Notes Ambigú

Composed Mezzosoprano Marta Infante and harpist Manuel Vilas, They will perform music Juan Hidalgo, José Marín, Diego Fernandez de Huete, Juan del Vado O Sebastian Duron.

He Notes cycle Ambigú of the Teatro de la Zarzuela programming continues its evocative another particularly attractive proposition for the amateur. Throughout the recital 'Tonadas and baroque zarzuelas’, the mezzo-soprano Marta Infante and the harpist Manuel Vilas, Or what is the same, the duo Ars Atlantic, They moved to the origins of the genre to 120 viewers again fill the ambigú Theater. this singular musical time travel it will be tomorrow Tuesday, 12 from December, from 20h00.

In said path Ars Atlantic construed compositions Juan Hidalgo, José Marín, Diego Fernandez de Huete, Juan del Vado O Sebastian Duron, as well as various shades of the same anonymous XVII century those musicians lived and revolutionized. Marta Infante and Manuel Vilas formed in Ars Atlantic 2007, and within it are dedicated to the interpretation of musical theater repertoire profane and sacred from the twelfth to eighteenth centuries, focusing on baroque works for solo voice and continuous and continuous melodic instruments. In that year they released the album 'Harp Tones' (enchiriadis). Since then, the duo is a regular guest in classical music festivals and major old from inside and outside our country. Infante and Vilas make a valuable research work, recovering and recorded lots of unreleased music both Spanish composers such as Italian.

His numerous recording projects, What are they being studied, highlight, besides the aforementioned 'tones harp', It is containing human and divine tones of the seventeenth and eighteenth centuries from Catalan manuscripts, Valencians and Majorcans, the titleholder 'Sing Contarini', cantatas composed anonymous from the palace Contarini in Piazzola sul Brenta- Padova ( S.XVII); disc received in the Prelude Award Music the HNetherlands he award for best album of the year early music 2010.

He Teatro de la Zarzuela It will thus become a space different concerts thanks to his new ambigú; increasingly full of life. The elegant coffee will again be exclusive and privileged music room, where what matters is the proximity between artists and the public; the inspiring privacy which it can hardly be achieved in a large concert hall.

The fact that I hung poster 'sold out' at every concert of the 'Notes Ambigú' last season, and the enthusiastic reception from the public, It has naturally caused not only their consolidation, but also the increase concerts that compose. He Teatro de la Zarzuela will offer eight recitals they will travel to the public for French music, Mexican, sefardí or Galicia, by baroque tunes and operettas, chamber music or, how not, the couplet.

A) Yes, the appointment Ars Atlantic, and after the spectacular start of the cycle with soprano Carmen Romeu pianist and teacher Rubén Fernández Aguirre French music playing, follow the recitals of trio Arbós with 'Chamber Music' (22 from January), baritone Javier Franco with 'Song Galicia' (13 February), soprano Ruth Iniesta with an offering 'Joaquín Rodrigo' (13 of March), Of the information music with "Music Sephardi ' (16 of April), Guatemalan soprano Adriana González, second prize in the last contest Viñas, with 'Song Mexican camera' (21 of May) Y Charo Reina with 'A song and a glass' (4 of June).

La Grande Chapelle

On the occasion of the tercentenary of the death of Sebastian Duron, La Grande Chapelle retrieves a series of works from his extensive production in the vernacular sacred, composed for the Royal Chapel, of which he was organist and teacher. The team led by Albert Recasens It offers here a choice selection of religious romance solo pieces dedicated to the Blessed. An opportunity to continue learning this fascinating composer who lived between the seventeenth and eighteenth centuries and served two dynasties.

La Grande Chapelle is a vocal and instrumental ensemble of old music with a European vocation, whose main objective is to make a new reading of the great Spanish vocal works of the sixteenth and eighteenth centuries, with special predilection for production of the Baroque policoral. At the same time, It aims to contribute to the urgent recovery efforts Hispanic musical repertoire.

The ensemble has performed in major cycles of Spain and festivals Picardie, Haut-Jura, Musica Sacra Maastricht, Laus Polyphoniae Antwerp, musical encounters Noirlac, OsterKlang-Festival (Theater an der Wien) Vienna, Cervantino in Guanajuato, Radio France, Ribeauvillé, Saint-Michel in Thiérache, Saintes, Ile-de-France, Flanders (Mechelen), Lyon o en las temporadas of the Cité de la Musique in Paris o UNAM México (Sala Nezahualcoyotl), among others.

Since its founding in 2005 and stimulated by the will spread the Hispanic musical heritage, he created his own label, Praise, with which publishes maintained high musical recordings and musicological interest, from an independent position. There have been two main axes: explore the relationship between music and literature of the Golden Age and recover the production of the leading Spanish composers of the Renaissance and Baroque, always with world premiere recordings, especially through musicological recreations that place in context a particular work or author.

Friday 10 March 2017 to 20:30h. Hospedería Fonseca in the Auditorium of the University of Salamanca.


Fahmi Alqhai

On the third anniversary of the death of the master of the Spanish Royal Chapel Sebastian Duron, the Academy of Pleasure, the prestigious Sevillian group that leads the violagambista Fahmi Alqhai, It meets with soprano tarraconense Nuria Rial to pay tribute to the composer with a program that contextualizes its production of music for theater (arias and shades drawn from zarzuelas and operas) when placed in relation to one of the most brilliant Italian masters of his generation, Giovanni Bononcini, and the premiere of a canon Musicologist Alvaro Torrente.

Fahmi Alqhai It is considered today as one of the most important interpreters of World viola da gamba, and one of the greatest innovators of the interpretation of early music, thanks to its bold conception, the staff and communicative approach to historical repertoires. Born in Seville in 1976 a Syrian father and Palestinian mother, He spends his first eleven years of life in Syria, where his musical training begins at an early age. Later in Spain autodidact studies to join 1994 at the Conservatory of Seville Manuel Castillo to study the viola da gamba with Ventura Rico. Continues his training at the Schola Cantorum Basiliensis (Basel) y el Conservatory of Italian Switzerland (Lugano) guided by teachers Paolo Pandolfo Y Vittorio Ghielmi, respectively. Parallel obtained the Bachelor of Dentistry from the University of Sevilla. and in 1998 He begins his solo career specializing in the German repertoire for the viola da gamba; their versions of the viola da gamba sonatas and forced key Johann Sebastian Bach, recorded in 2004 next to Alberto Martínez Molina, They have had in all their actions an unbeatable critical both for the public and by the press. In 2002 funda Academy of Pleasure junto a soprano Marivi Blasco, who is director assembly. He is also founder, with his brother Rami Alqhai, record label Alqhai & Alqhai, with which he has produced and recorded four CDs, two of them dedicated to the Italian Seicento (The Tears of Eros, “Premio Prelude Classical Music 2009”, y Loves of Mars) and a third to the virtuoso music for viola da gamba Marais Y Forqueray (nominado a los “International Classical Music Awards 2011”). In 2012 Fahmi Alqhai received the "Best Music Giraldillo of the Bienal de Flamenco de Sevilla 2012" by the music of his fourth CD, The twists and turns, by the cantaor Archangel.

Nuria Rial He studied singing and piano in his native Catalonia, and then he continued studies at the Music Academy of Basel (Switzerland) with the teacher Kurt Widmer. In 2003 received the “Price Helvetia Patria Jeunesse Foundation” Pro Europe- European Foundation for Culture for his outstanding achievements as a singer. He has performed at major festivals in Europe, and collaborates with directors such as Ivan Fischer, Sir John Eliot Gardiner, Paul Goodwin, Trevor Pinnock, Howard Griffiths, Gustav Leonhardt, René Jacobs, Thomas Hengelbrock, Laurence Cummings, Neville Marriner y Teodor Currentzis, and with ensembles such as Concerto Köln, The English Concert, Basel Chamber Orchestra, Collegium 1704, Il Giardino Armonico, Les Musiciens du Louvre, Elbipolis Barockorchester, The Cetra Basel, LArpeggiata y Festival Strings Lucerne. In the field of opera he has participated as a soloist in major productions of many of the leading European theaters, as Eliogabalo Cavalli (in the paper Eritea) at the Théâtre de la Monnaie in Brussels led by René Jacobs; L'Orfeo Monteverdi (Euridice) at the Staatsoper Unter den Linden in Berlin with René Jacobs and the Grand Théâtre Geneva Giovanni Antonini; and The Magic Flute Mozart (Pamina) Theatre Carlo Felice in Genoa. Rial has often played Baroque music on historical criteria, plus interest in other styles: A) Yes, in 2012 he played the role of Nuria in contemporary opera Ainadamar of Golijov for the Teatro Real Madrid, directed by Peter Sellars. In 2015 Y 2016 sings Pamina again with the Budapest Festival Orchestra, directed by Ivan Fischer. Interpreter also chamber music, Rial usually acts with ensembles such as Il Pomo d'Oro, Café Zimmermann and the Nash Ensemble. In his recitals French repertoire and sings Spanish, but also songs in German.

Thursday 3 November at 20:30h. Hospedería Fonseca in the Auditorium of the University of Salamanca.


die Cupido

Sebastian Duron (1660-1716) (Fahmi reconstruction Alqhai)
Symphony comedy Death in Love is the Absence
S. Duron (attributed) / José de Torres (ca.1670-1738) (attributed)
From The greatest love overcomes him impossible in Love
Recitation: "Oh pull Cupid"
Aria: "Another worship what I worship"
S. Duron
From The new weapons of Love
Arieta italiana: "How many are afraid al rigor"
Recitation: "And more than this"
"Claras sources, pure heaven "
Xácaras and folías
S. Duron
From Poison Love is envy ø+
Aria: "Mr. Glauco, my owner "
Giovanni Bononcini (1670-1747)
Shepherdess among the woods ø+
sung The assault of thoughts ø+
Santiago de Murcia (1673-1739) / Fahmi Alqhai (1976)
Tarantella y Fandango
S. Duron (attributed) / José de Torres (ca.1670-1738) (attributed)
From The most impossible love, Love overcomes him (1710)
"I, beautiful nymph "
S. Duron
From Exit the love of the world
only human: "Sosieguen, rest "
Alvaro Torrente (1963)
Canon for two violas above the sarabande ø+
S. Murcia / F. Alqhai
Marionas and canaries
S. Duron
Cantata to the Holy be, I love hug me in the flame
From Exit Love World
"Death to Cupid"


Marta Almajano

Aragon soprano Marta Almajano, along with Juan Carlos Rivera, Mike Fentross the Ventura Rico, They are all authentic living memory of the best Spanish early music, so his tribute to the 300 years after the death of Sebastian Duron presents exciting. The program focuses on human tones delicious who was organist and master of the Spanish Royal Chapel, although it also includes a sung the Blessed, all it contextualized with music for guitar and theorbo.

Tuesday 18 October at 20:30h. Hospedería Fonseca in the Auditorium of the University of Salamanca.



Go for breaking the air

Sebastian Duron in the 300 anniversary of his death

Juan Hidalgo (1614-1685)
With much respect love
Anonymous (ca.1660-1721)
On the branches of a willow
Gerald Francisco (1649-1722)
Marionas by B
Sebastian Duron (1660-1716)
Ayrecillos soft
Johannes Hieronymus Kapsberger (1580-1651)
S. Duron
Go for breaking the air
Sebastian Duron (1660-1716)
flowering in April
Claro arrebol
Atendez, sound bird

Bartolomé de Selma y Salaverde (1595-1638)
Susanna walk
S. Duron
The love borrachita
Sarao the French minuet

The National Broadcasting Music Center (CNDM) opens tomorrow the cycle dedicated in its current season famous baroque composer Sebastian Duron, whose death this year marks the tercentenary. always attentive to the heritage rescue, CNDM the various cycles throughout the Spanish geography offer of 30 September 2016 al 20 March 2017 up to six programs that have Duron as a relevant protagonist.

From sacred to incidental music

Those in charge of reviving Durón's works are great names in baroque interpretation in Spain today, acting as speaker of his religious and profane music in thirteen concerts spread over six cities, from the native Brihuega to Úbeda, going through León, Salamanca, Oviedo and Madrid, in an extensive overview of the sacred and profane production of a musician who was essential in shaping the peculiar Iberian Baroque. A) Yes, Raquel Andueza together with his group the Galania, the cycle will open on Friday 30 September in Brihuega, with a program that includes manifestations of religious music, sung and tones of the honoree along with the Folias from Sanz, some anonymous page or the little-known Carlos Subias as well as a Zarabanda by Antonio Martín y Coll. This program will repeat on 5 October in the Cathedral of León. The Aragonese soprano Marta Almajano, along with Juan Carlos Rivera, Mike Fentross Y Ventura Rico, all authentic living memory of the best Spanish old music, They will take to Salamanca a program focused on human tones of Durón contextualized with music for guitar and theorbo. Also in the Castilian seo will hear the historical recoveries, Release in modern times, of works by Juan Hidalgo de Polanco and José Marín, great representatives of the Hispanic baroque, rescued by Alicia Lazaro and the Chapel Jerome Carrion more Durón sacred vocal scores, in the voices of the soprano Delia Agúndez, countertenor Gabriel Diaz Cuesta and tenors Ariel Hernández Y Michael Medium. “die Cupido” is the shocking title of the show thatAcademy of Pleasure, the prestigious Sevillian group that leads the violagambistaFahmi | Alqhai, together with the soprano from Tarragona Nuria Rial will present in Madrid, Salamanca and Oviedo, a tribute to the composer who contextualizes his music production for the theater (arias and shades drawn from zarzuelas and operas) when placed in relation to one of the most brilliant Italian masters of his generation, Giovanni Bononcini, and the premiere of a canon of musicologist Alvaro Torrente. Also with incidental music as the center of attention will come Harmonía del Parnás directed by Marian Rosa Montangut and accompanied by the voices of the soprano Ruth Rosique y the middle Marta Infante, two of the most outstanding female voices on the Spanish baroque scene, to Madrid, León and Úbeda. In this program, fragments of his plays will be mixed with those of other composers who shared tasks at court, working well for the Chapel itself or for Madrid's public theaters and the premiere in modern times of pieces composed by Francesco Corradini will be heard. The always solvent Albert Recasens will lead your whole La Grande Chapelle in Madrid, Salamanca and León to present the premiere of the historical recovery of a chosen selection of religious pieces in romance for soloists dedicated to the Blessed Sacrament, works of Durón's extensive sacred production in the vernacular, composed for the Royal Chapel, of which he was organist and teacher. Total, the cycle will premiere the recovery in modern times of 11 works of Sebastián Durón, to which will be added 16 plus written by other great composers of the time: Bononcini, Corradini, Hidalgo, Marín and an anonymous.

Duron: errant knight

To the 300 years after his death, the name of Sebastián Durón (Brihuega, Guadalajara, 1660 - Cambo-les-Bains, France, 1716) The curiosity of many performers and fans who until now had only tangentially approached his figure has begun to awaken.. His music is now common in various festivals and cycles, although it is true that the most widespread of the composer's catalog are his operas and zarzuelas. Sebastián Durón began his career as an organist, in which capacity he worked in La Seo de Zaragoza and in the cathedrals of Seville (Where it came from the hand of the great Alonso Xuárez, who surely was his teacher in Cuenca, and at that time, 1680, he was a chapel master in the Andalusian capital), The Burgo de Osma and Palencia. As an organist he entered the Royal Chapel of Carlos II in 1691, and in 1701, already under the reign, in dispute, of the first Bourbon, He was appointed teacher of the Royal Chapel and rector of the Royal College of Cantorcicos Children. But his life was complicated when he showed public sympathy for the Austrian candidate, which forced him to go into exile in France, where he worked in the service of the Dowager Queen, Mariana from Neoburg, as Mayor Limosnero and Chaplain of Honor.

Musicologist Pablo Vayón indicates that: “Although in his famous Universal Critical Theater Father Benito Feijoo accused him in his day of being responsible for the Italianization of Spanish music, in fact, Durón's work shows a remarkable continuity with the indigenous tradition of the 17th century. From the hand of the CNDM, In Cervantes' year it is also convenient to celebrate this outing to the world as an adventure worthy of knights errant, and the great composer from Alcarreño was one of them.”



On the occasion of the tercentenary of his death, the Teatro de la Zarzuela has two master's works Sebastian Duron (1660-1716). The dual program comprises "War of the Giants" and "The most impossible love, Love overcomes him”. Two of the most outstanding works of the most important composer of his time. Between days 17 Y 23 March and under the musical direction of Leonardo García Alarcón and direction of scene Gustavo Tambascio, pays tribute to its composer. Music will be provided by the Capella Mediterranea.

War of the Giants.

staged opera in an act of anonymous author Released in Madrid, between 1701 Y 1702 Edited by Antonio Martín Moreno (Editions Iberautor Cultural Promotions, SRL / Complutense Institute of Musical Sciences, 2007).

The story of this one-act opera moves to a country in Europe, between 1959 Y 1960, Fresh from the war and precisely when a period of great industrial push begins. Olympus is now a large company, Jupiter Salvatierra, dedicated to heavy industry and led only by women, a group of young executive, rich and good girls, with such catchy names as Jupiter, Minerva, Fame, Silence, Time and Immortality. He will celebrate the wedding of the younger sister, Maria de las Mercedes, a young Italian engineer, Maximum Ventivoglio and Ferrara. Everything is ready for the link and the means of communication called presented in place. But they come unexpectedly a group of workers of the company, called giants, they go on strike. At that time the most astute sister, Minerva, He decides to call the superhero Hercules and his people. He will face a belligerent Palante, which he has brought chaos to the peaceful world of Jupiter Salvatierra. All this will bring huge changes: armies are formed and begin fighting, although no one knows how it will end that. Jupiter, the chief executive, y Palante, the head of the workers, They fight but the striker is quickly removed and all workers subject. The consequences are predictable, so everything returns to the initial order -as expected- And just in that country celebrating Europe!

The most impossible love, Love overcomes him.

first day's squad Lisidante capsizes in a storm and it gets saved in Celauro company and Triton. They reach Fenicia, the land of King Acrisius and Danae, Lisidante who seeks to conquer. For this delivery posing as a soldier and saying Lisidante perished in the shipwreck. In the entourage of King Acrisius are Dánae, Filida, who falls for Lisidante from the first meeting, and Polidectes, also in love with Danae. Jupiter and Love shown gods, who challenge, fight and win ... Love, that leaves a saetazo Jupiter hurt ... of love Danae. Jupiter has a wife, the goddess Juno, and Danae is enraged to discover that his prentendiente is married. Lisidante hears he believes is brought to assert himself and declares his love, but rejects Danae. In the meantime, Juno communicates Acrisio and people of Phoenicia that the beauty of Danae has offended Heaven and, to pay their fault, They should lock her in a tower from which you can not leave while not rain gold. Second day learns that Jupiter will lock Juno Danae and see how it, madly in love with Danae, surrenders to Love, that promises to achieve the impossible of rain gold. Juno promises in turn make it impossible to love God's plan. Lisidante appear in the tower, Celauro and Triton disguised as soldiers to open the tower from inside and rescue Danae. But Jupiter appears accompanied by Love, with music and with herbs sleeping guards and enter to take Danae. Lisidante wakes up and takes charge of his army to rescue Danae. then another wonderful music sounds and appears a shower of gold. Jupiter, Love Danae and say that the impossible has ceased to be. And in the end all corroborate that «the most impossible love, Love overcomes him!».

Sebastian Duron.

Sebastian Duron (1660-1716), composer and organist of the time, it is becoming gradually with all the musical activities of the Court, even with the advent of the dynasty of the Bourbons in 1700. His versatility helped the acceptance that had their theatrical works in all areas of their time: He wrote The War of the giants with sponsorship of the nobility and the most impossible love, Love overpowers him for Madrid public theaters. In this production by the Teatro de la Zarzuela, we find two conflicting ways of seeing the Baroque. In War of the giants, considered the last major production in the Spanish style before adapting to the new Italian operatic style in his productions made Durón the years 1710 Y 1711, stage director, Gustavo Tambascio, brings history to a country in Europe, between 1959 Y 1960 and Olympus is a great company, Jupiter Salvatierra, dedicated to heavy industry and led only by women. We would be facing a kind of replay of the class struggle, where the giants are the working class and the Olympians, the prosperous owners. With more impossible in love, Love overcomes him, premiered at the Coliseo de la Cruz 1710, Italian influence on the Spanish musical theater and became noticeable and Duron already incorporates this title. Tambascio chooses here to present a show as close to that viewers could see the eighteenth century, Baroque maximum respect laws. Scenography, locker room, lighting, gestualidad, rhetoric, dances ... Everything will transport us to that way of doing musical theater. And then there is the presence of the Cappella Mediterranea and its director Leonardo García Alarcón, They are acting for the first time in this scenario with a double program dedicated to Durón, They are addressing the project with the idea to rethink the perception of Italian baroque music from the practice of Southern popular music. (The playbill of Teatro de la Zarzuela).