The music educator returns to the Auditorio next Wednesday (January 7) to unpack the opera slated for 22 and 23 January.
The Auditorio de Tenerife will host Ramón Gener next Wednesday (January 7) at 7.30 p.m. in the Chamber Hall, where he will deliver a talk on Christoph W. Gluck’s Baroque opera Orfeo ed Euridice. Opening the 2026 lyric season, this opera takes the Symphony Hall stage on 22 and 23 January.
As part of this public event series, Ramón Gener will present a conference on the themes, characters, and music of Orfeo ed Euridice. As a specialist in musical analysis, he will compare contemporary works and demonstrate his interpretations at the piano. Through these conferences, Auditorio de Tenerife aims to help audiences learn more about upcoming performances and to offer newcomers information that will enhance their first opera experience.
Born in Barcelona, Gener holds a degree in Humanities and Business Studies. He began his musical education at the Higher Conservatoire of Music of the Liceu at age six. After performing as a baritone for several years, he became a music educator. He lectures on opera, classical music, and art, and has appeared on radio and television both locally and internationally. Gener has published four books: Si Beethoven pudiera escucharme (2013), El amor te hará inmortal (2016), Beethoven, un músico sobre un mar de nubes (2020), and Historia de un piano (2024).
Tickets for these voice and piano performances are €8 for the general public. Attendees under 30 can purchase tickets for €5. Opera subscription holders receive a 50% discount, reducing their ticket price to €4.
The tickets are available on the website www.auditoriodetenerife.com, at the auditorium’s box office or by dialling the phone number 902 317 327 from Monday to Friday from 10 a.m. to 5 p.m., Saturdays from 10 a.m. to 2 p.m. There are discounts for students, unemployed and large families.
Orfeo ed Euridice is produced in-house by Auditorio de Tenerife. Jordi Francés serves as music director, leading the ensemble Concerto Munich. Stage direction is provided by Mal Pelo, the duo of Pep Ramis and María Muñoz. In this production, Mal Pelo presents a distinct artistic interpretation of the Orpheus myth, exploring themes of love and loss through both narrative and physical movement.
This work marks a pivotal point in operatic language development, prioritizing the text over vocal virtuosity. It avoids the elaborate ornamentation common among the composer’s contemporaries and assigns a dramatic role to the chorus. The Baroque orchestra Concerto Munich supports the performance, not to replicate period sonority, but as a performative exercise to adapt the opera’s 18th-century style for modern audiences.