List of musicians and ensembles represented by Fal Parsi Music. 

Playlist

ORCHESTRA

Humboldt Orchestra

The Humboldt Orchestra is an ambitious project that combines cultural and human integration, documented performances and the development of new repertoires. And always with period instruments. We cover a wide repertoire from baroque to contemporary music. The foundation and institutionalisation of this new ensemble is the logical and consequent step of a successful artistic collaboration between different orchestras of the Sistema Nacional de Orquestas y Coros Juveniles de Venezuela (El Sistema) and the German flautist and conductor Michael Form in collaboration with the double bass player Jonathan Álvarez Cermeño, a Venezuelan musician with a notable presence in the musical life of Spain.

Actually, there are two ensembles: the Humboldt Orchestra, a group of between 15 to 60 instrumentalists, according to the required programme, dedicated to the performance of a wide symphonic repertoire ranging from baroque to contemporary music, with an emphasis on the classical style around 1800. Historically informed practice or performance is an integral part of their work for any style, and the Ensemble Humboldt, a ‘da Camera’ ensemble of no more than 10 musicians, focuses on the rediscovery of works written for instrumental staff and/or vocal accompaniment with this characteristic, circa 17th and 18th century.

‘Schubert's ‘Symphony No. 5 in B flat major’ already showed the interpretative quality of the young musicians, convincing the demanding Oviedo audience who did not hesitate to applaud after each of the movements. Balanced, and with a volume always well cared for (special mention for the very delica-dísimo final of the ‘Andante con moto’), the twenty musicians shone in the ‘Menuetto, allegro molto’, thanks to the extraordinary lightness and fluidity that they knew how to imprint on each measure’.

Jonathan Mallada. La Nueva España, 2024.

1. Schubert's Octet.
2. Meeting in Paris.

ENSEMBLES 

Aux Pieds du Roy

The ensemble Aux Pieds du Roy was founded in 2005 with the aim of devoting itself intensively to the research and performance of French chamber music from around 1700. The old French pied is a unit of measurement that was used, among other things, to determine different pendulum lengths, from which very precise musical tempos could be derived. The pendulum was the Baroque precursor of the classical metronome and was mainly used in French treatises of the 18th century to determine the exact tempo of dance movements.

The preposition ‘aux’ in the name of the group should be understood as an ironic allusion to the fact that in the concerts d'appartement of King Louis XIV, the musicians in the royal flats played at the feet of the monarch, so to speak. Moreover, Roy du Soleil himself was known to be one of the best dancers in his kingdom.

In 2007, a commission from the Bern University of the Arts in Switzerland facilitated an extensive research project entitled ‘Towards a new rhythmic plasticity on the interaction between music and belle danse during the French baroque’. The artistic result is an award-winning CD recording of Marin Marais' Pièces en trio for Ambronay Editions and Harmonia Mundi France. Since 2008, the ensemble has been invited to play at the Salle Gaveau and the Bibliothèque Nationale in Paris, the Schwetzingen Festival (Germany), the Early Music Festival in Innsbruck (Austria) and other important festivals in France and Italy. After Michael Form and his duo partner Dirk Börner received a Diapason d'Oren 2013 for the CD Bach remixed, he worked with Ensemble Aux Pieds du Roy on the album Speculation on J.S. Bach, an ambitious programme of reconstructed chamber music, for which the group received another Diapason d'Or in 2019.

‘Aux Pieds Du Roy offered us a marvellous programme that recreated sonatas or concertos from transcriptions of pieces for organ or harpsichord, together with other beautiful versions of Bach's choral preludes’.

Scherzo magazine. Manuel de Lara. Scherzo February 2024.

‘Descendu de l'orgue et sorti de l'église, le choral ‘O Mensch, bewein dein Sünde groß’ accueille une prière domestique et suave. The skill of the arrangement would be nothing without the alchemy of timbres and the sensibility of the phrasing’.

Diapason, Februar 2019

‘Passé la surprise de tempos souvent plus rapides que de coutume (mais admirablement souple), leur telle intégrité force l'évidence : cette apparente mise à distance porte plus loin l'intensité musicale qu'une arbitraire liberté. They know how to seduce us without recourse to the manner, by the quality of the sound alone... For the perfection of the style, all flute players should discover this new record’.

Diapason

‘The combination of recorder, violin, gamba and harpsichord gives the three trio sonatas and final, resonant ‘Concerto a 4’ a lightness and transparency well suited to the predominantly dancelike movements’.

Grammophone, Mai 2018

‘This is very beautiful and carefully written music performed in a magisterial fashion by the flautist Michael Form, whose refined reading of the works results in exquisite phrasing and tone, qualities that enhance the sense of extraordinary refinement... Dirk Börner on keyboard is certainly impressive, his mastery in the bass is astonishing with a clear and at the same time subtle articulation that sounds magnificent’.

Goldberg

Current programmes:

1. Bach Remixed.
2. Vivaldiana.
3. Albinoni. Homage to a Venetian nobleman.
4. Speculation on J. S. Bach.
5. Bach's Labyrinth.

BallArte Ensemble

Ballarte Ensemble was founded in 2020 with the aim of exploring the theatrical possibilities of Baroque and contemporary music through its dialogue with other disciplines such as theatre, dramaturgy and dance. Its interdisciplinary team is made up of musicians, dancers, playwrights, technicians and actors. In just five years, the ensemble has produced nine original musical creations for the stage: Dream (2021), El Banquete: el musical (2021), La liberación de Francesca Caccini (2021), Sueño-verso (2022), El gran sarao del mundo (2022), Silencio en la sala que el fuego va a hablar (2023), Murmuros (2023), Transhumancias (2024), A Room Of Our Own (2025) and The Whale (2025).

Their creations have been performed in Spain, Switzerland and Portugal, and have received support from institutions such as the Spanish Embassy in Switzerland and Swisslos Fonds Basel Stadt. Ballarte Ensemble was awarded first prize in the Young Aragonese Creators competition in 2021, was a finalist in the Rema Awards in the "Cross-Border Project of the Year" category in 2022, and has been selected for the EFFEA European artistic residency programme in 2024. In March 2025, its show "El gran sarao del mundo" (The Great World Party) was part of the FIAS (Madrid International Festival of Sacred Art) programme; "The Whale" premiered that same year at the Cistermúsica Festival in Alcobaça (Portugal).

Current programmes:

1. Dream.
2. El gran sarao del mundo.
3. Silencio en la sala que el fuego va a hablar.
4. Transhumancias.
5. A Room Of Our Own.
6. The Whale.

Da Tempera Velha

Current programme:

1. The Palacio Songbook (Dossier available soon).

 The Palacio Songbook 

Foto: © Marius Burgelman photograpy

Dionysos Now!

Dionysos Now! is the vocal ensemble of artistic director Tore Tom Denys (tenor). It is a fairly young ensemble (founded in 2020) with a very personal timbre and great attention to textual content and articulation. It brings together singers with the necessary international experience in polyphony with leading ensembles such as Collegium Vocale Gent, Huelgas ensemble, The Tallis Scholars, Les Musiciens du Louvre, etc. Rediscovering the composer Willaert is an important mission for Dionysos Now!

The discovery of this Renaissance music thus joins contemporary polyphony in new compositions.

Dionysos Now! creates resonant cathedrals where the building blocks seem to merge into the whole, with radiant music that generates an effervescent energy that is much more than the sum of its individual parts.

Based on this marvellous phenomenon – typical of 16th-century polyphonic music – Dionysos 'Now!' seeks to establish a link with the present day and reveal and share the relevant beauty of these 500-year-old musical and singing techniques and approaches with 21st-century listeners.

All the polyphony is performed with such intensity and emotion as well as delicacy, with that wonderful resonance and harmony characteristic of this school of performance. One could not make better use of this beautiful music, treated as a work of goldsmithing.

Manuel de Lara Ruiz (Scherzo)

"Their articulation is admirable and they strike a fine balance between the different voices. These elements provide a crystal-clear projection of the lyrics, allowing you to focus on each individual voice and follow it perfectly. The singers of Dionysos Now! are clearly familiar with Willaert's repertoire, and this translates into a sublime listening experience."

Helena Gaudeus (Classical Central)

Adriaen Willaert's little-known Passion of St John is the only surviving work of the Passion of Christ. With this recording, I want to demonstrate that during the Renaissance there was a compositional innovation that sought to make the recitation of the Passion on Good Friday (which was then traditionally sung in unison, in Gregorian chant) more interesting musically. The Passion is composed in an innovative, polyphonic but homorhythmic manner: each voice sings the same text at the same time. In this way, the text remains highly intelligible and the listener is captivated by the way the story is presented."

Tore Tom Denys

Current programmes:

1) Adriaen Willaert's Passion according to St John is presented in two versions:

A. Pure polyphony, only the Passion for 6 voices (55 min.).
B. Or in combination with 3 pieces by Ligeti for harpsichord, by Catalina Vicens (75 min.)

2) The legacy of Adriaen Willaert: Teacher, mentor, school, friend. (7 singers)

3) Cypriano de Rore's Missa praeter rerum serium for seven voices combined with other composers, including Willaert and his pupils.

4) Polyphony for a Pope: from the Missa Papae Marcelli, 7 singers.

5) A. Willaert, Missa Mente Tota/motets/madrigals for 6 singers.

7) Orlando di Lasso, Lagrime di San Pietro (The Tears of Saint Peter) 7 singers.

Il Fervore

‘(...) the work of the instrumental group Il Fervore, made up of a roster of musicians of exceptional quality who regularly collaborate with the best early music ensembles (...) Il Fervore combined energy and delicacy in the symphonies and were the perfect accompanists for Jone Martínez and Ana Vieira Leite in the vocal parts. This was the perfect finale to an edition of the Festival Internacional de Arte Sacro de la Comunidad de Madrid which we can describe as sensational for the originality, quantity and quality of its offerings’.

Scherzo Magazine, Imanol Temprano Lecuona. April, 2023

‘(The) Church of Santa Maria de la Asunción hosted the inaugural concert of the Marcos (Santander International Festival) (with) the musicians of Il Fervore, one of those young groups born with the spirit of enthusiasm and energy that early music is experiencing in our country. Jesús Merino and Lorena Padrón on violin, Raquel Massadas on viola, Bruno Hurtado on cello, Julio Caballero on harpsichord and Rafael Arjona on theorbo and baroque guitar were, together with Lucía Caihuela, the architects of the absolute revelation that the music of this evening would be for many’.

Asier Vallejo Ugarte. Torrelavega. August, 2024

Current programmes:

1. Fire rises to its element. Operas at the court of Philip V.
2. Tyrant love. Zarzuela arias and baroque opera. 
3. Divino splendore. Oratorios in the Italy of Charles of Bourbon.  
4. Santa Clotilde (1733)*. Oratorio in two parts for 4 solo voices. Francesco Corselli (1705-1778). * Premiere in modern times. 

Foto: © Fundación Juan March

Robert Silla & Il Maniatico Ensemble

This is an open, flexible and interdisciplinary group led by the eclectic oboist and conductor Robert Silla. Together with IBS Classical, they have recorded the entire collection of Cayetano Brunetti's unpublished sextets for oboe and strings, a jewel of the chamber music repertoire and part of Spain's national heritage which until now had disappeared. This recording has received critical acclaim, receiving the ‘Exceptional’ seal from the magazine Scherzo, the ‘Gold Seal’ from the magazine Melómano and 5 Diapasons from the prestigious French magazine Diapason and the first Anaclase prize.

Robert Silla (Valencia 1982), oboe soloist of the Orquesta Nacional de España, professor at Musical Arts Madrid and Universidad Alfonso X El Sabio, director of il Maniatico Ensemble, artist of the Marigaux oboe brand and artist of the IBS Classical label.

He won his first position as principal oboe in the Orquestra Simfónica do Porto-Casa da Música at the age of 22 and only a year later he joined the Orquesta Nacional de España where he is still playing today.

He has been guest principal in the Orchestra del Teatro alla Scala in Milan with Riccardo Chailly, Musicaeterna, Camerata Bern, Ban-Art, among others.

He received the extraordinary end-of-degree prize from the oboe department of Dr. Vicente Llimerà and the Euterpe prize for the best academic career. He furthered his studies with Emanuel Abbühl at the Staatliche Hochschule für Musik in Mannheim and with Maurice Bourgue, and holds a master's degree in musical research from the International University of Valencia.

‘On the present occasion, El Maniatico is a splendid string quintet with two violas, which bring a greater range of smoothness and gravity to the overall timbral balance. Silla, who does not forgo playing his Marigaux 901, takes immense pleasure in plunging into this music. He tackles the passages of rare figurations guided by a mirific impetus. Outward clarity and precision are taken for granted. His sound is gentle, nuanced, highly expressive... grandiose. A must-have album’.

Alejandro Santini Dupeyrón, Melómano Magazine.

Current programme:

1. Oboe Sextets by Cayetano Brunetti.

2. The consolidation of the Concerto.

3. The genius of Bach: the trio sonatas in concert.

IPSUM FEMINA

Ipsum Femina was born in 2019 with the preparation of a dramatised reading with live music about the medieval mystic Marguerite Porete, as part of a series dedicated to mysticism at the Museum of Medieval Art in Vic. To bring her story to life, writer and playwright Jordi Lara created the text for actress Gisela Figueras, with the idea of incorporating the enveloping sound of a medieval portative organ. This led to a collaboration with performer and researcher Cristina Alís Raurich, and what began as a dramatised reading soon took shape as a solid musical-theatrical show.

In 2020, instrumentalist María de Mingo joined the project with the citola. The combination of both instruments became a fundamental pillar of the show, enriching its sound universe. In addition, both Cristina and María took on a stage role, intertwining music and drama in a more immersive performance. The carefully selected musical repertoire transports the audience back to the 13th and 14th centuries, faithfully recreating the soundscapes of Marguerite's time through historical instruments.

In 2023, we felt the need to incorporate a voice that would bring to life the beautiful poetic texts of the medieval works we perform. This is how tenor Víctor Sordo joined the project, making his debut with us in the Spanish version of the show during the Mirabilia Festival at Cuenca Cathedral. Since then, Ipsum Femina has offered two versions of the show: with or without the vocal presence of Víctor Sordo.

Throughout our journey, we have benefited from the valuable advice of Dr Rosamaria Aguadé, whose doctoral thesis was devoted to The Mirror of Simple Souls, Marguerite Porete's seminal work. Her research and translation of this text have allowed us to immerse ourselves in Porete's life and in the fascinating world of medieval beguines, a community to which the author is believed to have belonged. Marguerite's influence transcended her time: her book continued to be copied and disseminated after her death, leaving an indelible mark on the history of mystical thought.

Since its creation, Ipsum Femina has taken its show all over the peninsula, with 22 performances on various stages, establishing itself as an artistic project that combines historical rigour, emotion and beauty in every performance.

 Current programme:

1. El Libro de Marguerite.

La Guirlande

“We find moments of intense vocal emotion combined with greatly sophisticated instrumental passages of“We find moments of intense vocal emotion combined with greatly sophisticated instrumental passages of18th Century Mexico and Spain.Luis Martinez used his instrument […] with an exceptionally flexible and warm playing, becoming the perfectpartner for the soprano Alicia Amo. […] Alicia Amo has an ideal voice for this kind of repertoire, which shemasters in a virtuosic manner and with an intelligent, effortless and lively embellishment of the ornamentalmelodic substance.The ensemble of six instrumentalists, with both soloists leading, is made up of two violins, violoncello, lute,double bass and harpsichord, sound in an homogenous way giving meaning to the proposal.This recording is an exciting discovery for all lovers of Spanish baroque music!”.

Wolfgang Reihing on Toccata. January 2022

“In-between the vocal pieces […] La Guirlande introduced several instrumental ones: the Sonata de 8º tono“In-between the vocal pieces […] La Guirlande introduced several instrumental ones: the Sonata de 8º tonoby José de Nebra – very scarlattian, wonderfully performed by the harpsichordist Joan Boronat –, someVersos de segundo tono by De Jerusalem – in which the Australian violinist Lathika Vithanage proved why sheis considered to be one of the finest specialists on her instrument to have emerged over the last few years,ably supported by her colleague Aliza Vicente – and the Sonata Nº6 op. 2 in G minor for flute and continuoby Pietro Antonio Locatelli, which gave the leader of the ensemble, Luis Martínez Pueyo, a chance to show hisskills, always with an admirably produced sound emission, crystalline and refined.The soprano Alicia Amo sang with the exquisite sweetness that is so characteristic in her, overcoming withlittle difficulties any problems that came in her way – some of them which were indeed tricky – […]. Bothsinger and ensemble performed to the very highest level, without the slightest flaw or weakening: bothviolins were magnificent, the flute was splendid and the basso continuo was sumptuous, comprising theaformentioned Joan Boronat, Ester Domingo – violoncello – and Pablo FitzGerald – archlute and guitar –”.

Eduardo Torrico on Scherzo. March 6th, 2020

Current programs: ENG, GER

1. Solo pour la flûte traversière.

2. Duetti a Due Flauti Traversi.

3. Bach & Sons.

4. Appropriato all´Organo.

5. Un puerto seguro.

6. Esterhaza.

7. Haydn en Londres.

8. En el nombre del padre. 

9. Le Concert Spirituel.

10. Harmonischer Gottes-Dienst.

11. Spanish Travelling Virtuosi.

12. Cristal Bello.

13. No llores, dueño mío.

14. Pastor amoroso.

15. Incipit Lamentatio. 

Foto: © Noah Shaye

 Orpheus Musicus

Orpheus Musicus is a group dedicated to the historical interpretation of music from the 17th and 18th centuries. Founded by violinist Sergio Suárez, Orpheus Musicus has the mission of tackling little-known repertoires in order to rescue and disseminate the European musical heritage of this period. To this end, they have a cast of experienced and committed musicians, with flexible instrumental formations far removed from the traditional baroque orchestra. In addition, they claim the universal character of early music and the desire to appeal to the widest possible audience.

‘It is clear that the best thing about Musica Scotica is simply everything, starting with Laura Martínez's beautiful voice...’.

‘Led by their brilliant conductor, Sergio Suárez, the equally brilliant musicians of Orpheus are overflowing with enthusiasm. An album, therefore, dazzling’.

Alejandro Santini Dupeyrón, Revista Melómano, 2023.

Current programmes:

1. Música Scotica.
2. Melopeia Sacra.
3. Varatio.
4. Alessandro Scarlatti: Stabat Mater.

Phaedrus

Current programmes:

1. The King's Flutes.
2. Adonia.
3. Le Diamant et La Marguerite.
4. Espíritu Santo

Foto: © Puerta 3 Producciones

Thaleia

Thaleia is an ensemble dedicated to the performance and dissemination of Baroque music written by women, founded in 2021 by Ángela Lobato del Castillo and Laura Martínez Boj. Following historicist performance criteria, we aim to fill the gap in traditional concert programmes that ignore the existence of female composers or add them in an anecdotal manner. We defend the value of female creativity through the presentation of our repertoire, our performers, our leadership, our visual identity and our research. As members of the Mount Parnassus Foundation, we support the union of women through music, creating support networks with like-minded talents.

"(…) the Thaleia group, which thus places itself under the patronage of the muse of comedy and bucolic poetry. The latter is certainly a fitting patronage for tackling the interpretation of a series of pastoral and gallant arias by two 18th-century composers.

Laura Martínez Boj defends them with passion, a keen sense of accentuation and a broad mastery of coloratura, with very resonant high notes.

Rocío Hernández introduces us to the Sonata in G major, written in a distinctly classical style. A clean, agile version with superb clarity, featuring precise and beautiful trills in the central Andante movement.

Andrés Moreno Mengíbar. Scherzo, May 2023.

 Current programmes: 

1. Maria Antonia, o il Trionfo delle Donne GER
2. Canoro Pianto GER, FR
3. Donne del Seicento (a cinque)
4. Donne del Seicento (a tre) GER

Voz Latina

The Voz Latina Ensemble was born in Cremona in 2011 on the initiative of the Argentinian musicians Maximiliano Baños, singer, and Luciana Elizondo, violist. Its aim is to deepen and interpret the Italian musical repertoire of the 17th and 18th centuries, exploring the world of baroque music in its relationship between text and music, based on the ‘theory of affects’ and recalling the visual principle of ‘chiaroscuro’ with the aim of enhancing the dramatic tension of the works performed, through strong musical contrasts that find justification in the text represented.

Among the main objectives of the Voz Latina Ensemble are the study and dissemination of the Latin American Baroque repertoire through the recovery and enhancement of its musical heritage and the journey of music in Latin America from the European Renaissance to the present day, to what we know today as Latin American folklore.

The Ensemble is made up of musicians from various European and Latin American countries and has performed numerous concerts in Italy, France, Slovenia and Argentina.

Current programmes:

1. Caravels of Music. Music of the Spanish Golden Age.
2. Virgen Morenita.  

SOLOISTS

Miguel Ángel Acebo

Miguel Ángel Acebo studied with Leonid Margarius at the Accademia Pianistica Internazionale in Imola, and with Jean-Claude Vanden Eynden at the Royal Conservatory in Brussels, where he completed his studies with "Grande Distinction", receiving the "Prix du Patrimoine Gerofi-Baschwitz" for his brilliant academic career. He has received lessons from artists such as Alicia de Larrocha, Brenno Ambrosini and Paul Badura-Skoda.

He has performed as a soloist in venues such as the Palau de la Música in Barcelona, the Palais des Beaux-Arts in Brussels, the Palau in Valencia, the Associazione Mozart Italia, the Manuel de Falla Auditorium in Granada and many others. He has performed as a soloist with numerous orchestras, including the Andorra National Classical Orchestra, conducted by Marzio Conti, and the Almería City Orchestra, conducted by Michael Thomas, among others.

He is intensely involved in both contemporary music and chamber music, sharing the stage with musicians such as Miguel Gálvez Taroncher, Angelica Cathariou, David Apellániz, Juan Luis Gallego, Marta Knörr and Juan Carlos Chornet, among many others.

In 2025, he released his first CD with IBS Classical, featuring music by Scriabin, Jesús Torres, José Manuel López López, José María Sánchez Verdú, and Francisco Domínguez. "Jiménez plays with impressive definition and effortless technical skill."

Current programmes:

1. Scriabin Notebook.

2. Béla Bartok: violin and piano sonatas.

Cristina Alís Raurich

Cristina Alís Raurich is an acclaimed performer and musicologist dedicated to medieval music, and a leading international specialist on the organetto, the medieval portative organ. Her deep historical knowledge and technical virtuosity have established her as a unique and essential figure in this field. Her artistic and academic work, combined with her ability to connect with the public, position her as a singular artist in early music.

She brings a unique perspective to early music, fusing academic research and artistic excellence. Her dedication to the organetto (medieval portative organ) and her tireless work in the recovery of historical repertoires make her an essential choice for any medieval music program that seeks uniqueness, depth and historical rigor.

Cristina is recognized for her pioneering work on the organetto. In collaboration with historical organ builder Walter Chinaglia, she participated in the reconstruction of a unique model of a 13th-century portative organ. This project was documented in the short film El viento en las manos, which illustrates her dedication to the historical recovery of this instrument. Her repertoire includes both medieval music and contemporary works, which demonstrates her ability to transcend eras and styles.

"Wonderful, she won over the audience from the first minute".

Manuel Prevot

"Virtuous hands that work with impossible ingredients".

Jose An. Montero - La Circular

Current programs:

Fascination Organetto (the three spirits of the Organetto) and Mulierum (Music in female Cistercian convents in Gothic Iberia).

Michael Form

Current programme:

1) Bach Solo for Recorder with intermission.

2) Bach Solo for Recorder short version.

Foto: © Rey Sayoux

Isabel Dombriz

Considered by the critics as an elegant, suggestive pianist with a very varied range of timbres and colours, Isabel Dombriz stands out for her ability to tackle works of great difficulty with an impeccable technique, always imprinting her own character.

The recording of her CD DANTE for the Ibs Classical label with piano works by F. Liszt, C. Debussy, M. Ravel, M. Bustamante and P. Mariné, has been recognised with the Melómano de Oro. She has performed, among others, at the Festival de Arte Sacro de la Comunidad de Madrid, at the Sala Manuel de Falla in Granada, at the Festival Internacional de Música ‘Villa de Medinaceli’, at the Palacio de Cibeles, at the Casino de Madrid, at the Festival Creixell Classic, at the Festival Internacional de Panticosa...

Her latest audiovisual project FANTASTIK includes works by composers W. A. Mozart, Biedrich Smetana, Max Reger, Sergei Rachmaninoff, Anton Bruckner, Manuel de Falla and Laura Vega, and is published in CD format as UTOPÍA on the Lindoro label.

‘Isabel Dombriz has always represented for me one of the most extraordinary talents produced by the Spanish keyboard. It is possible to find in her the purity of touch, the brilliant, the solid, the refined, the dream, the determination, and above all the transport that this young artist reflects. Listening to her means a journey into higher spiritual regions, as her pianism is never empty but full of characters, figures and experiences that make the listening unforgettable.

Isabel Dombriz will undoubtedly be one of the great pianists of the future’.

Aquiles Delle Vigne

‘Some interpretative readings that stand as authoritative approaches and that augur for the concert pianist assured success in the choice of this repertoire’.

Germán García Tomás, OPERAWORLD (2017)

‘Isabel Dombriz proved to possess an impeccable technique at the service of a mature and eloquent musicality’.

Álvaro Menéndez Granda, CODALARIO (2018)

Current programme:

Utopía

Nacho Laguna

Trained at the Schola Cantorum Bastiensis (Switzerland). In his work as a continuo player, he regularly collaborates with ensembles such as I Gemelli, Gli Incogniti, Artaserse, Les Musiciens du Louvre, La Cetra, Venice Baroque Orchestra, Pulcinella and artists such as Amandine Beyer, Philippe Jaroussky, Emiliano González Toro, Christina Pluhar, Ophélie Galliard, Emöke Barath and Zach Wilder, undertaking intensive concert tours throughout Europe, nbsp;America and Asia, performing at venues such as the Théâtre des Champs Elysées, Opéra Royal de Versailles, Tokyo Opera City, Hong Kong City Hall, Arsenal de Metz, Angers-Nantes Opéra, Concertgebouw Amsterdam and Cirque Royal Brussels. He has recorded for labels such as Harmonia Mundi, Aparte, Näive, Mediaphone Japon, Warner Classics and Gemeli Factory, and for various radio and television stations such as BBC Radio 3, Radio France, TV France, Medici.tv, Arte and RTVE.

He is co-founder and co-organiser, alongside Ramón del Buey and Berta Ares, of BallArte Festival, an interdisciplinary artistic project dedicated to the performance, research and dissemination of early music and contemporary music. BallArte Festival has been awarded the Festival, an interdisciplinary artistic project dedicated to the performance, research and dissemination of early music and contemporary music. BallArte Festival was awarded first prize at the 4th Young Aragonese Creators Competition and nominated for the 2022 REMA Awards in the category "Cross-Border Project of the Year".

His interest in interdisciplinarity and collective artistic creation has led him to work closely with artists from other disciplines such as theatre, dance and performance, including Irene Serrano and Luis Sorolla (theatre), Marina Ares, Olivier Fourés and Anne Teresa de Keersmaecker (dance) and Maria del Buey Canas (performance). This interest is crystallised in his participation in the creations "Mystery Sonata" (Rosas), "DREAM", "The Whale" (Acciaccatura), "Silencio en la sala que el fuego va a hablar" and "El gran sarao del mundo" (BallArte Ensemble).

Current programme:

Ferrarese

Foto: © Daniel Miguel (2020)

Joan Martí-Frasquier

In 2023, coinciding with the 300th anniversary of the composition of Johann Sebastian Bach's six Suites for solo cello, Joan Martí-Frasquier, on baritone saxophone, recorded an album in tribute to these suites for the German label Solo Musica GmbH.

He also has an extensive discography, both as a soloist and in chamber music, and has participated in recordings with other instrumental ensembles. He has recorded for national labels (La Mà de Guido, Ars Harmonica, etc.) and international labels (Aventino Music Avant-Garde, Solo Musica GmbH). His albums contain some of the most representative works from the original repertoire for baritone saxophone.

Joan has performed throughout Europe, as well as in America and Oceania, at festivals such as Mixtur Barcelona, Classical:NEXT (Vienna and Hanover editions), New York City Electroacoustic Music Festival and Rc4 (Rio de Janeiro), presenting my artistic projects, which focus mainly on contemporary and newly created music.

He has premiered more than eighty works of various musical genres, from solo to opera, by composers from around the world. Among them are the concertos for baritone saxophone and orchestra by Albena Petrovic (Philharmonie de Luxembourg, June 2018) and Fernando Lerman (Teatre Fortuny de Reus, November 2024).

"Its powerful, deep, intense and richly timbred sound, together with the instrument's enormous versatility, are the keys that allow Martí-Frasquier to develop a bold and original language."
Melómano Digital, 01-2019.

Current programmes:

1. Suites. Spotify
2. Music for saxophone and piano by Albena Petrovic. Spotify
3. THIS IS NOT A FAD! Morphosis Duo. A programme featuring 100% female composers. YouTube

José Ramón García

Considered by critics as one of the most promising Spanish pianists of the moment, José Ramón García (Albacete, 1993) has given concerts all over Spain, as well as in several European and North American countries.

He has been invited to take part in several festivals such as the ‘Rafael Orozco’ Piano Festival in Córdoba, ‘Schubert Club Series’ in Connecticut (USA), ‘Áureo Herrero’ and ‘Las Navas del Marqués’ Festival in Ávila, ‘PianoCity’ in Madrid, ‘Pola de Lena’ in Asturias or in the Requena Festival as a soloist with the Philharmonic Orchestra of the ‘Ciudad de Requena’ Foundation.

He has won awards in more than thirty national and international piano competitions, including First Prize in the International Piano Competition Compositores de España and the National Competition of Juventudes Musicales de España, Second Prize in the International Piano Competition ‘Frechilla-Zuloaga, Third Prize at the International Competitions ‘Ciudad de Ferrol’, ‘Parnassós’ (Mexico) and the National Piano Competition ‘Ciudad de Albacete,’ or the Fifth Prize and KAWAI Prize for the best Spaniard at the International Piano Competition ‘José Iturbi’ (Valencia).

‘José Ramón García is one of the most promising names in Spanish piano. Trained between the USA and Spain with some of the most important artists of the present, he combines his extraordinary technical ability with a symploké of virtues and a depth of spirit that are increasingly difficult to find. Winner at the age of 18 of the Concurso Internacional de Piano Compositores de España, he combines the interpretative aspect with that of composer and teacher’.

Aurelio Martínez Seco. Codalario Magazine, October 2023.

Current programmes:

1. Between Light and Shadow: The Duality of the Human Experience.
2. The Piano in Waltz Form.
3. A Journey through Evocation and Innovation.

Jorge Jiménez

1. Rethinking Bach Bach: The Cello Suites.

2. Rethinking Bach Bach: The Goldberg Variations.

Inés Moreno

Inés Moreno (b. 1995 Madrid) took her first harpsichord lessons at a music school, the Centro Integrado de Música Padre Antonio Soler, in San Lorenzo de El Escorial, first with Denise de La-Herrán and later with Jordan Fumadó. She then went to Switzerland and studied harpsichord and historical performance practice at the Schola Cantorum Basiliensis. She completed a Bachelor and a Master of Arts in Musical Performance with Andrea Marcon; a Master of Arts in Music Pedagogy with Jörg-Andreas Bötticher; and supplementary studies in Improvisation with Dirk Börner.

Inés Moreno won first prize at the 92nd Juventudes Musicales España Competition in 2018; second prize ex-aequo at the International Music Competition for Clavicembalo“Paola Bernadini” of Bologna (2019); the Prize “Video Contest Music Greetings” organized by the Musik Akademie Basel (2020) and the Soloist Prize of the Xth Contest Música Antigua of Gijón in video format (2021). Inés Moreno combines her work as a soloist and accompanist in Spain and across Europe with her work as a teacher. She is a co-founder of the Ensemble Vivalma and a member of the Ensemble I Discordanti, as well as collaborating with her father, José Miguel Moreno, and her uncle, Emilio Moreno.

In 2023, Inés performed Francis Poulenc’s Concert Champêtre as a soloist together with the RTVE Symphony Orchestra.

Inés currently teaches harpsichord at the music school in Biel/Bienne, Switzerland.

"In addition to the first prize, the Madrid harpsichordist Inés Moreno Uncilla has won all the special prizes of the Competition: the Acadèmia 1750 Special Prize for the best soloist, which consists of a concert as a soloist with the Academia 1750 orchestra; the Bachcelona Special Prize for the best performer of baroque music, which consists of a concert at the 2019 edition of said festival; the Úbeda and Baeza Early Music Festival Special Prize and the Espurnes Barroques Festival Special Prize, which is awarded to the winner of the First Prize and entails a contract for the next edition of both festivals; and finally the GEMA Special Prize, which consists of a showcase at the FEIMA Fair organized by the Association of Spanish Early Music Groups (GEMA)".

Beckmesser, December 2018.

"The participation of Inés Moreno Uncilla (in the Early Music Festival of Úbeda and Baeza), harpsichordist winner of the 1st Early Music Competition of Juventudes Musicales de España, with a program that included some rarer composers such as Zipoli and Storace, and where she shone in the pieces of Alessandro Scarlatti".

Ritmo. December 2019.

Programa actual:

1. Mozart / Bach.   

José Luis Nieto

José Luis Nieto, pianist, has just recorded ‘Pasión de Falla’ in Mexico after a tour of 80 concerts and conferences in Spain, the United States, Switzerland, Belgium, Italy, England, Morocco, Panama, Dominican Republic, Guatemala, Honduras, El Salvador, Mexico and Nicaragua. For 2024 he has created a new Chopin-centred programme: ‘Etudes and Nocturnes’.

‘... an artist who is different from what we are used to and who will be much talked about. A wide range of colour and contrasts that yesterday thrilled New York audiences in an impulsive context of Russian technique, Spanish passion and European music’.

OUT TIMES (NEW YORK, USA).

Current programmes:

1. Chopin.
2. Falla.

Foto: © Dolores Iglesias / Fundación Juan March

Alberto Urroz

Current programme:

1. Johann Sebastian Bach's Goldberg Variations BWV 988.   

DUETS

Cantos del Aire

Current programmes:

1. Une soirée a la maison García.
2. Spanish folk songs and Sephardic romances.
3. Spanish folk songs.

And in trio formation with Lorenzo Coppola, clarinet d'amore.

Programme:

1. María Malibrán, une soirée à l'italienne.
   

Alvarado-Abramovich

Current programmes:

1. Huehuetenango: Music from an interrupted songbook.
2. A sweet moan of sounds.

Inés Alonso -Ariel Abramovich

Duo formed by Inés Alonso, soprano, and Ariel Abramovich, hand vihuelas.

"IF LOVE IS TO KILL ME: CHRISTMAS CAROLS BY VARIOUS AUTHORS, SET TO MUSIC FOR SINGING AND PLAYING."

This beautiful anthology, published in Venice in 1556 by the Venetian printer Girolamo Scotto under the title Villancicos de diversos Autores, a dos, y a tres, y a quatro, y a cinco bozes (Carols by Various Authors, for Two, Three, Four, and Five Voices), belongs to the circle of the Duke of Calabria's court in Valencia.

In the introduction to his excellent critical edition, Maestro Eduardo Sohns comments that, for those of us who love Renaissance music, the so-called Uppsala Songbook is a beloved travelling companion.

Undoubtedly one of the best known and most frequently performed pieces of Iberian Renaissance music, it is not always treated with sufficient care, nor does it always produce an interesting artistic result.

The similarities between this beautiful anthology and some of the books for vihuela de mano motivated us to create a programme entirely dedicated to this source, performing our own intabulations, imitating the work of 16th-century masters and creating versions that only exist with us.

Current programme:

1. Si amores me han de matar.

Sebastián-Suárez

Duo formed by Alfonso Sebastián, harpsichord, and Sergio Suárez, violin.

Current programme:

1. F. Montali & Ch, Reynaldi, the violin in Madrid in the middle of the 18th century.

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 Syncronos Duo

Current programme:

Of the Human and the Divine.

Dolce Rima

Born as a duo with a special interest in the combination of poetry and music, Dolce Rima takes an approach to European culture of the 16th and 17th centuries, focusing its repertoire on the Spanish Renaissance of the vihuelists, the Spanish Baroque and the Italian Seicento.

Currently, Dolce Rima is a group with a variable line-up that works with regular collaborators depending on the needs of the programme in question, such as the 'Divino Ardor' project, a cycle of Hispanic religious songs for two treble voices and continuo for liturgical seasons in the 18th century, whose main aim is to recover the Spanish musical heritage of this period.

Dolce Rima won the 2015 Young Group Award at the 2nd edition of the GEMA Awards in June 2016 and the Best Baroque Group (17th century) Award in 2022 at the 7th GEMA Awards, as well as a finalist for Best Classical Music Album with its recording project Saffo Novella at the 14th MIN Awards and the +MUSICAS Awards in 2022.

The fusion between the two is practically perfect, reflecting serious and arduous background work, but also a truly ironclad understanding on a personal level.

Mario Guada, Codalario Magazine.

Current programmes:

1. Dolce Tormento.
2. Mil Pesares.
3. La Vita Fugge.
4. Saffo Novella.

TRÍO

Foto: © Clara Brunet (2023)

El Gabinete de Música

Trio formed by Soko Yoshida, violin, Lukas Hamberger, violin and Carlos Leal Cardín, violoncello.

The Gabinete de Música focuses its activity on the performance of 18th century chamber music, with special emphasis on the recovery and dissemination of Spanish musical heritage. Its name comes from the ‘room or chamber in the palaces or houses’ - according to the first Spanish dictionaries - in which the musical evenings or academies took place. Formed within the Schola Cantorum Basiliensis, El Gabinete de Música has performed in Spain, Switzerland and the Netherlands. Its members regularly collaborate with groups of the highest prestige such as La Cetra Barockorchester, Capricornus Consort, Freiburger Barockorchester, Nederlandse Bachvereniging or Ensemble La Centifolia.

Current programmes:

1. The Spanish Corellians
2. String trios in Enlightenment Spain.
3. Adagio & fugue, the traces of Bach in Viennese Classicism.
4. Brunetti & Boccherini, quintets with two violas.

CUARTETOS

Trifolium Quartet

 Current programmes:

1. Al mio caro Amico...
2. Punctus contra punctum: from Palestrina to W. A. Mozart. 
3. The string quartet in Enlightenment Spain.
4. Music at the Court of Charles IV.
5. Towards a new language.
6. Requiem by W. A. Mozart. Version for string quartet by P. Lichtenthal.
7. A ‘Royal Academy’ (I): music in the palace. The string quintet in enlightened Spain.
8. A ‘Royal Academy’ (I): music in the palace. The string quintet in enlightened Spain.
9. A ‘Royal Academy’ (II): music in the palace. The string quintet in enlightened Spain.
10. L. Boccherini: Quintets with guitar. Popular music in the aristocratic academies.
11. The hidden legacy of Charles IV.
12. Luigi Boccherini: Stabat Mater (1st version - 1781).

Carlos Gallifa & Galatea Ensemble

Group formed by the violinist Carlos Gallifa and the Galatea Ensemble (Pablo Zapico, baroque guitar; Javier Aguirre, cello; Alfonso Sebastián, harpsichord).

‘Certainly, the historicist timbre of the Galatea Ensemble greatly favours these scores, which unfold richly movement by movement. These four instrumentalists offer us a worthy reading that is seasoned with multiple sonorities’.

Marco Antonio Molín Ruiz. Melomaniac, 2022.

Current programme:

1. Stars in the firmament. Chamber music around J. S. Bach.

Synthèse Quartet

Inspired by the idea of "synthesis" as the union of different elements that, when combined, produce a unique result, they named the band "Synthèse".

 Current programmes: ENG

1. Updated Baroque. Intertextuality in four voices.
2. The Tree of Arts.
3. Postcards from the other side of the world.
4. Show "Music for Everyone". Musical show for everyone.
5. Dossier general.

JAZZ 

Foto: © Larisa López

Lucía Rey

 Current programmes:

1. Lucía rey Trío
2. Lucía Rey Quartet
3. Lucía Rey Quintet

Constanza Lechner

2) "A través de Gismonti", performed by a jazz trio, recreates the music of Brazilian composer Egberto Gismonti, transporting us to a colourful world where we can enjoy the incredible variety of Brazilian folklore and indigenous Amazonian music, fused with classical music and jazz.

A repertoire of short pieces for keyboard composed by great masters which, in addition to introducing children to good music, will provide them with a lifelong memory of musical taste.

Lechner serves them with didactic clarity without compromising the demands of interpretation, in a synthesis that is difficult to achieve, but totally successful” (The Mini Piano Concert).

Blas Matamoro, Scherzo Magazine.

“A wonderful idea, with a selection of pieces for children that has turned out to be a delight. It captivates the listener from beginning to end.

Music that is perfect not only for children, but also for adults (The Mini Piano Concert).

Rosa Torres-Pardo, pianist

Current programmes:

1. The Mini Piano Concert, an educational concert for families.
2. Through Gismonti.

Lechner Piano Trío

1. Lechner Piano Trío.

Federico Lechner & Mario Prisuelos

“Ligeti & Ligeti”

This innovative proposal offers a reinterpretation of Ligeti's music in dialogue with the world of improvisation and jazz, performed by two of the most prominent pianists on the current scene: jazz pianist Federico Lechner and pianist Mario Prisuelos, both renowned experts on Ligeti's piano music.

Current programme:

1. Ligeti & Ligeti.

Sheila Blanco & Federico Lechner Tango Jazz Trío

“Los Mareados”

Singer Sheila Blanco and pianist Federico Lechner reunite for a new project, following their "PURO GERSHWIN", this time in Spanish and with tango-jazz as their vehicle.

After an introduction on the piano, with Lechner's characteristic and precise turns on the keys, the voice appeared, syllabising with extreme accuracy despite the speed of the music. It seemed as if the syllables coming out of Sheila's mouth were tinged with different nuances, ranging from political correctness to the most haughty arrogance, as if they were theatrical characters who, without containing any specific meaning, managed to touch the emotions as if it were a monologue being narrated. That's the thing about music, and the flexibility of a singer like Sheila Blanco, who squeezes the musical and phonetic possibilities to the max.

otherJAZZ Digital, 2022.

Current programme:

1. Sheila Blanco & Federico Lechner Tango Jazz Trío.

Federico Lechner & Chema Saiz

“Satie for Two”

Erik Satie's unique work, increasingly featured in concert programmes, is full of feelings such as melancholy, sadness, irony, fun and light-heartedness, intrigue, contradiction... Such variety is one of the characteristics that has led pianist Federico Lechner and guitarist Chema Saiz to take his music into the realm of jazz, whose most notable feature is improvisation, which becomes the best tool for channelling the composer's sensitivity.

In Satie for two, guitar and piano intertwine to form a unity of destiny in the universal: two instruments/two instrumentalists fused into one, yet perfectly distinguishable, each in their own right. From there, it is but a step to Bill Evans and Jim Hall's Undercurren...".

Tomajazz: Chema García Martínez, 2024.

Current programme:

1. Satie for Two.

Foto: © RTVE

Suite Sefarad

The "SUITE SEFARAD" is a work for jazz trio consisting of piano, double bass and drums, accompanied by orchestra or string quartet. It was created following the collaboration between Federico Lechner's jazz quintet and the Andrés Segovia Chamber Orchestra at the Auditorio Nacional in Madrid and the Auditorio de Boadilla del Monte, where they performed two concerts together to mark the centenary of Ástor Piazzolla, with arrangements largely by Federico Lechner and featuring Ástor's grandson, Daniel "Pipi" Piazzolla, on drums.

“SUITE SEFARAD” is a work that brings together the worlds of classical music, jazz and inspiration from the Sephardic musical world with its rich and varied branches, given by the enormous geographical diaspora. It does not aim to be a "traditionalist" work but rather, based on melodic, rhythmic and harmonic ideas from that tradition, to create a new contemporary vision, also using improvisation as one of the fundamental tools of the work.

Current programme:

1. Suite Sefarad

Foto: © Alicia Albiñana

 Basquejazz

Basquejazz is Ander García's Basque jazz project. The renowned double bass player and singer offers us music with great personality, created from Basque folklore and the most contemporary jazz. Ander combines his experience as a dancer, folk musician and jazz double bass player to develop his own sound, which is accessible and full of vitality. Traditional melodies are thus brought to the public in a new way.

Ander performs songs on vocals and double bass and improvises based on a balance between the two cultures. His repertoire consists of his own compositions and traditional Basque songs that have accompanied him on his five albums as a leader. The dance rhythms of Vizcaya and the improvisation of the Bertsolaris are fundamental references in this project. With extensive experience as a jazz musician (his list of collaborations includes artists such as Rodney Kendrick, Jorge Pardo, Rhonda Ross, Lucia Rey, Chris Kase, Noa Lur, and Javier Paxariño, among others), Ander has taken his music to numerous festivals in Latin America, Africa, and Europe.

“On his third album as a leader, Ander García, one of the most active young double bassists in our country, draws directly from the folklore he grew up with: traditional Basque music. And he does not do so as if it were a genre to be honoured, but rather takes melodic, harmonic and rhythmic elements from that tradition to expand his jazz language, constructing a personal and exciting work.”

Yahvé M. de la Cavada for Scherzo magazine (February 2018).

"High-quality jazz with Basque roots."

Alejandro Cifuentes, Jazz Notebooks.

Current programme (duo, trio or quartet):

1. Hiru 

Isa BoCa Jazz Trio

‘Isa BoCa trio Jazz band’ is a musical formation that, although recently formed, dates back to 2011, is formed by Javier Martín on guitar, Andrés León on bass and Isa Bo Ca on vocals. Learning in jazz, with jazz and for jazz... seasoned with other good music, and good times, approaching their own vision to jazz and bossa standards.

Isa BoCa Trio offers us in their concerts an exciting and inspiring journey through rhythms and melodies from the songbook of the north, centre and south of the American continent.

The warm and captivating voice of Isa BoCa, accompanied by Javi Martín on guitar and Andrés León on bass, tells and sings stories that seek to live music moving emotions, approaching the touch of other latitudes and offering a personal touch that never abandons the passion for jazz that once united them.

Current programme.

Foto: © ferdiPé2024

Carmen Vela Quartet

Current programme:

1. En continuo (Ongoing). 

Fellini Quartet

In tune with Federico Fellini. Dream and Design (an exhibition project focusing on different artistic facets of Federico Fellini, which opened at the Círculo de Bellas Artes in Madrid on 10 October 2017), Jazz Círculo, through Gonzalo García, brought together four virtuoso jazz musicians, each of them leaders of their respective bands, and asked them to tackle an original repertoire based on the soundtracks that Italian musician Nino Rota composed for various films by the Rimini-born filmmaker.

These four musicians, double bassist Pablo Martín Caminero, Claudio Constantini on bandoneon, clarinettist and saxophonist Andreas Prittwitz, and pianist Federico Lechner, also accepted Jazz Círculo's suggestion to take on the name Fellini Quartet, and thus, as such a group, they delved into the work of Nino Rota, building an original repertoire based on the soundtracks of the films Otto emezzo, I Vitelloni, Amarcord, La dolce vita, LA Notti di Cabiria, E la Nave va, Prova d'orchestra, La Strada and Boccaccio 70, plus an original composition by Federico Lechner entitled Blues para Fellini. What seemed like a one-off and perhaps short-lived formation has become a stable project that has already performed on numerous occasions at venues such as the Auditorio Nacional in Madrid, the Santander Festival, the Oviedo Jazz Festival, the Salamanca Jazz Festival, the Úbeda Festival, among others.

Current programme:

1. Fellini Quartet

Jazz about Bach, Ariel Bringuez

Ariel Brínguez takes us on a journey through the Baroque era, brought to contemporary expression with a certain Cuban flavour. These five musicians present this new and daring work, an elegant and select selection of great works by Maestro J. S. Bach.

This project seeks spontaneity and freedom from the Cuban perspective and that of the great master J. S. Bach, allowing the audience to experience his great works from a more Latin and warm perspective, using all kinds of colours to recreate these works.

Compositions that have transcended the centuries and reached every corner of the globe will be performed this time by five great musicians based in Madrid who are renowned both nationally and internationally.

Current programme:

Jazz about Bach

FLAMENCO 

Foto: © Gerónimo Navarrete

Sebastián Cruz

Sebastián Cruz, a singer from Huelva with a 20-year musical career. Born in Beas, Huelva, in 1977, Sebastián Cruz is an avant-garde flamenco singer whose voice combines tradition and innovation. Raised in a family with a strong tradition of songwriting, he inherited his father's legacy of cante jondo before developing a unique style that takes flamenco into uncharted territory. His art thrives at the intersection of flamenco and baroque, jazz, rock, free improvisation and electronic music. Inspired equally by Bach and Poe, Van Gogh and Murillo, Cruz is a multidisciplinary voice: poetic, daring and deeply rooted. Hailed by critics as a "different kind of singer," he stands today as one of the most daring figures transforming the contemporary flamenco scene.

Sebastián Cruz, together with a cast of outstanding musicians, offers a new vision of the music he loves most, full of sincerity, courage and sensitivity, capable of astonishing and moving in equal measure, while writing another blank page in the book of flamenco. An example of flamenco without complexes, settled, mature, detached from paternalism and adolescence.

Sebastián has created new styles of singing, something tremendously difficult and extraordinary in flamenco. Tanguillos, malagueña, soleá, fandangos and an entirely new taranta share space with other traditional songs, accompanied in a surprising and contemporary way thanks to the courage of musicians who are free of prejudice and lovers of music without barriers.

• Guest singer with the Spanish National Ballet (2006–2020), working with icons such as Merche Esmeralda, Antonio Canales, Javier Barón, and Lola Greco.
• Member of the Andalusian Flamenco Ballet (2017–present) under the direction of Rafael Estévez and Úrsula López.
• He has performed on international stages, including New York, Tokyo, Toronto, Miami, Beijing, and Chicago (particularly with avant-garde guitarist Raül Cantizano at the Chicago Cultural Centre).
• Winner of prestigious competitions, including the Cante de las Minas in La Unión, the National Flamenco Art Competition in Córdoba, and the Soleá Competition in Alcalá.
• He released four acclaimed albums: Temple de Junco, Directo desde la Sala Galileo en Madrid, Fandangos de Huelva and Zarabanda.
• Zarabanda (2024) named one of the 5 Best Albums of the Year by El País, ABC Cultural, Rockdelux, Et Sona and the Spanish Music Academy The current project Frente Abierto (Universal Music) brings together the new avant-garde of flamenco, with the participation of Israel Fernández, Lela Soto and Ángeles Toledano.

‘Today we live in a time in which we are exposed to the most diverse influences, which we have to process artistically. This is what Sebastián Cruz's album Zarabanda symbolises. My best friend, the painter Thom Argauer, once said that for him there are three important musical currents: Coltrane's jazz, Bach's baroque music and Camarón de la Isla's flamenco. Sebastián Cruz has now used these three basic colours and forms like Picasso and mixed new tones. Sebastián loves not only flamenco, but music without borders, he is open, he listens without prejudices, he lets himself be inspired, he has never lost his curiosity since he was a child. I believe that Sebastián Cruz has been waiting, without knowing it, for the discovery of impressive baroque music. But the album Zarabanda is not a mixture of baroque and flamenco, but the materialisation of a music that had been slumbering inside him for a long time and that the film All the mornings of the world has awakened with a kiss. Sebastián's openness and willingness to listen to his inner self have made this album possible. Sometimes all it takes is a spark to light the fire’.

Stefan Winter

‘Flamenco is a music in full movement, in ‘Arroyos Sonoras’, Sebastián Cruz has created a new style of soleá.’
Rafael Riqueni. Flamenco guitarist and composer.

‘Sebastián's ability to consolidate different currents in his art is, to say the least, impressive. If an artist is defined by his work, Sebastián Cruz stands out as one of the greats’.
Fernando Alday. Music critic.

‘We are dealing with a cantaor who has been influenced by baroque music (...) to compose a whole experience that has undoubtedly transformed his approach to classical flamenco styles, of which he was already an accredited connoisseur’.
Fermin Lobatón. Flamenco writer and critic.

‘Yes, in flamenco there are marvels like this (...) there are artists who, in the midst of hostile environments, inadequate at least, develop an extreme, special sensitivity, they build a world for themselves’.
Pedro G. Romero. Artist, curator and researcher.

‘The result is a difficult, harsh and unexpected work, but above all beautiful and, ultimately, moving. We don't quite know where he has been all these years, but it is clear that now we will always want him close to us’.
Fernando Neira. Journalist and music critic.

Current programme:

 1. Zarabanda. (Rider)

Hispano

Hispano is a duo consisting of cello and guitar that blends the elegance of Spanish classical music with the expressive power of flamenco. Through an original and immersive staging, the show takes the audience on a musical journey full of emotion, virtuosity and narrative. The programme combines emblematic works such as Albéniz's Concierto de Aranjuez and Asturias with traditional Spanish-American pieces, performed with a contemporary approach and accompanied by stage elements that include live footwork, narration and, in extended formats, the collaboration of a flamenco dancer and singer. This show is ideal for theatres seeking high-quality artistic programming with a unique style that appeals to both classical music lovers and fans of authentic flamenco. Adaptable format: duo / stage quartet.

Current programme:

1. Dossier

CANTARES NUEVOS 

Diana Baroni & Ensemble Vedado

1. Mujeres.
2. Madre Selva.

PRODUCTIONS WITH SCENOGRAPHY

Foto: © María Alperi / Fundación Juan March (2024)

CABARÉ PIERROT 

Cabaré Pierrot (Dossier available soon).

  Trailer

Silvia Nogales

Current programmes:

1. Seda (Silk).
2. The voices of Cervantes. New Teaser.
3. The six maidens of Juan Ramón Jiménez.

Constanze Mozart's Requiem

The new show combines music with words. Orchestra, singers and actors establish an exciting dialogue, feeding off each other and growing together in the intense emotion that the performance achieves. The idea is based on a subgenre of musical theatre that was very popular in Spain and Italy during the 18th and early 19th centuries, known as melologue, and in other countries as melodrama. We find ourselves with a monologue in a single act (masterfully written by the renowned playwright Ignacio Amestoy) by one of the most important women in the history of universal music: Constanze Mozart (1762-1842). Her performance on stage will help us understand the immense value of this woman, who has been overshadowed until now in many of the tributes that culture has dedicated over the years to her well-known husband, the musician Wolfgang Amadeus Mozart. Constanze was highly cultured in music, had an extraordinarily passionate relationship with her husband, whom she accompanied with devotion, and fought for her family and her husband's legacy to find their rightful place.

1. Dossier

NEW PRODUCTIONS

BEETHOVEN IN A TAVERN

A journey through the soundscapes that Beethoven created in one of his most original compositions. From the green hills of Scotland and the enchanting Irish meadows, to the corners of Spain and Germany. Beethoven, in his creativity, took these traditional songs and elevated them to new heights with his unrivalled talent for composition.

Each piece not only reflects the inherent beauty of these songs, but also the deep humanity and emotion that Beethoven infused into each song.

Performers:

Sonia de Munck, soprano
Alfredo García, baritone

Hermeneia Trio:
Julio Alexis Muñoz, piano
Rou Cibrán Pérez, violin
Nuria Rosa Muntañola, cello

Programme:

 

Fotografias: ©Michal Novak, ©David Ruano, ©Ana Beltrán

NOSOTROS (WE)

‘In this shared journey we navigate through cities, we create interculturality, we get closer to ourselves through the history of poetry and music. We become heirs to the best of the past in order to look to the future with hope. We start from melancholy to rescue the emotion of hope’.

Luís García Montero

Nosotros - A journey through music and words.

With a script by Luis García Montero, Nosotros is a monologue between Mario Gas, actor and director, and Rosa Torres-Pardo, piano, where Mompou's Música callada will be the starting point for a journey through some of the music and lyrics of our sentimental memory. Thus, a nocturne by F. Chopin will lead us to a French song of our youth and this, in turn, will take us to a tango or a fandango, even to composers of today such as Ricardo Llorca and Sonia Megías.

Performers:

Rosa Torres-Pardo, pianist
Mario Gas Cabré, actor and theatre director
Luis García Montero, poet and essayist

Programme:

NOSOTROS (WE) 

 

 

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BENVENUTO PUCCINI

A unique dramatised concert, where Giacomo Puccini himself becomes our guide through his exciting life.

Through reading personal letters—filled with emotion, memories, and reflections—we will discover his most intimate thoughts, doubts, and passions.
Each word is intertwined with some of his most famous songs and arias, such as those from La Bohème, Madama Butterfly, Tosca and Turandot, creating a lively dialogue between music and narration.

More than a concert, BENVENUTO PUCCINI is an emotional journey that immerses us in the soul of the composer and the creative universe that gave life to his immortal operas.

Performers:

- Laura del Río, soprano
- Xavier Boada, actor
- Josef Buforn, pianist

Programme:

Benvenuto Puccini 

 

    

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DON'T SAY GOODBYE TO ME
OPERA AND DANCE

Embark on a lyrical and poetic journey through two of the most universal operas: La Traviata and La Bohème.

Its unforgettable protagonists, Violetta and Mimì, embody a love that is born with brilliance, grows with intensity and ultimately transforms into an inevitable destiny marked by death.

This project combines the power of lyrical singing with the expressiveness of dance, two languages that intertwine to bring to life the deepest emotions: the discovery of love, overwhelming passion, the fragility of existence and the transition to eternity. In this dialogue between voice and movement, love and death are not opposites, but reflections of the same truth: the intensity and beauty of the ephemeral.

Performers:

- Laura del Río, soprano
- Antoni Lliteres, tenor
- Susie Buisson, dancer
- Bruno Anguera, pianist

Programme:

Don't say goodbye to me 

 

    

 

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WITH YOUR OWN VOICE

Concert featuring soprano Laura del Río and maestro Miquel Ortega, accompanied by a string sextet. Under this title, the programme celebrates the identity and expressive power of the Spanish voice through zarzuela and concert song.

Works by Enrique Granados, Gerónimo Giménez, Francisco Asenjo Barbieri and Antón García Abril will be performed, alongside creations by contemporary composers such as Miquel Ortega, Ana María Guadián and Fernando Trias de Bes.

"Con voz propia" (With its own voice) champions the authenticity of a living tradition, where past and present engage in natural dialogue. The rich timbre of the string sextet blends with the expressive voice of Laura del Río and the piano of Miquel Ortega, offering a musical journey full of emotion, elegance and personality.

Performers:

- Laura del Río, soprano
- Miquel Ortega, composer and pianist

Programme:

With your own voice 

 

 

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 DIRECTORS

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MICHAEL FORM, director

Michael Form nació en Mainz (Alemania) en 1967. Debido a su doble perfil como flautista y director de orquesta y de ópera, se ha convertido en uno de los músicos más polifacéticos de su generación con un repertorio que cubre fácilmente 600 años de historia de música, desde la polifonía del Medioevo tardío hasta la música actual. Se graduó en la Hochschule für Musik und Tanz Köln (Conservatorio Superior de Música y Danza de Colonia) en 1990 y 1992. Continuó sus estudios en el Rotterdams Conservatorium y enseguida se especializó en música antigua en la Schola Cantorum Basiliensis (Basilea). En 2016 se graduó de nuevo «summa cum laude» en la University of Arts Bern con un posgrado (DAS - Diploma in Advanced Studies) en dirección orquestal, teniendo como su maestro más importante en esa área al famoso director rumano Sergio Celibidache.

Michael Form obtuvo varias becas de fundaciones prestigiosas: Heinrich-Strobel-Stiftung des Südwestrundfunks SWR (Baden-Baden), Studienstiftung des Deutschen Volkes (Bonn), Cité Internationale des Arts (París) y Deutscher Akademischer Austauschedienst DAAD (Bonn). Ha sido galardonado en concursos importantes como el Internationaler Musikwettbewerb der ARD (Munich), el Concurso de Música Contemporánea ICARE 88 (París), el Concours Musica Antiqua (Brujas), entre otros.

Toca y dirige regularmente en importantes festivales europeos como el Holland Festival, Festival van Vlaanderen, Laus Polyphonie (Antwerpen), Musica e Poesia a San Maurizio (Milano), Festwochen der Alten Musik (Innsbruck), SchleswigHolstein Musik Festival, Villa Musica Mainz, Mosel Musikfestival (Alemania), Lucerne Festival, Freunde Alter Musik Basel (Suiza), Automne Musical au Château de Versailles, Festival de Musique de la Chaise-Dieu, Festival Baroque de Pontoise, Rencontres de Musique Medievale du Thoronet, Bach à Silvacane (La Roque d’Antheron), Theatre de la Ville (París), Bibliothèque Nationale de France (Paris), Opéra Nationale de Bordeaux (Francia), Fundação Calouste Gulbenkian (Lisboa), y Concentus Moraviae (República Checa). Colabora con famosos grupos como TAVERNER PLAYERS (Andrew Parrott), CAFÉ ZIMMERMANN (Céline Frisch & Pablo Valetti) y ENSEMBLE GILLES BINCHOIS (Dominique Vellard). En duo con el clavecinista Dirk Börner tocó cientos de recitales y realizó una serie de grabaciones.

Todas las radios alemanas y una gran cantidad de radios europeas han transmitidas sus conciertos en directo. Sus CDs, que grabó para las casas de discos Raumklang Musikproduktion, Alpha, Ambronay Edition, PanClassics & Christophorus han ganado varios premios, como el Choc du Monde de la Musique y el Diapason d’Or para su álbum BACH REMIXED.

Michael Form dedica gran parte de su trabajo a sus grupos Les Flamboyants (para la música Renacentista) y Aux Pieds du Roy (para el repertorio de cámara barroco).

Su debut como director de ópera en 2004 con «Les Indes Galantes» de Jean-Philippe Rameau en Lausanne marcó un gran éxito que le llevó a una multitud de invitaciones. Desde entonces dirigió no menos que 160 funciones de ópera tanto en Europa como en América. Entre 2006 y 2011 fue director musical del festival Winter in Schwetzingen. Allí varias óperas de Antonio Vivaldi fueron producidas bajo su dirección musical. En 2007 Michael Form dirigió el estreno americano de «Motezuma», ópera de Vivaldi descubierta en 2002, en el Teatro de la Cuidad de México.

En las temporadas seguidas llevó a cabo programas sinfónicos tanto como director huésped como solista con la FOLKWANG KAMMERORCHESTER ESSEN, la NIEDERSÄCHSISCHES STAATSPHILHARMONIE HANNOVER, la RADIOPHILHARMONIE NDR, la BADISCHE STAATSKAPELLE, la STAATSPHILHARMONIE OLDENBURG, la FRANKFURTER OPERNUND MUSEUMSORCHESTER, los DEUTSCHE HÄNDEL-SOLISTEN, la PHILHARMONISCHES ORCHESTER DER STADT HEIDELBERG (Alemania), la LUZERNER SINFONIEORCHESTER, la ORCHESTRE DE CHAMBRE DE GENÈVE (Suiza), y la ORQUESTA DE LA FIMA (Festival Internazionale della Musica Antica Urbino, Italia).

Como director de ópera Michael Form estrenó en 2012 con «Alessando» de Georg Friedrich Händel en la 35ª Edición de los Internationale Händel-Festspiele Karlsruhe con gran éxito, siendo alabado por la prensa internacional; una grabación en vivo documenta esta producción. En 2015 y 2016 siguió «Teseo» en el marco del mismo festival. En 2013 dirigió por primera vez en la prestigiosa Opera de Frankfurt la «Rappresentatione di Anima, et di Corpo» de Emilio de’Cavalieri, junto con un estreno absoluto de «Fulgur harmoniae» del compositor austríaco Klaus Lang.

Dos veces, en 2014 y 2015, volvió a Ciudad de México por invitación del Instituto Nacional de Bellas Artes para dirigir el Réquiem de Cristóbal de Morales con los destacados Madrigalistas de Bellas Artes.

Michael Form ha sido nombrado director invitado permanente por la Orquesta Barroca Simón Bolívar en Caracas (Venezuela). En 2019 formó la ORQUESTA HUMBOLDT, un proyecto sinfónico con alto impacto social que reúne músicos venezolanos de El Sistema que decidieron abandonar su país frente a la situación política y económica para darse una nueva perspectiva profesional en España.