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.
The US premiere of Concerto Venezolano, by Paquito D’Rivera, will take place next February 25 and 26 at the Segerstrom Center in Costa Mesa and the San Diego Civic Theatre, respectively, and on March 2 at the McCallum Theatre in Palm Springs, with trumpeter Pacho Flores and the San Diego Symphony conducted by Rafael Payare. After the premieres of Concerto Venezolano in Mexico (Orquesta de Minería under Carlos Miguel Prieto), the United Kingdom (Liverpool Philharmonic under Domingo Hindoyan) and Spain (Orquesta de Valencia under Hernández-Silva), this US premiere with the San Diego Symphony and Rafael Payare puts an end to the round of premieres by the orchestras that participated in the shared commission. During his stay in San Diego, Pacho Flores will also offer a chamber music recital with musicians from the orchestra.
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
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 US (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. The Concerto Venezolano will be soon performed in Spain by the Orquesta Sinfónica de Castilla y León (Prieto) and the Gran Canaria Philharmonic (Hernández-Silva), and in France by the Orchestre National de Bordeaux-Aquitaine with Hernández-Silva, as well as in future seasons in the US, Sweden and again in Spain.
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.
Marina Heredia returns to the Orquesta Sinfónica de Galicia, conducted by José Trigueros, to perform once again the program they offered last December in Santiago, A Coruña and Ourense, which will now be presented at the Círculo de las Artes in Lugo next Wednesday 23 February, and at the Teatro Afundación in Pontevedra on Thursday, 24 February. The program includes a selection of Canciones Españolas Antiguas, compiled and harmonized by Federico García Lorca and orchestrated by the conductor himself, and the brief intervention of El corregidor y la molinera, by Manuel de Falla.
Marina Heredia is one of the most internationally requested cantaoras to perform El Amor Brujo by Manuel de Falla. She has worked, among others, with the San Francisco and Chicago Symphony Orchestras, both under Spanish conductor Pablo Heras-Casado, with whom she has also recorded it for Harmonia Mundo with the Mahler Chamber Orchestra. In France he has sung it with the Rouen Opera and the Orchestre National de Lille, both times under Josep Vicent, and she has more recently performed it in Spain at the Úbeda International Music and Dance Festival with the RTVE Orchestra led by Manuel Hernández-Silva, with whom she had already participated in a superb production by La Fura dels Baus at the Granada Festival.
In two weeks she will sing it again with the Berlin Radio Symphony Orchestra under Pablo Heras-Casado in two iconic German halls such as the Philharmonie and the Konzerthaus, and shortly afterwards with the Orquestra Sinfónica do Porto Casa da Música conducted by Stefan Blunier. In the 2022/23 season, Marina will be a resident artist in the subscription series of a German orchestra to be announced in due course. During this artistic residency, Marina will perform El Amor Brujo as well as the world premiere of a work commissioned by the orchestra and composed specifically for her by a Spanish composer. She will also offer a flamenco concert with her company and an informal chamber music concert with musicians from the orchestra, which will include fragments of her last album, CAPRICHO.
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.
Marina Heredia makes her debut with the Orquesta Sinfónica de Galicia conducted by José Trigueros, in a program that includes a selection of Canciones Españolas Antiguas, compiled and harmonized by Federico García Lorca and orchestrated by the conductor himself, and the brief intervention of El corregidor y la molinera, by Manuel de Falla. The concerts will take place in Santiago, A Coruña and Ourense on December 17, 18 and 22, respectively. This same program will be performed again with the Orquesta Sinfónica de Galicia in February 2022, with concerts in other Galician towns such as Lugo or Valga.
Marina Heredia is one of the most internationally requested cantaoras to perform El Amor Brujo by Manuel de Falla. She has worked, among others, with the San Francisco and Chicago Symphony Orchestras, both under Spanish conductor Pablo Heras-Casado, with whom she has also recorded it for Harmonia Mundo with the Mahler Chamber Orchestra. In France he has sung it with the Rouen Opera and the Orchestre National de Lille, both times under Josep Vicent, and she has more recently performed it in Spain at the Úbeda International Music and Dance Festival with the RTVE Orchestra led by Manuel Hernández-Silva, with whom she had already participated in a superb production by La Fura dels Baus at the Granada Festival.
Soon she will sing it again with the Berlin Radio Symphony Orchestra under Pablo Heras-Casado in two iconic German halls such as the Philharmonie and the Konzerthaus, and shortly afterwards with the Orquestra Sinfónica do Porto Casa da Música conducted by Stefan Blunier. In the 2022/23 season, Marina will be a resident artist in the subscription series of a German orchestra to be announced in due course. During this artistic residency, Marina will perform El Amor Brujo as well as the world premiere of a work commissioned by the orchestra and composed specifically for her by a Spanish composer. She will also offer a flamenco concert with her company and an informal chamber music concert with musicians from the orchestra, which will include fragments of her last album, CAPRICHO.
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