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FIFTH MUSICAL OF SAN SEBASTIAN
SYMPHONY ORCHESTRA OF THE BASQUE COUNTRY
On Agust 24, 2019, at the Kursaal Auditorium in San Sebastian, the Euskadi Symphony Orchestra will perform the work Herzog Blaubarts Burg by Bale Bartok, edited by Universal Editional A.G.
The scary opera by Bartok that delves into what
darkest of the human being, is in turn a
of the most brilliant operas of the 20th century.
CONCERT TRIBUTE TO JOAQUÍN RODRIGO
On July 6, 2019, it will be 20 years since the death of Joaquín Rodrigo (1901-1999), a composer tho contributed so much to the guitar repertoire. Coinciding with that date, the Festival will dedicate a concert in which, in addition to the famous “Concierto de Aranjuez” will be performed works of two composers-guitarist of our time: Cañizares, flamenco guitarist, which presents almost in the first-afther its recent premire in Barcelona- his work ” Mediterranean Concert of Guitar and Orchetra the memory of Jaquin Rodrigo”, and Jose Maria Gallardo del Rey, who offers his particular tribute to the Aranjuez concert through the composition entitled “Diamantes para Aranjuez”
On the occasion of this tribute will be performed three fabulous works of our repertoire in an incomparable setting.
Fantasy for a gentleman……………………… ……………………..J. RODRIGO
Diamonds for Aranjuez……………………………………….J.M.GALLARDO DEL REY
Concert of Aranjuez.………………………………………………………….J. RODRIGO
For the first time this year, the ICMA has awarded a prize to a composer: the Composer award. For the first edition of this new category, the prize was awarded to the Spanish composer Francisco Coll (born in 1985, in Faber Music since 2011). Francisco Coll is the only student of Thomas Adès to date.
The International Music Classical Awards (ICMA) were created in 2010 by the jury of the former MIDEM Classical Awards. The jury is composed of music critics from 15 different countries, representing 18 printed or online magazines and radio stations. Andante (Turkey), Crescendo (Belgium), Das Orchester (Germany), Gramofon (Hungary), HRT Croatian Radiotelevision (Croatia), IMZ (Austria), MDR-Kultur (Germany), Music (Italy), Musical Life (Russia) , Musik & Theater (Switzerland), Opera (UK), Orpheus Radio (Russia), Pizzicato (Luxembourg), Polish Radio Chopin (Poland), Radio 100.7 (Luxembourg), ResMusica (France), Rondo Classic (Finland), Scherzo (Spain).
Here is the complete list of the ICMA 2019 Laureates: www.icma-info.com/winners-2019
The works of Francisco Coll for sale: http://www.fmdealers.com/SearchResults.aspx?search=Francisco+Coll&s=rel
Full presentation brochure: https://issuu.com/fm_fortissimo/docs/francisco_coll_brochure_e5fce66d3b7bc9
Your own website: www.franciscocoll.com
Rebecca Saunders: Ernst von Siemens Music Prize 2019
Edition Peters is pleased to announce that the Ernst von Siemens Music Prize 2019, considered the Nobel Prize for music, has been awarded to Rebecca Saunders (born in 1967, with Edition Peters since 1997). This prize is awarded each year to a composer, performer or conductor who has made a notable contribution to the world of music, with a prize of € 250,000. Saunders joins an illustrious list of laureates such as Benjamin Britten, Olivier Messiaen, Herbert von Karajan, Pierre Boulez, Andres Segovia, Yehudi Menuhin, Luciano Berio, György Ligeti, Henri Dutilleux.
Rebecca Saunders en la página web de Edition Peters: https://www.editionpeters.com/newsdetails.php?articleID=IN01233
The catalog of his works in Edition Peters: https://www.editionpeters.com/resources/0001/writers/pdf/Saunders_worklist_17_Jan_2019.pdf
Your own website: www.rebeccasaunders.net
The website of the Ernst von Siemens Music Prize: www.evs-musikstiftung.ch/en
To discover your music on SoundCloud: https://soundcloud.com/rebeccasaunders
Das Rheingold, marks the beginning of The Ring of the Nibelung, the colossal tetralogy of Richard Wagner and the second that the Royal Theater takes to its stage since its reopening in 1997. Pablo Heras-Casado, principal guest conductor of the Real, directs a cast with renowned Wagnerian singers such as Greer Grimsley, Sarah Connolly and Samuel Youn in a devastating production by Robert Carsen. The Canadian stage director places the prologue of the Ring in the rawness of our current contaminated world, where the characters of the cosmic conflict portrayed in the tetralogy unfold, that we will see complete throughout Written under the strict precepts of the Oper und Drama that the same Richard Wagner established, Das Rheingold – the first of the four operas that make up the tetralogy of The Ring of the Nibelung – seems more like a current drama than a remote fable. The composer already knew intuit the incompatibility between the laws of nature and those of human beings, and anticipated the consequences that would entail.
The production that now presents the Teatro Real puts us before a world in a state of siege, irreversibly contaminated, devastated by the avarice of power of the man who, trying to control his environment, has ended up headed to his own destruction. It is a world of blinded and gray people whose existence seems to lack any direction or meaning. The Rhine, in addition to housing the gold that will be stolen to make the magic ring (and cursed), becomes a sewer where the waste of a failed civilization ends. Das Rheingold is the perfect prelude to know the dynamics and conflicts that surround the characters of the tetralogy.
THE DICTATOR by Ernst Krenek (1900-1991) (premiere in Spain)
THE EMPEROR OF THE ATLÁNTIDA of Viktor Ullmann (1898-1944)
The Maestranza Theater premieres in Spain The dictator of Krenek with his own production directed by Rafael Rodríguez Villalobos (Seville, 1987), who has studied music and dramatic art. In 2013 he was the youngest European Opera Management Award to date. Pedro Halffter Caro directs the ROSS and Martin Gantner, Nicola Beller Carbone, Natalia Labourdette and Vicente Ombuena in the cast.
For its part, The Emperor of Atlantis is a grotesque portrait of the figure of a tyrant under which the caricature of Hitler is hidden. In the play, the tyrant forces humanity to consent to a ferocious massacre, while Death prevents the wounded from dying, which the critic valued as “the abdication of death in the face of the universal horrors of life.”
The work was composed by Ullmann -disciple of Schönberg and assistant to Zemlinsky in Prague, in the Terezin concentration camp in 1943 before leaving for Auschwitz, where he died, as the librettist, Peter Kien. Both breathed in the work of a creepy satirical and black current. Another prisoner, H.G. Adler, rescued the piece, which premiered in Amsterdam in 1975.
Now, and in a coproduction of the Teatro de la Maestranza, the Teatro Real de Madrid and the Palau de les Arts in Valencia, the conductor and composer Pedro Halffter Caro presented a new version for a large orchestra -initially a chamber piece- elaborated by him, who has also composed two pieces – based on works by Ullmann – for the triptych that makes up the prologue of the opera. For Halffter, “The Emperor …” is a “brilliant and beautiful” opera that represents the exercise of the freedom of art displayed “at the most extreme time and place”. For the stage director Gustavo Tambascio, who died in February 2018, The Emperor of Atlantis is a macabre satire, like a “gloomy cabaret” that denounces “the industrialization of death”. Along with the ROSS, they repeat in the cast Martin Gantner, Nicola Beller Carbone, Natalia Labourdette, and Vicente Ombuena.
The original Carmina Burana is a collection of poems from the 12th and 13th centuries. Preserved in a single codex found in 1803 by Johann Christoph von Aretin in the Abbey of Benediktbeuern in Bavaria. It is currently kept in the Bavarian State Library in Munich.
The codex collects a total of 300 poems, written mostly in Latin, German and French. In these poems the pleasure to live and the interest for the earthly pleasures, for the carnal love and for the enjoyment of the nature is extolled. Therefore, with a critical and satirical look towards the social and ecclesiastical estates of the time.
Carl Orff composed his Carmina Burana between 1935 and 1936, and relied on 24 poems from the original codex. The original title of the work Carmina Burana: Cantiones profanæ cantoribus et choris cantandæ comitantibus instrumentis atque imaginibus magicis (Songs of Beuern: secular songs for singers and choirs to be sung with instruments and magical images) is the starting point of the show that La Fura dels Baus has created.
After 30 years of experience, Carlus Padrissa, a founding member of La Fura dels Baus, has conceived a thrilling CARMINA BURANA where the viewer, through stunning scenes, special effects and even spring fragrances, immerses himself fully in the universe of La Fura dels Baus.
On the stage, a large cylinder ten meters in diameter literally envelops the Orchestra, while images projected on it illustrate the entire work from beginning to end. A giant moon, the thaw, waterfalls, a floral ecstasy, a live harvest, wine, water and fire …. The CARMINA BURANA of LA FURA DELS BAUS is a sensory, musical and theatrical show, vital and energetic, which has already been seen by more than 200,000 spectators in Europe, Asia and America.