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 begins an American tour that will bring him to Chicago, IL, Portland, ME, and Delaware, OH, after an intense period in which he has performed the Spanish and USA premieres of Paquito D’Rivera’s new trumpet concerto, Concerto Venezolano, with the Valencia and San Diego orchestras; the South American premiere of Roberto Sierra’s new trumpet concerto, Salseando, with the Sinfônica do Estado de São Paulo, Brazil; his Spanish debut as a conductor with the Murcia Symphony orchestra premiering Leo Rondón’s Concierto de Mar, new concerto for Venezuelan cuatro and orchestra, as well as two of his new compositions, Heterónimos, for trumpet and small orchestra, and Preludio and Fugue for Strings; and the absolute premiere of his own Albares, Concerto for flugelhorn, releasing three new prototypes of flugelhorns, with the Tenerife Symphony, besides other important concerts in Spain with the Castilla y León Symphony and the Gran Canaria Philharmonic. This American tour includes a chamber concert for the Music Institute of Chicago, Pacho’s debut with the Portland Symphony playing Arturo Márquez’s Concierto de Otoño under Josep Caballé-Domenech, and his largely postponed debut with the Ohio Central Symphony and his friend Jaime Morales, in which Pacho will perform Neruda’s Concerto for corno da caccia as well as Márquez’s concerto.
Shortly after this, he will play the French premiere of Sierra’s Salseando with the Orchestre National de Bordeaux-Aquitaine under Manuel Hernández-Silva, and the absolute premiere of Igmar Alderete’s Concierto Mambí with the Orquesta de Córdoba led by its principal conductor Carlos Domínguez-Nieto. This will be prior to his engagement with Alondra de la Parra and her project The Impossible Orchestra; his three appearances as a Resident Artist in La Virée Classique (The Classical Spree) of the Montreal Symphony Orchestra on his triple role as soloist, conductor and composer; and his performance on the premiere of Daniel Freiberg’s new trumpet concerto, Historias de Flores y Tangos, with the Minería Symphony Orchestra under Carlos Miguel Prieto, with whom Pacho will also launch his last recording for Deutsche Grammophon, which already includes some of these new trumpet concertos dedicated to him by Arturo Márquez and Paquito D’Rivera, together with Efrain Oscher’s Concierto Mestizo and Daniel Freiberg’s Latin American Chronicles.
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.
The absolute premiere of Albares, Pacho Flores’ concert for flugelhorn, will take place next Friday, April 29 at 7:30 p.m. at the Adán Martín Auditorium in Tenerife, performed by Pacho himself with the Tenerife Symphony Orchestra (OST) under the baton of Christian Vásquez. A second trumpet concert, Danzas Latinas by Efraín Oscher, commissioned and premiered by the Real Filharmonía de Galicia in November 2021 under Manuel Hernández-Silva, and Tchaikovsky’s Symphony No. 5 in E minor, Op. 64 will complete the program. This flugelhorn concert is the second work composed by Pacho Flores for solo instrument and orchestra after Cantos y Revueltas, fantasia concertante for trumpet, Venezuelan cuatro and strings, which was also premiered by the Real Filharmonía de Galicia and Manuel Hernández-Silva in January 2018, featuring Leo Rondón on the Venezuelan cuatro, and which is part of the homonymous album for Deutsche Grammophon, Pacho’s fourth recording for the yellow label.
The instrument construction technique has always been vital for the development of music; not in vain instruments are the tools whose evolution and improvement have allowed composers to go a step further, demanding from the performers increasingly greater skills in order to exploit the potential of their new works, a classic virtuous circle. The appearance of pistons expanded the possibilities of brass instruments and therefore their importance within the orchestra, as well as their role as solo instruments, as was the case with Haydn’s Trumpet Concert, commissioned by Weidinger for a new instrument with valves that allowed him to play the chromatic scale, soon improved by the incorporation of the three pistons. Nowadays, Pacho Flores is promoting both an expansion of the solo trumpet repertoire as well as an unprecedented technological evolution of the instrument. Both lines do not run in parallel but intermingle and feed each other back continually, allowing their mutual development.
The expansion of the repertoire comes about through an ambitious project of shared commissions to leading composers, who write trumpet concerts for the new four-piston prototypes in new keys developed by STOMVI. Pacho works closely with the engineers in the development of these instruments, whose timbre and register possibilities are made known in advance to the composers, so that they know what they can expect from them. The fact that Pacho uses different trumpets in the same concert means that the expressive possibilities of timbre, color and range of these pieces are multiplied. In Albares, Pacho has given this process a new twist by requiring STOMVI to manufacture three new instruments to meet the demands of the work. For the first movement, Bambuco, a C flugelhorn has been constructed, for the second, Milonga, a low A flugelhorn, and for the third, Periquera, a high D flugelhorn.
Pacho Flores conducts the absolute premiere of Leo Rondón’s Concierto del mar for Venezuelan cuatro and orchestra, with the Orquesta Sinfónica de la Región de Murcia, on Sunday, April 24. This is probably the first or one of the first concerts for Venezuelan cuatro and orchestra ever written. The cuatro, a descendent of the guitar, smaller in size and with four strings (hence its name, cuatro), is an instrument of Venezuelan and Colombian popular music, although there are some differences between one and the other. In recent years and thanks to a brilliant generation of performers, among whom Leo Rondón stands out, this instrument has been gaining presence in the orchestral music scene. Pacho Flores himself gave it an important presence in his work Cantos y Revueltas, fantasia concertante for trumpet, Venezuelan cuatro and strings, in which Rondón was in charge of the cuatro solo part, and which both recorded together for Deutsche Grammophon with the Real Filharmonía de Galicia under Manuel Hernández-Silva.
Leo Rondón has a long history of collaborations and has worked with ensembles such as Quatuor Debussy, Christina Pluhar’s L’Arpeggiata 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, Sinfónica de Castilla y León, Extremadura Symphony Orchestra, Navarre Symphony Orchestra, Tunisia Symphony Orchestra or the Malaga Philharmonic, and he will soon make his debut with the Gran Canaria Philharmonic, with future commitments in Sweden and Norway. Naturally, he also keeps one foot in traditional music, collaborating with the Alexis Cárdenas quartet and other ensembles. Concierto del mar is his first symphonic work.
Pacho, for his part, has already some experience as a conductor and he is increasingly delving deeper into this facet. He has conducted the International Trumpet Guild Festival Orchestra in San Antonio, Texas; the Kammerensemble Konsonanz of Bremen in the recording of trumpeter Fabio Brum’s album EGREGORE for Naxos, in which he also acts as musical producer; or the Brass Ensemble of the Bogotá Philharmonic. Pacho is also an active composer. In addition to the aforementioned Cantos y Revueltas, other compositions include Musas y Resuello, for brass ensemble and percussion and premiered in Bogotá; Heterónimos, for trumpet and small orchestra, included in the album by Fabio Brum and which, together with Preludio y Fuga for strings, will have its absolute premiere at this concert in Murcia; or Albares, the new concerto for flugelhorn that will be premiered next April with the Tenerife Symphony Orchestra under Christian Vásquez, in addition to other works recorded on his album ENTROPÍA such as Morocota,Labios vermelhos, etc.
Pacho Flores and Leo Rondón appear in the concert season of the Castilla y León Symphony Orchestra (OSCyL) together with maestro Carlos Miguel Prieto, with whom they will perform at the Miguel Delibes Cultural Center in Valladolid (April 8 and 9), as well as at the Festival de Música Sacra de Segovia (April 7) and the Semana de Música Religiosa de Cuenca (April 11). Flores and Rondón participate as soloists in two works on the program. The first of them is the Concerto Venezolano, by Paquito D’Rivera, in which will be the first performance of this piece after the series of premieres by the four orchestras that participated in its commission (Orquesta Sinfónica de Minería with C. M. Prieto; Royal Liverpool Philharmonic and Domingo Hindoyan; Valencia Orchestra under Manuel Hernández-Silva; and San Diego Symphony with Rafael Payare) has been completed.
The second piece is Cantos y Revueltas. Fantasía concertante para trompeta, cuatro venezolano y cuerdas, by Pacho Flores himself, in which he shares the leading role with Leo Rondón and his Venezuelan cuatro. It was premiered by the Real Filharmonía de Galicia under Manuel Hernández-Silva and recorded live for a double CD/DVD by Deutsche Grammophon.
D’Rivera’s Concerto Venezolano is part of an ambitious project to expand the repertoire for solo trumpet and orchestra that involves, in addition to D’Rivera, other outstanding composers such as Arturo Márquez, Roberto Sierra, Christian Lindberg, Efraín OScher, Daniel Freiberg or Gabriela Ortiz. Orchestras from all over the world have become involved in this project of shared commissions, and these new concerts are being premiered from the USA, Mexico and Brazil in America to Turkey and Japan in Asia, across Spain, France, the United Kingdom, Sweden and Norway in Europe. The performance of these concerts requires a wide variety of new four-piston instruments in various keys —trumpets, cornets and flugelhorns, some of them authentic prototypes—, which are provided by the Spanish company STOMVI and in whose development Pacho actively participates together with its engineers.
Pacho Flores and Paquito D’Rivera recording D’Rivera’s Concerto Venezolano
Pacho Flores and Leo Rondón will soon collaborate again at the premiere of the Concierto del Mar, for Venezuelan cuatro and orchestra, with Pacho Flores conducting the Orquesta Sinfónica de la Región de Murcia and Rondón as soloist. This absolute premiere will take place at the Víctor Villegas Auditorium in Murcia on Sunday, April 24, but it will not be the only absolute premiere of the program, as other works by Pacho Flores, such as Preludio y fuga para cuerdas, composed expressly for the occasion, and Heterónimos, for trumpet and orchestral ensemble, will also be premiered. Heterónimos, though already recorded, has never been performed in public. Inspired by writings of Fernando Pessoa, it is dedicated to the trumpeter Fabio Brum, who recorded it for Naxos in the album EGREGORE, in which Pacho acted as producer and conductor of the orchestra.
Pacho Flores performs the Brazilian premiere of Salseando, by Roberto Sierra, with the Orquestra Sinfônica do Estado de São Paulo under Carlos Miguel Prieto, next March 31 and April 1 and 2 at the Sala São Paulo. The program also includes the Concerto for corno da caccia by Johann Baptist Georg Neruda. This will be the third premiere of Salseando after those in the United Kingdom by the Royal Liverpool Philharmonic under Domingo Hindoyan (January 2020) and in Spain with the Murcia Region Symphony Orchestra conducted by Manuel Hernandez-Silva (December 2020). This series of premieres is resumed this season after the cancellations due to the COVID19 pandemic, and will conclude with the premiere in France by the Orchestra National de Bordeaux-Aquitaine, again under the direction of Hernández-Silva (June 2022).
Salseando is part of the project of shared commissions for new trumpet concerts that Pacho Flores himself is promoting with outstanding composers such as Arturo Márquez, Paquito D’Rivera, Efraín Oscher, Roberto Sierra, Christian Lindberg, Daniel Freiberg and Gabriela Ortiz. These premieres, with the delays caused by the pandemic, have been taking place uninterruptedly since September 2018, when the first premiere by Arturo Márquez took place, and will for now last until December 2023, when the last premiere by Gabriela Ortiz will take place.
A total number of 24 orchestras from all over the world will have participated in this project of shared commissions for new concerts, whose premieres will have taken place from the USA to Japan across Mexico, Brazil, United Kingdom, Spain, France, Norway, Sweden or Turkey. The concerts have been specifically composed for the incredible technical skills of Pacho Flores and for the variety of instruments, some of them real prototypes, that the Spanish manufacturer STOMVI puts at his disposal. These new instruments, with four pistons and in various keys, are the result of a constant research and development work in which Pacho is personally involved together with the STOMVI engineers, led by Vicente Honorato, president and alma mater of the company.
Marina Heredia will perform Manuel de Falla’s El Amor Brujo with the Casa da Música Orchestra in Porto under its principal conductor, Stefan Blunier, next 25 March at 21:30 p.m. at the sumptuous auditorium built by Rem Koolhaas, after the success of her Berlin debut with the Berlin Radio Symphony Orchestra conducted by Pablo Heras Casado.
Recently, Marina has participated in a concert tour around Galicia with the Orquesta Sinfónica de Galicia under José Trigueros, presenting a new orchestration by the conductor himself of the Canciones Españolas Antiguas, compiled and harmonized by Federico García Lorca.
Marina Heredia has become the most internationally requested cantaora to perform El Amor Brujo by Manuel de Falla, which she has sung in some of the most prestigious international venues with important ensembles such as the San Francisco and Chicago Symphony Orchestras. In Europe she has performed it with the Rouen Opera and the Orchestre National de Lille, and more recently in Spain at the Teatro Real in Madrid, Palacio de Festivales in Santander, Auditorio ADDA in Alicante, Cidade da Cultura in Santiago or the Auditorio Manuel de Falla in Granada, with orchestras such as the Sinfónica de Galicia, RTVE Orchestra, Orquesta Ciudad de Granada or ADDA Orchestra, and under conductors such as Manuel Hernández-Silva, Josep Vicent or Pablo Heras Casado, with whom she has also recorded it for Harmonia Mundi.
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.
Marina Heredia will perform El Amor Brujo by Manuel de Falla with the Rundfunk-Sinfonieorchester Berlin (Berlin Radio Symphony Orchestra) under conductor Pablo Heras Casado in two legendary venues of the Geman capital, such as the Philharmonie and the Konzerthaus. These concerts will take place next 10 and 11 March, respectively. Marina has recently offered a series of five concerts with the Orquesta Sinfónica de Galicia in various cities of the Galician region such as Santiago, A Coruña, Ourense, Lugo and Pontevedra, with a program that included a selection of Canciones Españolas Antiguas, compiled and harmonized by Federico García Lorca.
After this debut with the Rundfunk-Sinfonieorchester Berlin, Marina Heredia will travel to Portugal to perform El Amor Brujo with the Orquestra da Casa da Música de Porto under Stefan Blunier, next 25 March. Soon afterwards, she will sing at the Palacio de Carlos V within the Granada Festival. Next 2022/23 season will see Marina performing again El Amor Brujo at the opening season concert of a Spanish symphony orchestra, as well as in Switzerland and Germany, where she will offer several concerts along the season as a resident artist of an important German orchestra, closing her residency with the world premiere of a work composed especially for her.
Marina Heredia has become the most internationally requested cantaora to perform El Amor Brujo by Manuel de Falla, which she has sung in some of the most prestigious international venues with important ensembles such as the San Francisco and Chicago Symphony Orchestras. In Europe she has performed it with the Rouen Opera and the Orchestre National de Lille, and more recently in Spain at the Teatro Real in Madrid, Palacio de Festivales in Santander, Auditorio ADDA in Alicante, Cidade da Cultura in Santiago or the Auditorio Manuel de Falla in Granada, with orchestras such as the Sinfónica de Galicia, RTVE Orchestra, Orquesta Ciudad de Granada or ADDA Orchestra, and under conductors such as Manuel Hernández-Silva, Josep Vicent or Pablo Heras Casado, with whom she has also recorded it for Harmonia Mundi.
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