of Manon, and the bass Insung Sim will play Le Comte des Grieux, father of the gentleman suitor.

Guillot Morfontaine, a finance minister who will become obsessed with Manon, will be performed by the tenor Gillen Munguía, and Monsieur de Brétigny, a noble friend of his, will be played by the baritone Lorenzo Barbieri. The soprano Inés Lorans and the mezzo-sopranos Claire Gascoin and Christina Campsall will play the roles of the actresses Pousette, Javotte, and Rosette, respectively. The bass Abraham García will sing the roles of the innkeeper, the doorman of the Saint Sulpice seminary, and a croupier. On the other hand, 21 extras will complete the scenes.

Jules Massenet was born in the French area of Montaud, close to Saint-Étienne, on 12 May 1842, and he died in Paris on 13 August 1912. Throughout his life, this musician of French Romanticism was highly renowned for his opera work, although in his compositional work, he dealt with other registers, from ballet to oratorios and cantatas, to songs, orchestral works, and compositions for piano. His operas were very popular in the period between the centuries, from the end of the 19th to the early 20th century.

The tickets for the performances of Manon are available on the website, at the auditorium's box office, or by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m., Saturdays from 10:00 a.m. to 2:00 p.m.

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The Auditorio de Tenerife will receive 1,591 schoolchildren this week. Saturday’s session will be exclusively for families.


This week, the Tenerife Symphony Orchestra begins its educational concerts season with El circo de Don Nicanor (Mr. Nicanor's Circus), by Victor Trescolí Sanz, texts by Mar Benegas, and illustrations by Ximo Abadía. Ana Hernández Sanchiz will be in charge of the direction and narration. The event begins on Wednesday and Thursday with the visit of 1,591 schoolchildren to the Chamber Hall of the Auditorio de Tenerife Adán Martín, and ends on Saturday (18) with a concert for families. Both performances are sold out.

An ensemble from the Sinfónic de Tenerife (Tenerife Symphony Orchestra) will perform the first concert of the 2023-2024 season. It presents the adventures of an altruistic character, Don Nicanor. After rescuing several animals, Don Nicanor decides to open a special circus where everyone can show off their skills. The chamber music group consists of Eduardo Langarica on the violin; Joanna Hetherington, on cello; Esther Pinyol, on harp, and Eduardo Martín, on tuba; Ernesto Mateo appears as a guest soloist on the toy piano.

On Wednesday and Thursday at 10:00 and 11:30 a.m., it will be the turn of the 1,591 preschool children from 26 schools of nine island municipalities. The following day, a new performance takes place in the former San Sebastián monastery in Los Silos as part of the International Storytelling Festival.

Ernesto Mateo, a pianist and composer from Gran Canaria, is working professionally at the Higher Music Conservatory of the Canaries. The soloist has more than 60 works, including operas, electronic music, children's pieces, tongue twisters for choir and even a concerto for toy piano and orchestra. His music has been performed in France, Italy, Mexico, and Uruguay.

Mateo has performed his own music and that of other authors on the piano, toy piano, synthesiser, and all kinds of keyboards throughout the Canary Islands. In addition, he has taken part in festivals for classical, early and modern music.

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The programme, with Chopin, Weinberg and Prokofiev, includes a suite by Szpilman, Holocaust survivor and main character of ˋThe Pianistˊ.


The pianist Yulianna Avdeeva performs Resiliencia this Tuesday (14th) at 7:30 p.m. in the Chamber Hall of the Auditorio de Tenerife Adán Martín. The programme includes works that are marked by the instability of the times in which their composers lived, including Władysław Szpilman (1911-2000), Holocaust survivor and main character in Roman Polanski's film The Pianist (2002). Szpilman's son gave Avdeeva the score of the suite, which was thought to be lost and can now be heard in the Auditorio.

In addition to Szpilman's work The Life of Machines, Avdeeva will perform the Piano Sonata No. 4 by Mieczysław Weinberg (1919-1996), who fled to Poland in 1939 after his family was murdered by the Nazi regime; Piano Sonata n. 8 by Sergey Prokofiev (1891-1953), who after living in the United States and Paris, returned to the Soviet Union in 1936 suffering a hardened political environment, and Polonaise-Fantasie by Frédéric Chopin (1810-1849), exiled in France after the failure of the Polish revolution of 1830.

The title of this programme, which is also the title of one of Avdeeva's CDs, refers to the resilience of these composers and their works, which means their ability to overcome traumatic circumstances such as death, war or accidents. At the heart of this album is Szpilman, the Polish Jew who survived the Second World War thanks to the power of his music. Inspired by the unique opportunity to play the piano in Szpilman's home, this CD project helped Avdeeva face the challenges of our time.

Wladyslaw Szpilman's son, Andrzej Szpilman, not only gave Avdeeva the scores for the piano suite The Life of Machines (1933), but also for Mazurek (1942). Together with his Concertino for Piano and Orchestra (1940) and Waltz in the olden style (1937) they are the only extant pieces Szpilman composed before or during World War II.

The autograph of the Suite was considered lost, and, according to Andrzej, his father was not able to restore the 1st and the 2nd movements after his traumatic experiences during the Holocaust and World War II. It was not until 2000 that the personal copy of the 1934 suite was returned to Szpilman's son.

In his Suite, the pianist reflects on industrialization with a sense of humour by musically assigning human adjectives to the machines. It gives us a glimpse of what Szpilman might have composed if he hadn't experienced the atrocities of the World War.

Yulianna Avdeeva earned international recognition at the 2010 Chopin Competition, winning First Place with a "detailed way of playing" that "matched Chopin's own", according to The Telegraph. Among her many orchestral collaborators are the Los Angeles Philharmonic with Gustavo Dudamel, the Baltimore Symphony with Marin Alsop, the Montreal Symphony Orchestra with Kent Nagano, the Finnish Radio Symphony Orchestra with Vasily Petrenko, and the London Philharmonic with Vladimir Jurowski.

She has given public performances in the world's most prestigious concert halls, and she is also a regular guest at the Chopin festivals and the La Roque-d'Anthéron International Piano Festival. After recording the Chopin concerts with the Orchestra of the Eighteenth Century and Frans Brüggen (2013), Avdeeva released three solo albums, including works by Bach, Mozart, Schubert, Chopin, Liszt, and Prokofiev. Her chamber music recordings of Mieczyslaw Weinberg with Gidon Kremer have been released by ECM Records (2017), as well as Deutsche Grammophon (2019).

The tickets can be purchased at a single price of €15 on the website, at the auditorium's box office, or by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m., Saturdays from 10:00 a.m. to 2:00 p.m. Check the special discounts for the audience under 30 years of age, students, unemployed, and large families.

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Within the framework of the Arts and Movement Festival FAM, the show “Tra, tra, tra. Tradición, transmisión y traición” by Explica Dansa will take place this Friday


As part of the Arts and Movement Festival FAM programme, the Auditorio de Tenerife is offering, Tra, tra, tra. Tradition, transmission, and treason, a contemporary look at tradition, a danced conference by Explica Dansa, under the direction of the Catalan dancer and performer Toni Jodar. The event takes place this Friday (10th) at 7.30 p.m. at the Sala Castillo. The tickets are on sale at a single price of €8 and with discounts for people under the age of 30, students, unemployed people, and large families.

This work complements the trilogy of danced conferences with which the company Explica Dansa undertakes a journey through the history and evolution of contemporary dance. On this occasion, the focus is on traditional dance. It is a proposal and unique exploration in which Toni Jodar observes the shared influences between contemporary and traditional dance, no longer as an act of treason to either of the two, but rather as an act of unconditional love for all dance.

It might seem like a big leap to go from tradition to treason. However, etymology indeed shows there are meanings that have gradually moved further apart over time and with use, as in this case, but which emerged out of the same root. The word tradition and the Spanish verb "traicionar" (meaning to betray) share the root tradere, which means to transmit, submit, give, transcend. Thus, Tra, tra, tra. Tradición, transmisión y traición (Tradition, transmission, treason) is a look at these roots which, as a result of transmitting from one to the next, end up betraying one another.

Dance with traditional roots brings together varied styles and trends that coexist with a contemporary landscape: the present, the repository of yesterday and tomorrow. Just as contemporary creators have often felt attracted by the riches of traditional dances and have taken some steps, traditional dance has also incorporated modern elements into corporeality, the format, and syntaxis, although some groups continue to work to preserve the traditional legacy in the purest way possible. However, tradition, this legacy passed down from parents to children and which is used as intimate and political material for identity, in each transmission to each new generation and with each family, has inevitably evolved.

Explica Dansa is a project specialising in the training and creation of audiences, its mission is to professionalise activities for spectators. It offers the audience interpretative guides to ensure that knowledge of contemporary languages is more accessible. It is presented through several formats, such as these danced conferences, a stage genre that sits somewhere between conference and show.

It is a longstanding project, led by Beatriu Daniel and Toni Jodar with a team of collaborators and with the support of leading facilities and cultural institutions, both nationally and internationally: Sadler's Wells Theater (London), China Tour (Shangai, Beijing...), Danza a Escena -Spanish Theatre Network, Platea (Spanish National Institute of Performing Arts and Music), Bibliotecas de Catalunya, etc.

Tickets for this danced conference can be purchased at a price of €8 on the website, at the auditorium's box office or by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 05:00 p.m., Saturdays from 10:00 a.m. to 02:00 p.m. FAM has the collaboration of the Dance on Stage and Acieloabierto Circuit, both of the National Institute of Performing Arts and Music of the Spanish Ministry of Culture INAEM.

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This Thursday's programme features the ˊLachrimæˊ by 16th-century composer John Dowland, performed by the ensemble and the singer.


The Auditorio de Tenerife offers this Friday (9th), at 7:30 p.m., at the Chamber Hall the concert My deserts: John Dowland. The programme consists of the 16th-century composer and lutenist's Lachrimæ, performed by the viola da gamba consort La Chimera and the American tenor Zachary Wilder.

With these compositions, John Dowland (1563-1626) guides the audience through a gallery of the different nature of crying in which, instead of paintings, crying is like a mirror, a precise portrait of the individual feeling. Many theories have been put forward about this enigmatic collection, one of the most interesting of which suggests that it may be a Maundy Thursday crypto-liturgy intended to gain favour with Queen Anne of Denmark; others view the Lachrimæ more as a reflection of the theories on melancholy, which were very fashionable at the time.

Whatever the purpose of this collection, each listener will find the chance to undertake a dense introspective journey in it, guided through extremely evocative titles to which it is possible to give an autobiographical meaning: old tears, forced tears, the tears of a lover... In the constant oscillation between the profane and the sacred, between nihilism and redemption, dazzling lights sometimes appear, like landscapes only just revealed by a lightning strike in the midst of a storm: moments of sublime joy, almost euphoria, where tears will arise out of happiness.

La Chimera consists of Margherita Pupulin on the violin, Xurxo Varela, María Alejandra Saturno, Sabina Colonna Preti, and Lixsania Fernández on viola da gamba, and Eduardo Egüez on lute. Sabina Colonna Preti created this ensemble in 2001, which has taken on new forms since her encounter with the Argentinian lutenist. While maintaining its characteristic sound of a viola group, La Chimera has become an ensemble of variable geometry formed by internationally renowned artists, whose activity is focused on the creation of original projects, with a particular interest in the links between the ancient world and the modern world.

It has had several projects over recent years: Buenos Aires Madrigal (Italian madrigals from the 17th century and Argentine tangos), Tonos y Tonadas, which mixed musical and literary elements from the Spanish baroque with contemporary Latin American folklore, La Voce di Orfeo, inspired by the famous tenor Francesco Rasi, to whom Monteverdi entrusted the role of Orpheus, which obtained several awards, and Odisea Negra, which combined the music of the African griots, the old music of Cuba and Peru, and contemporary Central American folkloretenor awards.

With a solid technique, a beautiful timbre, and a refined musicality, the American tenor Zachary Wilder is renowned for his work on repertoires that encompass the 17th and 18th centuries, and he is sought-after for concerts and opera production on both sides of the Atlantic. In 2011, he was invited by the Aix-en-Provence Festival to play Corydon in Acis and Galatea by Händel, production that subsequently toured at Teatro La Fenice in Venice.

He regularly works with many eminent international ensembles. The highlights of past seasons include a seven month tour celebrating the 450th anniversary of the birth of Monteverdi with Sir John Eliot Gardiner and the English Baroque Soloists, two European concert tours with Ensemble Pygmalion and two extensive tours around the Netherlands with the Christmas Oratorio by Bach with Les Talens Lyriques, as well as several lyric performances.

The tickets can be purchased at a single price of €15 on the website, at the auditorium's box office, or by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m., Saturdays from 10:00 a.m. to 2:00 p.m. Check the special discounts for the audience under 30 years of age, students, unemployed, and large families.

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The venues are located in Adeje, Los Realejos, Arona, Tacoronte and in the auditorium of the University of La Laguna.


The performing arts programme Oye toca ver is offering five shows this week by three theatre companies. This initiative is organised by the Island Council of Tenerife with the councils of Adeje, Arona, Candelaria, El Sauzal, Guía de Isora, Los Realejos, Tacoronte, and the University of La Laguna.

The weekly activity begins on Thursday (9th) at 8:00 p.m., in the Auditorium of Adeje. The Basque company Kulunka Teatro is concluding its time on the island with the last performance of its show André y Dorine, which offers us the story of two elderly people who have to begin their relationship over again once the onset of Alzheimer’s puts an end to the monotony of daily life.

The Belgian company Okidok is beginning its tour of Tenerife on Friday (10th), at 8:30 p.m. at the Cultural Centre in Los Realejos. The following day, the event takes place at the Auditorio Infanta Leonor in Los Cristianos (Arona), at 8.00 p.m., and on Sunday (12th), at 7:00 p.m., Okidok will end its activities on the island. Their clown and acrobatics show Slips Inside offers us the story of Bill and Piotre, who have dream bodies: muscly, elegant, skilful, funny, and aware of their incredible quality, they embark on a great display of their talents. Experts and renowned internationally in the clown world, the stars abandon the use of make-up and large shoes and give way to the bare body of the acrobat.

L’om imprebis, a Valencian company that is celebrating forty years of history, is making its debut in Tenerife with the work Hoy no estrenamos, a life and theatre lesson by comedy experts who immerse us in very real daily stories. The first of its four performances on the island will be on Sunday (12th) at the Auditorio Capitol in Tacoronte, at 6:00 p.m. The next shows will be next week: on Thursday (16th), at 8:30 p.m., at the Cultural Centre in Los Realejos, and on Friday (17th), at 8:00 p.m., at the Auditorio Infanta Leonor (Los Cristianos). The performances will conclude on Sunday (19th), at 7:00 p.m. at the Teatro El Sauzal.

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The cultural mediator and writer returns this Wednesday to the Chamber Hall of the Auditorio de Tenerife with one of his lecture performances.


The Auditorio de Tenerife hosts a new lecture performance by cultural mediator Ramón Gener. On this occasion, the musician and writer reveals the details and curiosities of the opera Manon by Jules Massenet. Next Tuesday (7th ) at 7.30 p.m., the Chamber Hall hosts Ramón Gener, who, with his knowledge, his voice, and his piano, conveys his passion: music. Tickets for this show, where Gener will also be accompanied visually, are available for eight euros.

The music and art expert will speak about the different angles from which to discover the keys and curiosities of a title that comes to the island by the hand of three producing theatres: The Municipal Theatre of Santiago-National Opera of Chile, the Ópera de Oviedo, and the Ópera de Tenerife. Manon is the second programme of the Auditorio's lyric season, to be enjoyed on 21, 23, and 25 November in the Symphony Hall for €25 (€5 for the audience under 30 years of age).

Gener explains the plot, the emotions, the characters, the music, and the themes in an entertaining and accessible way, using contemporary similes and interpreting some fragments on the piano to reinforce his explanations. It is an opportunity for all those who want to learn more about this opera and thus prepare for the performances but also for those who have never been to an opera and want to know a little more before going.

Ramón Gener's third lecture in Tenerife at the Auditorio de Tenerife Adán Martín will be followed by the others conferences throughout the opera season, always in the Chamber Hall at 7.30 p.m., with the protagonist in each case being the nearest opera. The next meeting with the renowned communicator will be on November 28th to talk about the concert version of Samson et Dalila by Camille Saint-Saëns (December). On 17 January it will be the turn of Leonard Bernstein's Trouble in Tahiti (January), and on 21 February the Auditorio's own production Rusalka, by Antonín Dvorák (March).

Born in Barcelona, Ramón Gener holds a degree in Humanities and Business Studies. He began his studies as a musician at the age of 6 at the Higher Conservatoire of Music of the Liceu, training which he completed later with the pianist Anna Maria Albors. Through a recommendation from the soprano Victoria de los Ángeles, he began to study singing under her supervision. He finished his singing training in Warsaw with the baritone Jerzy Artysz and in Barcelona with the tenor Eduard Giménez. After a career lasting several years as a baritone, he began a new phase as a musical educator, offering conferences about classical music and opera.

The impact of these conferences led him to the world of television. First, at a regional level on TV3 with the programme Òpera en Texans, and then nationally and internationally with programmes such as This is Opera, This is Art, and 200, una noche en el Prado. His programmes have been recorded in Spanish and English; they have been broadcast and continue to be broadcast in many countries around the world. He currently collaborates with the radio programme No es un día cualquiera for the Spanish National Radio (RNE). He currently continues with his conferences, classes, and contributions to RNE. Likewise, he is immersed in preparing his new TV program and his new book.

The tickets for this conference by Ramón Gener are available on the website, at the auditorium's box office, or by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m., Saturdays from 10:00 a.m. to 2:00 p.m. Check the special discounts for the audience under 30 years of age, students, unemployed, and large families.

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The Canarian mezzo-soprano Belén Elvira is also making her debut with the orchestra as a guest soloist


The conductor Julio García Vico will take charge of the Sinfónica de Tenerife (Tenerife Symphony Orchestra) to conduct the fifth concert of the season with works by Tchaikovsky and Falla. The mezzo-soprano Belén Elvira will make her debut as a guest soloist at the event which will take place this Friday (3), at 7:30 p.m. in the Auditorio de Tenerife.

In the first part of the programme, the orchestra will perform a selection from the ballet The Sleeping Beauty, TH13, written by Piotr Ilich Tchaikovsky in 1889, which recounts the eternal struggle between good and evil through the guiding thread of the classic tale by Perrault. The Russian composer composed this piece in a baroque style and repeatedly uses two musical themes to intensify the drama and suspense, as well as representing the fight personified by the Lilac Fairy and Carabosse, respectively.

After the interlude, the Sinfónica de Tenerife will perform El sombrero de tres picos (The Three-Cornered Hat), a score by Falla from the year 1919. The composer from Cadiz deploys a palette of colours, textures, and Spanish folkloric sounds to develop a comic-romantic entanglement which, at its premiere at the Alhambra Theatre in London, had sets and designs by Pablo Picasso.

Julio García Vico has served as an assistant conductor of the London Symphony Orchestra and has worked with maestros such as Sir Simon Rattle, Gianandrea Noseda, François-Xavier Roth, and Antonio Pappano. In addition to the British orchestra, he has conducted the main Spanish orchestras such as the Orquesta Nacional de España (Spanish National Orchestra), RTVE (Spanish Radio and Television), the Symphony Orchestra of Navarra, the Symphony Orchestra of the Principality of Asturias, the Orchestra of the City of Granada, among others.

Within the field of opera, he has served as assistant to the maestro Luisotti for La Bohème at the Teatro Real in Madrid. Abroad he has also worked with La Società dei Concerti, the Orchestra da Camera di Mantova, the Mozarteum Orchestra, the Beethoven Orchestra Bonn, the Gürzenich-Orchestre Köln, the Hofer Symphoniker, the Münchener Symphoniker, the Nürnberger Symphoniker, the Oper Köln, the Deutsche Staatsphilharmonie Rheinland-Pfalz, and the WDR Sinfonieorchester.

García Vico holds several international distinctions, such as the Dirigenten Prize 2019 in Germany, the Audience Award of the foundation "Oscar and Vera Ritter-Stiftung" and the Bonn Opera Prize 2019, as well as the prestigious "Donatella Flick" 2021.

His forthcoming engagements include a series of concerts with the Orchestra of the City of Barcelona, Real Orquesta Sinfónica of Seville, the Symphony Orchestra of Vallés, the Symphony Orchestra of Murcia, and a new collaboration with the Orquesta da Camera di Mantova.

Since her debut in the role of Santuzza, the Canarian mezzo-soprano Belén Elvira has pursued a performing career at the main national and international theatres, performing the lead roles in titles such as Madama Butterfly, Rigoletto, Cavalleria Rusticana, La Forza del Destino, Suor Angelica, Aida, Don Carlo, Il Trovatore, Andrea Chenier, Macbeth, Maria Estuarda, and La Casa de Bernarda Alba.

Her symphonic and oratorio repertoire includes works such as Krönungsmesse and Requiem by Mozart, Stabat Mater and Petite Messe Solennelle by Rossini, Requiem by Donizetti, Requiem by Verdi, Das Lied von der Erde (The Earth’s Song) by Mahler, or Siete Canciones Populares (Seven Spanish Folksongs) by Falla, among others.

Elvira has worked alongside prominent orchestra conductors such as Jordi Bernàcer, Michael Balke, Pietro Rizzo, Emmanuel Joel-Hornak, Miquel Ortega, Jorge Rubio, Pedro Halffter, José Miguel Pérez Sierra, Alessandro Palumbo and Daniel Oren.

Among her recent performances it is worth highlighting her performance in the role of Aurora la Beltrana in Doña Francisquita at the Teatro Pérez Galdos; Salome by Richard Strauss at the Arena di Verona Foundation; Mascagni's Cavalleria Rusticana at the Palacio Euskalduna in Bilbao; Andrea Chenier at the Teatro Pérez Galdós in Las Palmas with Daniella Dessi; a performance at the Wigmore Hall alongside the tenor Jorge de León and the pianist Álvarez Parejo; and a concert at Almudena Cathedral in Madrid, as a guest of Plácido Domingo.

The Tenerife Association for Friends of Music has prepared once again a free talk by Lourdes Bonnet Fernández-Trujillo in order to explain the different works of this season’s concert. This event is free until full capacity is reached. It takes place on the Sala Avenida, next to the Chamber Hall of the Auditorio de Tenerife Adán Martín, at 6:30 p.m.

The tickets for this concert can be purchased until the day of the event on the website, at the auditorium's box office and by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m., Saturdays from 10:00 a.m. to 2:00 p.m.

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Eleven dancers from the Antonio Ruz company perform this work at the Symphony Hall on Sunday. A Talía Award winner for the Best Choreography.


Next Sunday (29th) at 7:30 p.m., the Auditorio de Tenerife has programmed the large-scale dance show Pharsalia, by the Antonio Ruz Company. This proposal is the Talía Award winner for the Best Choreography. Based on an epic Roman poem of the same name, it will bring to the stage of the Symphonic Hall eleven performers who will dance inside a dome. The tickets for this show, part of the Moving Arts Festival FAM, can be purchased at a price of 15 euros, with special discounts for the audience under 30 years of age, students, unemployed and large families.

With a compelling stage and costume proposal and an original music creation that travels from the epic to the electronic, 11 performers will go through choreographies packed with violence, subtlety, and theatricality embarking, with all their physicality, on a festival of combat. According to the director and choreographer, the 2018 National Dance Award winner Antonio Ruz, "Pharsalia represents an anti-war ode to dance as a weapon of liberation and redeeming energy".

The Cordovan-born Roman poet, Marcus Annaeus Lucanus (39-65 A.D.), nephew of Seneca, wrote the only work by him to have survived until the present day: Pharsalia or Bellum Civile, an unfinished epic poem in ten books about the civil war between Julius Caesar and Pompey the Great.  Due to its complex vitality, it has generated multiple critiques, meanings and interpretations throughout history. However, its relevance today distils a clear message that invokes freedom and rejection of tyranny. In his narrative, only resistance is heroic, and his lament proclaims a grievance that takes on a universal character.

Taking the Pharsalia by Lucan as a starting point, this choreographic work delves into the concept of war from an allegorical approach, putting the body at the service of daily concepts such as conflict, crisis, resistance, tension, and escape. However, humans are not content with the state of conflict, and that is where the traces of beauty, and hope, appear on stage.

Carmen Fumero, a multi-award-winning performer from Tenerife, is part of the cast of dancers and choreographic collaborators of Pharsalia, which is completed by José Alarcón, Gonzalo Álvarez, Mado Dallery, Joan Ferre, Manuel Martín, Lucía Montes, Alicia Narejos, Selam Ortega, Isabela Rossi and David Vilarinyo.

Pharsalia, recommended for ages 14 and over, is a co-production of Teatros del Canal and Museo Universidad de Navarra with the support of the Gran Teatro of Cordoba and Teatro Central of Seville, and with the collaboration of the Municipal Theatre of Coslada and the Sanchinarro Cultural Centre.

Antonio Ruz, an independent choreographer and dancer, is currently one of the most outstanding dance creators in Spain. Based on a marked interest in the most open nature of dance, his discourse is developed while leading his own company founded in 2010 or with interesting collaborations with renowned national and international groups, such as the German company Sasha Waltz & Guests.

After his training in flamenco, Spanish dance, ballet, and a significant career as a dancer in major companies, such as the Ballet Víctor Ullate, the Ballet du Grand Théâtre de Genève, the Lyon Opera Ballet or the Spanish National Dance Company, in 2009 he created his own company in pursuit of a creative identity through research in the field of movement and multidisciplinary collaboration. The distinctions and awards that have shaped his trajectory include the 2018 National Dance Award in the Creation Category and the 2013 Spanish radio and television (RTVE) "Ojo Crítico" Dance Award.

The tickets are available on the website, at the auditorium's box office or by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m., Saturdays from 10:00 a.m. to 2:00 p.m. The rest of the FAM programme is available at Both programmes Danza a Escena and the Circuito Acieloabierto, collaborate with FAM and are sponsored by the INAEM (National Institute of Performing Arts and Music) of the Ministry of Culture of the Spanish Government.

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This Thursday at the Chamber Hall, the ensemble will play quintets by Webern, Brahms and the Austrian composer after whom they are named.


The Auditorio de Tenerife has programmed a concert by the Korngold Ensemble View for Thursday [26th] at 7:30 p.m. The ensemble will offer a programme comprising quintets by the late Romantic composers Anton Webern, Johannes Brahms and the composer Erich Wolfgang Korngold himself, whose surname gives the ensemble its name.

The Korngold Ensemble Wien, which premieres in the Chamber Cycle of the Auditorio de Tenerife, is composed of Ludwig Mueller and Tiffany Pei Hsuan Wu on violin, Cynthia Liao on viola, Jonáš Krejčí on cello and Catalina Butcaru on piano. The ensemble was founded in 2019 by five renowned musicians who have been devoted to chamber music for several years.

The intention of the group, beyond interpreting the standard repertoire, is to perform pieces that are listened to less often, with a special emphasis on the 20th century, a particularly rich century in this musical genre. Since forming recently, the Korngold Ensemble Wien has been invited to important music festivals, such as in Austria, Spain, Hungary, and Taiwan.

For the ensemble, the three works that make up the programme expresses the essence and musical vision of each composer and they are linked to one another in the formal junction of late romanticism. Some of the 19th century called instrumental music the ideal romantic art because, freed from the weight of words, it could perfectly communicate pure emotion.

At the height of the Romantic Era, the German composer Johannes Brahms (1833-1897) wrote his Quintet for piano in F minor, Op. 1833. Started as a quintet for string in Hamburg in 1862, the two final movements were completed in Vienna in 1864. As a piano quintet, it premiered on 22 June 1866 at the Conservatoire of Leipzig. This masterpiece is one of the gems of chamber music of the Romantic era with rich colour in terms of both emotion and harmony. The Viennese composers Anton Webern (1883-1945) and Erich Wolfgang Korngold (1897-1957) were born towards the end of the Romantic era.

Although Anton Webern was the famous student of the Austrian composer Arnold Schönberg (1874-1951), the Piano quintet by Webern, composed in 1874, was written in a Romantic style with lyrical melodies and a meticulous harmony that is stylistically closer to Schumann and Brahms than to Schönberg.

In 1921, at the age of 24, Erich Wolfgang Korngold was at the peak of his career. He composed Piano Quintet, Op.15 in Vienna, and finally premiered it as a pianist in 1923. This masterpiece of late romanticism, with unique, incomparable musical characteristics and exuberant lyricism, represents the characteristic style of the Viennese school.

The tickets can be purchased at a single price of €15 on the website , at the auditorium's box office, or by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m., Saturdays from 10:00 a.m. to 2:00 p.m. Check the special discounts for the audience under 30 years of age, students, unemployed, and large families.

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Marta Gardolińska will conduct the orchestra in a programme which includes the participation of cellist Bruno Philippe


This week the Sinfónica de Tenerife (Tenerife Symphony Orchestra) is restarting its season subscription concerts, following its participation in the opera María Moliner.   The programme includes the Pastoral Symphony by Beethoven. Beforehand there will be performances of the Overture for Orchestra by Grażyna Bacewicz and Concerto No.1 for Cello and Orchestra, by Joseph Haydn. Marta Gardolińska will conduct the Symphony Orchestra and the cellist Bruno Philippe will make his debut as a guest soloist on the island. This concert takes place in the Auditorio de Tenerife Adán Martín this Friday [27th] at 7:30 p.m.

The programme begins with the Overture for Orchestra by Grażyna Bacewicz, work dated to 1943, which constitutes an exercise in vitality and optimism by the Polish composer in the midst of the war that was shaking Europe.   The piece is written based on short but very vigorous episodes, where the string, wood, and metal instruments constantly stir creating a compact sound.

Then, there will be a performance of Concerto No. 1 in C major, Hob.   VIIb/1 for cello and orchestra, work composed in 1765 by Franz Joseph Haydn and devoted to the cellist Joseph Franz Weigl. On this occasion, the soloist will be the Frenchman Bruno Philippe, who is making his debut in Tenerife. The score, divided into three movements written in the form of a sonata, was rediscovered in 1961 after being lost for years; it is a real exercise in the exploration of the different polyphonic possibilities of this instrument.

Following the interlude, the orchestra will perform the piece that lends its name to this concert, Symphony No. 6 in F major, Op.   68, the Pastoral Symphony, by Ludwig van Beethoven, work premiered in 1808 that musically depicts different rural scenes that occurred in the outskirts of Vienna.  In addition to different sounds from nature, the German composer incorporates a länder into the third movement, a popular Central European rhythm that evokes a festive gathering between peasant farmers.

Marta Gardolińska, current musical director of the Opéra National de Lorraine and principal guest conductor of the Orquestra Simfònica de Barcelona, began her conducting studies at the Frederic Chopin Music University in Warsaw and continued them at the University of Music and Performing Arts of Vienna.   In 2016, she received the “Outstanding Pole in Austria” distinction for her constant work to popularise Polish music and culture around the world.

Her professional roles notably include her work as associate conductor of the Bournemouth Symphony Orchestra, Dudamel Fellow with the Angeles Philharmonic and the Hollywood Bowl Orchestra.   In past seasons she conducted the London Symphony Orchestra, the Danish National Symphony Orchestra, the Swedish Radio Symphony Orchestra, the City of Birmingham Symphony Orchestra, and the Orchestre Chambre de Paris. 

In the field of opera, Gardolińska made her debut in France during the 2020/21 season, with the Opéra National de Lorraine, conducting new production of Der Traumgörge by Zemlinsky and at the Opéra du Rhin in Strasbourg conducting Carmen with Stéphanie d'Oustrac.  Last season she conducted a new production of Manru by Paderewski and a revival of La Traviata at the Opéra National de Lorraine.

The cellist Bruno Philippe trained at the Conservatoire National Supérieur de Musique de Paris and has performed at prestigious festivals and in concert halls all over the world alongside different groups, such as the Radio-Sinfonieorchester Frankfurt under the baton of Christoph Eschenbach, the Dijon-Bourgogne Orchestra with Gabor Takács- Nagy, the Symphonieorchester des Bayerischen Rundfunks, the Münchener Kammerorchester, the Orchestre National de Bordeaux, the Orchestre de Chambre de Paris, and the Orchestre Philharmonique de Monte-Carlo, among others.

Within the field of chamber music, he has played with several artists of renowned prestige, such as Gary Hoffman, Tabea Zimmermann, Gidon Kremer, Christian Tetzlaff, David Kadouch, Renaud Capuçon, Jérôme Ducros, Tanguy de Williencourt, Antoine Tamestit, Sarah Nemtanu, Lise Berthaud, Timothy Ridout, Stephen Waarts, Kian Soltani, Christophe Coin, Jérôme Pernoo and Raphaël Pidoux. 

The Tenerife Association for Friends of Music is offering a free talk by José Lorenzo Chinea Cáceres beforehand in order to contextualise the different works of this concert. This event is free until full capacity is reached. It takes place on the Sala Avenida, next to the Chamber Hall of the Auditorio de Tenerife Adán Martín, at 6:30 p.m.

The tickets for this concert can be purchased until the day of the event on the website, at the auditorium's box office and by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m., Saturdays from 10:00 a.m. to 2:00 p.m.

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Performances from Greece, Israel, France, and Italy are appearing this Sunday in the Chamber Hall from 9:00 p.m. onwards.


On Sunday (22nd) from 9:00 p.m. onwards, the Auditorio de Tenerife Adán Martin welcomes the Tenerife Extension of the 28th International Contemporary Dance Festival of the Canary Islands, Masdanza. The Chamber Hall offers a programme made up of four international dance duets.

The programme consists of Farisa, by Danae y Dyonysios from Athens, Greece, a duo that was created in the context of the pilgrims' actions. From the Israelite city of Tel Aviv comes Breeze through the soul, by Lal’el Pillora and Gilly Geva, which deals with the awareness of breathing.

The work Oxymore by Maxime Cozic and Sylvain Lepoivre was created in Toulon, France; it is inspired by an evening at a nightclub. Sandra Salietti Aguilera and Helias Tur-Dorvault arrive from the Italian city of Vittoria with their piece titled “I’ve seen that face before”, a performance that describes thoughts, feelings and sensations that artists have during the last seconds of a performance and the first bow.

The tickets can be purchased at a single price of €8 on the website, at the auditorium's box office or by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m., Saturdays from 10:00 a.m. to 2:00 p.m. Check the special discounts for the audience under 30 years of age, students, unemployed and large families.

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