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Interview Iñaki Encina Oyón and Adriana González

Duo-3-c-Marine-Cessat-Bégler - scaled
Albéniz

Brío Clásica: This is the second job they do together. The first is a selection of works by Robert Dussaut and Hélène Covatti, composers unknown to the general public. Nor are the thirty songs of Albéniz that they present in this second work very well known.. Is, definitely, brilliant outreach work. How did you come to this repertoire and why did you choose it for these record works?


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B.C.: These songs are the product of Albéniz's artistic maturity, when he had already composed some of his most important works. They are texts in Spanish, French, Italian and English, always maintaining the personality in each of them. Could you tell us about the character of these works and the characteristics of their writing??


B.C.: Their collaboration seems to be a long one. Is there a common thread in your projects or does it arise more spontaneously.

 

 

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B.C.: Why do you think so few Spanish concert song recitals are scheduled in Spain??

 


Adriana's website

 

B.C.: Perform this type of romantic repertoire, in a small room, accompanied only by a piano or singing an operatic production on the stage of a grand opera house, What different sensations do you have?


B.C.: Mimi has recently been, we previously saw her in the role of Corinna, from The trip to Reims, both at the Liceu, What roles are you preparing in the short and medium term and which do you dream of for the future?

B.C.: He has dedicated these Songs of Albéniz to the one who was his teacher, Barbara Bickford. Tell us a little about it and why it is so important to you.

 


B.C.: Do you have any important references when preparing a role, who does he look at?, Who does Adriana González admire?

 

 

 


B.C.: When are we going to be able to listen to her in Madrid presenting this work or in any of those roles she is preparing?


IÑAKI ENCINA
Iñaki's website

B.C.: When he arrived at the Musikene in San Sebastián, he was selected for piano, choir director and orchestra conductor. He had to choose one of them and opted for the last one, What led you to make this decision and what qualities, according to you, must have a conductor worth his salt?

 


B.C.: This Iphigénie in Tauride is stage directed by Krzystof Warlikowski, director who does not usually leave anyone indifferent, How has this scenography worked in the Garnier room??, How do you get along with stage directors?

B.C.: In 2005 He became part of the Academy of the National Opera in Paris and is now making his Paris debut with Iphigénie en Tauride, What does it mean for you to debut in an Opera House like the one in Paris?


B.C.: Conducting a symphonic repertoire is very different from conducting a lyrical one, if I had to choose, which one would you choose and why?

 

 

 


B.C.: When are we going to be able to see you in Madrid, directing or presenting this work of Songs of Albéniz?