The soprano Alba López Trillo and the pianist Gabriel López will accompany me at this recital, organised by Amigos da Ópera da Corunha. It includes Galician songs, opera and zarzuela.
This Inclusive Lyric Cycle pretends to bring the lyric singing closer to spaces where it’s not frequently present. In this case, we’ll perform at Centro Cívico dos Malhos on November, 2nd at 19:00.
Giacomo Puccini: “Sola, perduta, abbandonata”, Manon Lescaut.
Gaetano Donizetti: “Gioco di rea fortuna… O Lisbona, alfin ti miro”, Don Sebastiano.
Wolfgang A. Mozart: “Il core vi dono”, Così fan tutte.
Giuseppe Verdi: “Merce dilette amiche”, I Vespri siciliani.
Ambroise Thomas: “O vin, dissipe la tristesse!”, Hamlet.
Giuseppe Verdi: “Pura siccome un angelo”, La traviata.
José Baldomir: “Maio longo”.
Juan Durán: “Un repoludo gaiteiro”.
Joám Trilho: “Rosa de abril”.
Fernando L. Briones: “Lela”.
Reveriano Soutullo e Juan Vert: “Los cantos alegres… Ya mis horas felices”, La del Soto del Parral.
Ruperto Chapí: “Carceleras”, Las hijas del Zebedeo.
Pablo Sorozábal: “Que dices, Katiuska?”, Katiuska.
I will participate in the presentation of Anton de Santiago’s scores book Cantigas líricas galegas, published by Editions Fervenza. It will take place at Sede de Afundación (A Corunha) at 20h00.
Esperanza Mara (soprano), Enrique Martínez (tenor), Eliseu Mera (baritone).
Manuel Villar (conductor).
Banda de Música de Valga.
Coro Gli Appassionati.
Auditorio de Valga, July 3rd 2016.
Photos: José Alberto Solla Barreiro.
I’ll sing Carl Orff’s Carmina Burana, this tribute to the goliards in a new version in Galician with Esperanza Mara and Enrique Martínez conducted by Manuel Villar in Auditorio Municipal de Valga on 3rd July at 21:00.
Last night, at A Corunha Teatro Rosalia de Castro, a group of lyric singers connected with Galiza joined to support the continuity of A Corunha Opera Season. We did that because we hope to be still in time to make things happen.
Photo: El Ideal Gallego
This weekend I’ll participate in two concerts. On Saturday 10th, I’ll take place in a tribute to my maestro and friend Antón de Santiago at Santiago Church, A Corunha. On Sunday 11th, I’ll be in a Espazos sonoros festival concert at Aciveiro Monastery with Herbens Consort.
On Saturday the 28th I’ll sing Marc-Antoine Charpentier’s Te Deum at the Vigo Concatedral accompanied by the Orquesta Clásica de Vigo and conducted by Manuel Martínez.
It’s going to be the first time I perform this piece, that, although widely recognized by its prelude, is one of the highlights of the French Grand Siècle sacred music.
While I usually sing Baroque music with early instruments and an A415 pitch, as we do in Herbens Consort, it’s not necessary to perform this repertoire successfully, as evidenced by the excellent work of the Clásica de Vigo and their principal conductor, Manuel Martínez.
On November 16th, I am honoured to be premiering Juan Eiras’ work Labirinto azul (I). Poemario Vindel. This event has been organized by a commission from the Orquestra Sinfónica Vigo 430 and the Department of Culture of the Council of Vigo as a tribute to Martín Códax in the centennial anniversary of the Vindel Parchment discovery.
This will be my third collaboration with the orchestra: I sang W. A. Mozart’s Requiem bass soloist part, and I participated in the stage performance of Bach, a alegría móvese [Bach, joy awakens]. I would like to thank Vigo 430 for their confidence in me, as well as Juan Eiras for writing this fantastic part for me, in which poetry and the sea fuse completely.
I hope to see you all soon at the Centro Cultural Afundación (Teatro García Barbón).
Madrigal is one of the musical forms I particularly love. This is due to the fact that it represents the first attempt to find an intimate connection between music and poetry, breaking the strophic structure that had previously dominated.
Jakob Arcadelt, a French-Flemish composer, was one such composer to whom we owe the development of polyphony. He is the author of “Il bianco e dolce cigno” [The white and sweet swan]. Unfortunately, we don’t know who wrote the poetry that accompanies Arcadelt´s music. Names such as Giovanni Guidiccioni and Alfonso d’Avalos have been suggested, but we can´t be certain.
The lyrics talk about a man at the end of his life, who, at first, faces this change crying. In the end he accepts this change of life calmly, even happily. Arcadelt plays wonderfully with these tensions by virtue of an also dying homophonic texture that eventually gives way to polyphony. Surely the composer was not thinking of this parallelism, but the truth is that this substitution of the dominant texture gave us one of the most brilliant eras in the history of purely vocal music.
Orazio Vecchi also composed a splendid madrigal using the same lyrics, with remarkable reminiscences of the former work, in my opinion. Acadelt’s piece came first, however, and I prefer it.