Hispanic Music Series

Songs at Six | Songs from the Iberian Peninsula and Latin America
2018-05-16 18:00 - 19:00 UTC | Silk Street Music Hall – Guildhall School of Music & Drama, Silk Street, Barbican, London, EC2Y 8DT, United Kingdom
Guildhall School’s postgraduate singers and pianists present a programme that draws on the rich and often overlooked heritage of piano-accompanied vocal repertoire from the Iberian Peninsula and Latin America.
Curated by Ricardo Gosalbo.
Performed by Gary Beecher (piano), Clara Kanter (mezzo), Seung-Ju Lee (piano), Chavdar Mazgalov (piano), Jessica Ouston (mezzo) and Elsa Roux Chamoux (mezzo).
Programme:
Manuel de Falla: Siete canciones populares españolas
El paño moruno
Seguidilla murciana
Asturiana
Jota
Nana
Canción
Polo

Xavier Montsalvatge: Cinco canciones negras
Cuba dentro de un piano
Punto de Habanera
Chévere
Canción de cuna para dormir a un negrito
Canto negro

Federico García Lorca: Canciones Españolas Antiguas
Anda, jaleo
Las tres hojas
Nana de Sevilla

Federico Mompou: El combat del somni
Jo et pressentia com la mar
Ara no sé si et veig, encar
Aquesta nit un mateix vent
Fes-me la vida transparent
Damunt de tu només les flors

Eduard Toldrà: Seis canciones castellanas
Madre, unos ojuelos vi
Mañanita de San Juan
Nadie puede ser dichoso

Federico Mompou: Dos melodías de Juan Ramón Jiménez
Pastoral
Llueve sobre el río

Joaquín Turina: Poema en forma de canciones Op.19
Dedicatoria
Nunca olvida
Cantares
Los dos miedos
Las locas por amor

The Music of Murillo
2018-05-15 19:30 - 21:00 | Kings College London, Strand, London, WC2R 2LS, United Kingdom
Celebrating four hundred years of the birth of Murillo in 1617 and closing the symposium Murillo in Perspective, Guildhall postgraduate singers perform settings of Spanish Golden-Age lyrics by Joaquín Turina, Eduard Toldrá, Joaquín Rodrigo, Joaquín Nin, Fernando Obradors and Frederic Mompou against a vibrant backdrop of some of Murillo’s finest drawings and paintings.
Curated by Ricardo Gosalbo and Professor Barry Ife, in collaboration with GSMD, ARTES and King’s College London.
Performed by Erika Baikoff (soprano), Ingrid Chan (piano), Matthew Dixon (baritone), Aida Gimeno García (soprano), Alice Girle (soprano), Richard Hall (piano), Camille Lemonnier (piano) and Olivia Sjoberg (mezzo).

Para celebrar el Cuarto Centenario del nacimiento del gran pintor en 1617 y como clausura del simposio Murillo en Perspectiva, alumnos de posgrado de Guildhall School of Music and Drama interpretarán canciones de Rodrigo, Obradors, Turina, Mompou, Toldrá y Nin sobre textos de los grandes del Siglo de Oro español como Quevedo, Lope, S. Juan de la Cruz, Literes y Marín.
Un programa ideado por Ricardo Gosalbo y Prof. Barry Ife, en colaboración con GSMD, ARTES y King’s College London
Intérpretes: Erika Baikoff (soprano), Ingrid Chan (piano), Matthew Dixon (baritone), Aida Gimeno García (soprano), Alice Girle (soprano), Richard Hall (piano), Camille Lemonnier (piano) and Olivia Sjoberg (mezzo).

Venue: King’s College London, St David’s Room K-1.56
Admittance is free, however registration is required via the following site, as places are limited:
https://www.eventbrite.com/e/the-music-of-murillo-tickets-45240237769
Programme:

Joaquín Nín | José Marín (1619-1699) | Catorce aires españoles antiguos (1923):
– Desengañémonos ya…
Joaquín Nín | José Bassa (1670?-1730?) | Catorce aires españoles antiguos (1923):
– Minué cantado
Joaquín Nín | Antonio Literes (1680?-1755?) | Catorce aires españoles antiguos (1923):
– Aria de Acis y Galatea
Fernando Obradors | Anonymous (17th century) | Canciones clásicas españolas:
– ¿Corazón porqué pasáis…?
Joaquín Nín | José Marín (1619-1699) | Catorce aires españoles antiguos (1923):
– Corazón que en prisión
Eduard Toldrà | Lope de Vega (1562-1635) | Seis canciones castellanas (1941):
– Cartarcillo
Joaquín Rodrigo | San Juan de la Cruz (1542-1591) | Cántico de la esposa (1934)
Joaquín Rodrigo | Lope de Vega (1562-1635) | Coplas del pastor enamorado (1935)
Fernando Obradors | Juan Ponce (16th century) | Canciones clásicas españolas:
– La mi sola, Laureola
Federico Mompou | San Juan de la Cruz (1542-1591) | Cantar del alma
Eduard Toldrà | Lope de Vega (1562-1635) | Seis canciones castellanas (1941):
– Madre, unos ojuelos ví
Joaquín Turina | Lope de Vega (1562-1635) | Homenaje a Lope de Vega Op. 90 (1935):
I. Cuando tan hermosa os miro
Joaquín Turina | Lope de Vega (1562-1635) | Homenaje a Lope de Vega Op. 90 (1935):
II. Si con mis deseos
Joaquín Turina | Lope de Vega (1562-1635) | Homenaje a Lope de Vega Op. 90 (1935):
III. Al val de Fuente Ovejuna
Fernando Obradors | Francisco de Quevedo (1580-1645) | Canciones clásicas españolas:
– La moza y los calvos (Romance)

Francisco de Goya in love and song
2018-03-06 18:00 - 20:00 | Grace Belgravia, 11c W Halkin Street, London, SW1X 8JL, United Kingdom
Lecture-recital with Dr Jacqueline Cockburn, Karen Schriesheim (soprano), Jorge Navarro Colorado (tenor) and Dan Bovey (classical guitar)
Programme to include:
Fernando Sor (1778-1839)
– Cesa de atormentarme
– Mis descuidados ojos
– El que quisiera amando
– Puede una buena moza
Enrique Granados (1867-1916)
– Callejeo (from ‘Tonadillas en estilo antiguo’)
– El majo olvidado (from ‘Tonadillas en estilo antiguo’)
– El mirar de la maja (from ‘Tonadillas en estilo antiguo’)
– El majo tímido (from ‘Tonadillas en estilo antiguo’)
– La maja de Goya (from ‘Tonadillas en estilo antiguo’)
Goya, a rough and rebellious artist and the beautiful but capricious duchess of Alba embarked on a liaison which has kept lovers of Goya’s art amused and gossiping for over two hundred years. Over his career however, he painted women as lover and procuress, sinner and saint, worker and aristocrat, heroine and victim, goddess and witch. This lecture will explore the many varied ways Goya represented women during his life time. We will explore his relationships with and approaches to women. Naked or clothed they appear in their many guises as Muses who inspire his scrutiny and at times his satirical glance. Women’s roles changed during the eighteenth century. Some lit cannons and battled with a waning Inquisition. Others ruled over the country or were patrons of the arts. Many were victims of war and some were burnt as witches. Goya’s glance is often adoring; his brushstrokes seem to caress their bodies lovingly and sensually. He is also sympathetic and horrified and provides us with extraordinary historical insights.
Goya’s work inspired musicians and composers and this lecture will be accompanied by singers, Jorge Navarro and Karen Schriesheim and the classical guitarist Daniel Bovey.
Having attended the Spanish military academy, Fernando Sor (1778-1839) took part in the Spanish War of Independence between 1808-1814. Many composers were forced into exile after the war as a result of their liberal views. Like Ledesma, León and García, Sor joined a numerous colony of Spanish exiles in London. Sor wrote many Canciones patrióticas in his exile, perhaps in the hope of spreading his political message or simply driven by a certain nostalgia/homesickness. These Canciones became remarkable political symbols, were sung in cafes, streets, theatres, salon gatherings, and served to bring together Spaniards. Granados’ Tonadillas, written around 1914, were inspired by Goya’s depictions of 18th century Madrilenian majos and majas. They bear witness to the extent to which Goya’s work influenced Spanish artists beyond his time and beyond the realm of art.
Dr Jacqueline Cockburn is Managing Director of Art and Culture Andalucía (www.artandcultureandalucia.com) She runs residential courses in Andalucía, Southern Spain in the art and culture of the region. Jacqueline also works in London as a free-lance lecturer. She lectures at Grace for The Art Story, the V and A, Christies Education, The Art Fund, The London Art History Society and Art Pursuits Abroad as well as several other prestigious institutions and is accredited by The Arts Society working all over the world for them delivering lectures on a variety of art historical topics. Her specialist field is Spanish Art but she also lectures on European Art 1790-1950. She lectured at Westminster School, London and Birkbeck College, University of London for over 20 years. She took her first degree in Modern Languages then an M.A in Sao Paulo Brazil on Applied Linguistics. Her Art History degree and PhD were taken at London University.

Bécquer Settings
2017-02-02 18:00 - 19:00 | Silk Street Music Hall – Guildhall School of Music & Drama, Silk Street, Barbican, London, EC2Y 8DT, United Kingdom
Gustavo Adolfo Bécquer is one of the most famous and celebrated authors in Spanish literature. His poems, though short and few, are considered one of the pillars of modern Spanish poetry, and their mark beyond Spanish literature is patent in Spanish music with the large number of composers who have set his verses to music.
His poetry is rich and complex, yet seems completely spontaneous. It combines the influence of high poetry, with a popular/folk tone. Bécquer wished no doubt to emphasise this apparent simplicity by calling his poems ‘Rimas’ (rhymes in english). This sincerity and modesty come in sharp contrast with other Spanish poets of his time, whose poetry, though elegant, was generally didactic and declamatory. Instead, Bécquer would follow the example being set in Germany, finding great inspiration in particular in Heinrich Heine’s work. As early as 1861, he wrote about the ‘necessity for Spanish popular song to be elevated and become a true art form’. Thus, he became instrumental in the development of the Spanish Lied, some examples of which we will hear this evening.
This evening’s programme includes early song settings of the 1870s and 1880s, settings by Andalusian composers (Turina, Falla), and Federico Mompou’s 1971 song cycle ‘Canciones becquerianas’.

Two anniversaries: Miguel de Cervantes (1547-1616) & Enrique Granados (1867-1916)
2016-11-14 13:00 - 14:00 | St James’s Church, Piccadilly, 197 Piccadilly, London, W1J 9LL, United Kingdom
ELENA GRAGERA, Mezzosoprano
ANTON CARDÓ, Piano
PROGRAMME:
MIGUEL DE CERVANTES: Poets of his time
ROBERT GERHARD (1896-1970) & GIL VICENTE (1470?-1536): “Por do pasaré la sierra”
FREDERIC MOMPOU (1893-1987) & SAN JUAN DE LA CRUZ (1542-1591): “Cantar del alma”
ENRIQUE GRANADOS (1867-1916) & LUIS DE GÓNGORA (1561-1627): “Lloraba la niña” (De “Canciones Amatorias”)
JOAQUÍN RODRIGO (1901-1999) & FÉLIX LOPE DE VEGA (1562-1635): “Pastorcito santo”
MIGUEL DE CERVANTES: His poems
LEONARDO BALADA (1933): “Bailan las Gitanas” ( “Tres cervantinas”)
ERNESTO HALFFTER (1905-1989): “Canción de Dorotea” (El Ingenioso Hidalgo Don Quijote de la Mancha)
JOAQUÍN NIN-CULMELL (1908-2004):
“Siempre escogen las mujeres”
(“La guarda cuidadosa)
–“Canciones de La Barraca”-
“Vete, vete pícaro hablador”
–Canciones de “La Barraca”-
HUGO WOLF (1860-1903): “Köpfchen, köpfchen, nicht gewimmert” (“Cabecita, cabecita”:”La Gitanilla”) (“Spanisches Liederbuch”)
ENRIQUE GRANADOS
“Cançó d´amor” -Josep Mª Roviralta-
“Canto gitano” -Enrique Granados-
TONADILLAS EN ESTILO ANTIGUO (1914):
“La Maja de Goya”
“El Majo discreto”
“El tralalá y el punteado”
CANCIONES AMATORIAS (1914-15):
“Mañanica era” –Anónimo-
“Lloraba la niña” –Góngora-

Romances
2015-11-19 13:10 - 14:00 | Song in the City, The Parish and Ward Church of St. Botolph without Bishopsgate, Bishopsgate, London, EC2M 3TL, United Kingdom
Programme:
– “La Maja Dolorosa” Tonadilla de E. Granados
– “La zagala alegre” E. Toldra
– “Anhelos” de J. Turina
– “De los álamos vengó,madre” de J. Rodrigo
– Marinero en tierra, Rodolfo Halffter
– La corza blanca, Ernesto Halffter
– Cançó del Teuladí Joaquín Rodrigo
– Trobadoresca Joaquín Rodrigo
– Del Cabello más sutil, Fernando Obradors
– La tabernera del puerto, de Pablo Sorozábal, “No puede ser”
– Montecarmelo, de Federico Moreno Torroba ” Madre de mis amores”
– Jugar con fuego, de Francisco Barbieri ” Un tiempo fue”
– El Gato montés, de Manuel Penella (dúo)
– Doña Francisquita, de Amadeo Vives (dúo)
Performers:
Susana Casas, soprano
Eduard Mas Bacardit, tenor
Jorge Carrasco, piano
Susana Casas, soprano
Susana Casas was born in Sevilla. She born in Seville (Spain) and studied singing in Madrid. She has sung as a soloist both in opera, operetta, zarzuela and musical theatre (The Phantom of the Opera, Amadeus, La Traviata, Il Segreto di Susana, La Voix Humaine, etc. ) She has also performed in Latin America (Mexico, Peru and Cuba) and was a finalist at the International Singing Competition in Trujillo, Peru.
Other collaborations include: Henry Purcell’s The Fairy Queen with the Company of Contemporary Dance of Andalusia, Alfano’s Cyrano de Bergerac, Puccini’s Turandot and Manon Lescaut, Busoni’s Turandot, Verdi’s La Traviata and Don Carlo, Humperdinck’s Haensel and Gretel, Mozart’s Le Nozze di Fígaro etc at Teatro de La Maestranza in Seville. She is a member of the Open Music Project with the Real Orquesta Sinfónica de Sevilla (ROSS). She will soon take part in the opera The little Sweep by B.Britten in Spain.
Juan de Dios Mateos, tenor
Born in Almería (Spain), he started his singing studies in 2006 at the age of 17 at the Almería Conservatoire, while he was studying flute. In 2010 he was awarded the diploma on Music Education by the University of Almería. One year later he finished his flute studies with the best marks of his promotion and in 2013 he received a Master diploma by the University of Jaén in Acting and Opera Interpretation.
His singing career started in 2009 with Le Nozze di Figaro (Basilio and Curzio). Since then he has performed roles in Don Giovanni (Don Ottavio), Bastien und Bastienne (Bastien), West Side Story (Tony), The Phantom of the Opera (Raoul), Luisa Fernanda (Javier) and many opera and zarzuela recitals.
He has studied with Coral Morales, Francisco Crespo, Francesca Roig, Francisco Poyato, Jaume Aragall, Carlos Hacar or Lionel Sarrazin among others and currently he studies with Carlos Aransay.
Since March 2015 he sings with Paris National Opera Chorus and has been invited to participate with the Opera Studio of Paris to sing Le Vol Retour (role of Bidule) next December.
Jorge Carrasco, piano
Spanish pianist Jorge Carrasco was born in Torrevieja, Aicante where he studied piano. In London he has specialised in ballet accompaniment, working as a main repetiteur at the “Central School of Ballet” and ” London Contemporary Dance School “. He studied Lied at the Staatlische Hochschule fur Musik de Karlsuhe (Germany) and was a pupil of Hartmut Holl and Mitsuko Shirai. Jorge sings as a tenor with London ensembles such as Coro Cervantes and The Renaissance Singers.
In partnership with:

Razones de estado: El Quijote en la zarzuela
2015-11-11 18:30 - 19:30 | Instituto Cervantes, 102 Eaton Square, London, SW1W 9AN, United Kingdom
Lecturer / Conferenciante: Begoña Lolo (Directora del Centro Superior de Investigación y Promoción de la Música de la Universidad Autónoma de Madrid)
Lecture in Spanish / Conferencia en castellano
ABSTRACT / RESUMEN
El Quijote fue desde el primer momento de su publicación una obra muy utilizada por los compositores europeos como tema de inspiración, en todo tipo de repertorios, a lo largo de los siglos. Francia, Inglaterra, Alemania e Italia, inmediatamente utilizaron la obra a medida que se fueron produciendo las traducciones, algo que sucedió en un periodo de tiempo muy breve desde su publicación.
Sin embargo, en el caso de España, fue necesario esperar al siglo XIX para que la obra de Cervantes fuese utilizada como tema de inspiración en la música. La imagen de la decadencia de España alimentada por la leyenda negra, la crisis económica y la independencia de nuestras colonias, necesitaba con urgencia de la búsqueda de un icono cultural que ayudase a emanar una nueva imagen. Por esta razón la Real Academia Española entronizó la celebración del día 23 de abril, en 1861, como día de las Letras y día de Cervantes, fecha que se celebró con el estreno de la primera zarzuela escrita sobre tema cervantino debida al compositor Barbieri, que incentivó el enorme desarrollo posterior.

El terrible Pérez
2015-10-14 18:30 - 19:30 | Instituto Cervantes, 102 Eaton Square, London, SW1W 9AN, United Kingdom
Video projection of the zarzuela: El terrible Pérez (Terrible Pérez), by Arniches, García García Álvarez, López Torregrosa and Valverde.
In Spanish with English subtitles.
Introduction by Carlos Aransay.
In partnership with:
