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.
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.
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.
José Luis Gómez, conductor Music Director of the Tucson Symphony Orchestra The Venezuelan-born, Spanish conductor José Luis Gomez began his musical career as a violinist but was catapulted to international attention when he won First Prize at the International Sir...
Manuel Hernández-Silva returns to Pamplona to conduct Manon Lescaut, by Giacomo Puccini (1858-1924), in the Baluarte Lyrical Season with the collaboration of AGAO, Asociación Gayarre de Amigos de la Ópera. The performances will take place on February 5 and 7. Hernández-Silva will lead a first-rate cast with Ainhoa Arteta in the leading role of Manon Lescaut; Roberto Aronica as Renato des Grieux; José Antonio López, who plays Lescaut; Carlos Chausson as Geronte de Ravoir; and Pablo García-López in the role of Edmondo. The Navarra Symphony Orchestra, of which Hernández-Silva is Principal and Artistic Director, will be in the pit, and they will have the participation of the Lyric Choir of the Gayarre Friends of the Opera Association (AGAO).
A title much loved by Hernández-Silva, Manon Lescaut was Giacomo Puccini’s third opera and his first great success. Inspired by the homonymous novel by the Abbé Prévost, it is a very sensual and emotional work, faithful to the principles of verismo. It tells the tragic story of the courtesan Manon and the Chevalier Des Grieux. With the passionate and heartmoving music so characteristic of Puccini, the work has arias of undeniable beauty such as the famous ‘Sola, perduta, abbandonata’ and ‘Donna non vidi mai’.
Before this Manon Lescaut, Hernández-Silva had already conducted a concert version of Beethoven’s Fidelio at the opening of the OSN season, which he had previously done with great success at the Teatro Cervantes in Malaga in a production of the Teatro de la Maestranza with the stage direction of José Carlos Plaza and Berna Perles and César Gutiérrezin the main roles. Hernández-Silva also conducted Cosí fan tutte by Mozart in Málaga, as well as a still remembered production of Don Giovanni at the Gran Teatro de Córdoba, which he did later in a semi-staged version at the Quincena Musical in San Sebastián. Hernández-Silva recorded Haydn’s La vera costanza for the label Capriccio, with the WDR Rundfunkorchester Köln and singers such as Paul Armin Edelmann, Chen Reiss, Reiner Trost, etc.
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