Manuel Hernández-Silva returns to the Teatro Colón in Buenos Aires to lead once again the Philharmonic Orchestra with a program that includes Overture to The Creatures of Prometheus, Op. 43 and Concerto for piano and orchestra No. 2 in B flat major, Op. 19, by Beethoven, and Symphony No. 6 in C major, D. 589 by Franz Schubert. The concert, the tenth of the subscription series, will take place on July 8, 2022 at 8:00 p.m. and will feature the Latvian pianist Arta Arnicane. Hernández-Silva made his debut at the Teatro Colón in June 2019 and his stay was extended for a week to replace another director who canceled his commitment, for which he directed two consecutive subscription programs. The excellent public and critical reception of his presentation at the Buenos Aires Coliseum resulted in a re-invitation for August 2021 that had to be canceled for reasons related to COVID-19 and that has finally been recovered.
Hernández-Silva has conducted orchestras such as the Wienner Symphoniker, WDR Rundfunkorchester, Rheinische Philharmonie, Orchester National Bordeaux-Aquitaine, São Paulo State Orchestra, Wuppertal Symphony, Israel Symphony, Prague Radio Symphony, Janacek Philharmonic, Nord Czech Philharmonic, Olomouc Philharmonic, Biel Symphony Orchestra, Mulhouse Symphony, Seoul Philharmonic, Bohuslav Martinů Philharmonic, Hradec Králové Philharmonic, National Symphony of Mexico, Puerto Rico Symphony, Buenos Aires Philharmonic, National Symphony of Chile, Venezuela Symphony, Caracas Symphony or the Simón Bolívar Orchestra . In Spain, he has conducted the Royal Philharmonic Orchestra of Galicia, the Valencia Orchestra, the Oviedo Philharmonic Orchestra, the Principality of Asturias Symphony Orchestra, the Bilbao Symphony Orchestra, the Euskadi Symphony Orchestra, the Navarra Symphony Orchestra, the Barcelona and National Symphony Orchestras of Catalonia, the Symphony Orchestra del Vallés, Murcia Region Symphony Orchestra, Granada City Orchestra, Córdoba Orchestra, Málaga Philharmonic Orchestra, Extremadura Orchestra, Castilla y León Symphony Orchestra, RTVE Symphony Orchestra, Community of Madrid Orchestra, National Orchestra from Spain, the Gran Canaria Philharmonic Orchestra, the Tenerife Symphony Orchestra and the Balearic Islands Symphony Orchestra; and in important Festivals such as the Donostiarra Musical Fortnight, the Granada International Music and Dance Festival, the Úbeda Festival or the Cemski-Krumlov Festival in the Czech Republic.
As an opera director, he has received great reviews for his work on titles such as Die Zauberflöte, Cosí fan tutte or Don Giovanni, by Mozart, Fidelio, by Beethoven, and La Boheme, Gianni Schicchi, Tosca, Madama Butterfly, or more recently Manon Lescaut, of Puccini. Among his recent and upcoming commitments, important debuts with the Orchester National Bordeaux-Aquitaine, Orquestra do Estado de São Paulo, Tucson Symphony Orchestra, Arctic Philharmonic Orchestra, Swedish Chamber Orchestra, Sinfónica de Galicia, National des Pays de la Loire or the National Symphony of Cyprus stand out, as well as his returns to the Orquesta de Valencia or Sinfónica Nacional de Colombia.
Manuel Hernández-Silva makes his debut conducting the OSESP, São Paulo State Symphony Orchestra, accompanied by soprano Beatriz Díaz, tenor César Gutiérrez and guitarist Rafael Aguirre with three concerts on May 19, 20 and 21 at the Sala São Paulo, usual venue of the orchestra. The programme, entirely dedicated to Spanish music, includes Falla’s Suite No. 2 of El Sombrero de Tres Picos, the guitar concerts Concierto para una fiesta and Concierto de Aranjuez, which alternate, and a zarzuela gala that includes orchestra excerpts, arias and duets by Jesús Guridi, Reveriano Soutullo, Federico Moreno Torroba, Pablo Sorozábal, Ruperto Chapí, Gerónimo Giménez, Manuel Fernández Caballero, Manuel Penella and Federico Chueca.
With the Sinfônica do Estado de São Paulo, Hernández-Silva has already conducted all the great Latin American orchestras such as the Simón Bolívar Orchestra, of which he was the principal guest conductor, the Buenos Aires Philharmonic, Orchestra of the Teatro Colón, the Bogotá Philharmonic or the National Symphony Orchestras. from Chile, Mexico, Colombia or Puerto Rico. His debut with the Orchester National de Bordeaux-Aquitaine will also take place shortly, and upcoming invitations include the Tucson Symphony, Orquesta de Valencia, Sinfónica de Galicia, Arctic Philharmonic, Swedish Chamber Orchestra, Orchester National du Pays du Loire, National Cyprus Orchestra, etc.
Since she was invited by Riccardo Muti to sing Paisiello’s Missa Defunctorum at the Salzburg Festival or the Maggio Musicale Fiorentino, and the role of Diana de Iphigénie in Aulide for the Rome Opera, performances of Beatriz Díaz have been successful in great national coliseums such as the Teatro de la Zarzuela and the Real in Madrid, Arriaga and Euskalduna in Bilbao, Maestranza in Seville, Palacio Carlos V in Granada, Cervantes in Malaga, Baluarte and Gayarre in Pamplona, Pérez Galdós in Las Palmas, Jovellanos in Gijón or Campoamor in Oviedo and on notable international stages such as La Fenice in Venice, Carlo Felice in Genoa, Massimo in Palermo, Comunale in Bologna and Modena, Châtelet in Paris and Colón in Buenos Aires. Likewise, Díaz took part in exclusive concerts held in Saint-Jean-Cap-Ferrat, Doha, Rabat or Tokyo, among other cities.
Winner of the first prize at the Hilde Zadek international singing competition in Passau, as well as the First Grand Prize and Gold Medal at the María Callas International Singing Competition in Athens, Gutiérrez has sung at the Opéra de la Bastille, Liceu, Opéra de Rome, Staatsoper Berlin, Volksoper and Staatsoper of Vienna, Theater an der Wien, Opera de Montecarlo, Leipzig, Munich or Helsinki, as well as in Tokyo, Athens, Rio de Janeiro, Montevideo, Lima and Bogotá. Her repertoire includes more than 35 operas, from Handel’s Acis & Galatea to Piazzolla’s Maria de Buenos Aires. He has sung with directors such as Ricardo Muti, Armin Jordan, Gidon Kremer, Gustavo Dudamel or Hernández-Silva, and under the stage direction of Michael Hampe, Philippe Arlaud, Hugo de Ana or Jorge Lavelli, in addition to the Lied and oratorio repertoire.
Pacho Flores, Leo Rondón and Manuel Hernández-Silva meet again, this time together with the Gran Canaria Philmarmonic Orchestra, to offer a program that includes Kalinnikov’s Symphony No. 1 and two trumpet concerts: the Concerto Venezolano, by Paquito D’ Rivera, and Cantos y Revueltas, by Pacho himself. The concert will take place at the Alfredo Kraus Auditorium in Las Palmas on Saturday, May 6 at 8:00 p.m. These two trumpet concerts have several things in common, such as the fact that they were composed for a wide range of instruments of the trumpet family that include trumpets, cornets and flugelhorns, all with four pistons and manufactured by STOMVI: cornet in C, trumpet in C, cornet in G, flugelhorn in B flat and cornet in F for the Concerto Venezolano, and flugelhorn in B flat, cornet in D and trumpet in C for Cantos y Revueltas, which means that Pacho comes on stage with 6 different instruments.
Another thing both works have in common is the presence of the Venezuelan cuatro; in the case of D’Rivera, integrated as part of the orchestra, and in the case of Flores, as co-soloist with the trumpet —not in in vain this piece bears the subtitle Fantasia concertante for trumpet, Venezuelan cuatro and strings. Rondón is one of the most outstanding virtuosi of this instrument and has collaborated with ensembles such as the Quatuor Debussy, L’Arpeggiata by Christina Pluhar or the Mexican tenor Rolando Villazón, as well as with orchestras such as the Real Filharmonía de Galicia, Royal Liverpool Philharmonic, Orchestre National de l’Ile de France, Orquesta Sinfónica de la Región de Murcia, Valencia Orchestra, Castilla y León Symphony Orchestra, Extremadura Symphony Orchestra, Navarre Symphony Orchestra, Tunisia Symphony Orchestra or Malaga Philharmonic, and he will soon debut with the Gran Canaria Philharmonic. Future engagements will take him to Sweden and Norway.
The Concerto Venezolano is a joint commission between the Minería Symphony Orchestra, the Royal Liverpool Philharmonic, the Valencia Orchestra and the San Diego Symphony Orchestra, which have premiered it under the baton of conductors Carlos Miguel Prieto, Domingo Hindoyan, Manuel Hernández-Silva and Rafael Payare, respectively. Cantos y Revueltas was premiered by the Real Filharmonía de Galicia and Manuel Hernández-Silva, and is the main work on the homonymous album by Deutsche Grammophon.
Manuel Hernández-Silva and Serbian violinist Robert Lakatoš meet again, this time with the Real Filharmonía de Galicia, to offer Wieniawski’s Concerto No. 1 along with the overture A Life for the Tsar, by Glinka, and Kalinnikov’s Symphony No. 1. The concerts will take place at the Centro Cultural Abanca in Vigo and the Auditorio de Galicia in Santiago de Compostela on March 16 and 17, respectively. Hernández-Silva and Lakatoš had already performed Shostakovich’s Concerto No. 1 together with the Navarre Symphony Orchestra and the Malaga Philharmonic. Other visits by Lakatoš to Spain involved James Judd and the RTVE Orchestra with Korngold’s violin concert, and Nicholas Milton and the Navarra Symphony with the Serenade for violin, strings and percussion by Leonard Bernstein.
Robert Lakatoš has won numerous international awards, including first prizes at the Pablo Sarasate Competition (Pamplona, Spain, 2015), Mary Smart Concerto Competition (New York, 2013), and Societe Generale Serbia (Belgrade, 2009), as well as second prizes at Jeunesses Musicales Romania (Bucharest, 2012) and Andrea Postacchini (Fermo, Italy, 2012). Robert Lakatoš develops his concert career as a soloist and chamber musician performing in Europe, Israel and the United States. As a soloist, he has appeared with numerous orchestras including the Spanish RTVE Orchestra, Navarra Symphony Orchestra, Malaga Philharmonic, Minas Gerais Philharmonic, Krakow Philharmonic, Orquesta Sinfónica de la UAN (Mexico), Istanbul State Symphony Orchestra, New York Summit Festival Orchestra, RTV Slovenia Symphony Orchestra, Belgrade Philharmonic Orchestra, Vojvodina Symphony Orchestra and the Janáček Camerata. So far, he has collaborated with conductors such as Philip Greenberg, Fabio Mechetti, Gabriel Feltz, Manuel Hernández-Silva, Nicholas Milton, James Judd, James Tuggle, Lior Shambadal and Antoni Wit. He has made recordings for radio and television in his country and abroad and holds the position of Violin Professor at the Academy of Arts in Novi Sad, where he studied and was awarded as Best Young Artist in 2016 by the Autonomous Province of Vojvodina and the Vojvodina Academy of Arts and Sciences. Robert plays on a 1709 Stradivari violin from the collection of bow maker Vladimir Radosavljevic, whose bow he also uses.
Despite the cancellations and delays due to the pandemic, Pacho Flores has been able to keep pace with the premieres of the new trumpet concerts within the project of shared commissions that he has been promoting over the last five years. Since the premiere of Arturo Marquez’s Concierto de Otoño on September 2018 by the Orquesta Sinfónica Nacional de México and Carlos Miguel Prieto, 12 of the 21 foreseen premieres of this project have already taken place. The premiere of Historias de Flores y Tangos, by Daniel Freiberg, last 23 October, is the half-way mark on the premiere calendar, which will receive a great boost—should Omicron allow it—in 2022, in which we will see the last premieres of Paquito D’Rivera’s Concerto Venezonano (Spain and US) and Roberto Sierra’s Salseando (Brasil and France), as well as Daniel Freiberg’s second premiere.
The program also includes Cantos y Revueltas: Fantasia Concertante for trumpet, Venezuelan cuatro and strings, by Pacho Flores, and the Symphony No. 1 in E minor, Op. 39, by Jan Sibelius
This concert also means the debut of Manuel Hernández-Silva with the Valencia Orchestra, one of the Spanish few with which he had not yet worked. Hernández-Silva has held four tenures as Principal Conductor in our country: Murcia Region Symphony, Cordoba Orchestra, Malaga Philharmonic and Navarra Symphony Orchestra, and has become the conductor with more presence in this project, with three premieres in Spain and three others in France, Norway and Sweden.
Cantos y Revueltas was premiered with the Real Filharmonía de Galicia, Hernández-Silva and Leo Rondón in January 2018 on a concert tour in Galicia, whose live recording gave rise to a double CD/DVD for Deutsche Grammophon. Since then, it has been often performed in Spain (Murcia, Malaga, Navarra, Extremadura) and it has already been premiered in the US, Mexico, Colombia and the United Kingdom. After this concert in Valencia, it is scheduled in Norway and Sweden. Cantos y Revueltas is actually a double concert in which the Venezuelan cuatro has a leading role, to whose development Leo Rondón, the soloist who premiered and recorded it, played a great part, and who will also be present in Valencia.
The Concerto Venezolano is a commission by the Orquesta Sinfónica de Minería (Mexico), the Royal Liverpool Philharmonic (UK), the Orquesta de València (Spain) and the San Diego Symphony Orchestra (USA)
After the premieres of Concierto Venezolano in Mexico (Orquesta de Minería under Carlos Miguel Prieto) and the United Kingdom (Liverpool Philharmonic under Domingo Hindoyan), this third premiere in Valencia with Hernández-Silva will be the continental European premiere that precedes the end of the cycle two weeks later with the San Diego Symphony and Rafael Payare in the US. The concerts of this project of shared commissions are specifically written for the extraordinary conditions of Pacho Flores and the varied instruments provided by the Valencian house STOMVI, which has developed new four-piston prototypes in new keys that greatly expand the tessitura and range of colors and timbres of this instrument, and, therefore, also the expressive possibilities it offers to the soloist. As an example, this is the list of instruments that would be needed to face the complete cycle of new concerts: Trumpets in B flat, C and D, cornets in F, B flat and E flat, soprano cornets in F, G and A, and, of course, a flugelhorn in B flat, which is, at the express request of Pacho, present in all of these new works.
Pacho Flores with Vicente Honorato, General Director of STOMVI
This premiere is part of a project of shared commissions for new trumpet concerts by important composers such as Arturo Márquez, Roberto Sierra, Christian Lindberg, Daniel Freiberg, Efraín Oscher and D’Rivera himself.
An important detail to highlight about this project is that these works remain permanently in Pacho’s repertoire. Márquez’s concert, for example, has had further premieres in Poland, Colombia, France, the United Kingdom and the Czech Republic after the first premieres by the orchestras that participated in the initial commission, and has been programmed especially in the USA (Louisiana, Colorado, Maine, Buffalo, Ohio) ,Spain (Galicia, Navarra, Cordoba) or Chile, with a total of more than 30 performances in just four years, and this in the midst of a global pandemic.
D. Freiberg, A. Márquez, P. D’Rivera, P. Flores and C. M. Prieto during the recording of Mestizo for Deutsche Grammophon
The Concerto Venezolano was recorded the same week of its premiere in Mexico in 2019, together with that of Arturo Márquez and two other concerts by composers who also participate in this project —not the works belonging to the project but rather previous ones: Concierto Mestizo de Efraín Oscher, premiered a decade ago (Caracas, 2010) with Bolívar and Hindoyan, and Crónicas Latinoamericanas by Daniel Freiberg, which is really an adaptation for trumpets of a concert originally written for clarinet by Paquito D’Rivera and premiered by the WDR Funkhausorchester and Wayne Marshall. The trumpet version was premiered by the Het Gelders Orkest from the Netherlands, conducted by Christian Vásquez. The release of this album was delayed by the pandemic, but it will finally be presented in the summer of 2022 and will be the 6th in Pacho’s discography—the 5th for Deutsche Grammophon—, after Cantar (2016), Entropía (2017), Fractales ( 2018) and Cantos y revueltas (2019). Pacho also appears as a guest soloist on several of Christian Lindberg’s recordings and acts as producer and conductor on the album Egregore, by trumpeter Fabio Brum for Naxos.