Un Liszt a la española

By María Elena Cuenca, 22 May 2015

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“se mostró la variedad folclórica tamizada por el estilo vertiginoso y a la vez delicado de Liszt”

Reviewed at Fundación Juan March, Madrid on 20 May 2015

García, Yo que soy contrabandista (De El poeta calculista)

Liszt, Fantastic Rondo on a Spanish theme "El Contrabandista," S 252

Liszt, La romanesca S 252a

Liszt, Grosse Konzertfantasie über Spanische weisen S 253

Liszt, Gastibelza

Liszt, La romanesca S 252a

Salas, Los toros del puerto (Para voz y piano)

Liszt, Rhapsodie espagnole, S 254

Leslie Howard, Piano

Laia Falcón, Soprano

A trio of Russian Romantic composers showcased by Leslie Howard

Alexander Hall, 16th July

In these three works for piano Borodin, Glazunov and Rubinstein all make use of the bell-like tolling which runs through many Russian Romantic compositions like a leitmotif.

***11

World première of Elena Mendoza's City of Lies

Fernando Remiro, 21st February

Spanish composer Elena Mendoza presents a hermetic piece of contemporary theatre that is at the same time a disappointing opera and a worthy musical exploration of literary universe of Juan Carlos Onetti

***11

Immersive OAE submerged at Southbank’s Multitudes festival

Mark Valencia, 22nd April

The road to immersion is paved with modish deflections as the Orchestra of the Age of Enlightenment performs 20th-century English string music.

**111

A dream of a Gerontius from Pappano, the LSO and Chorus

Roy Westbrook, 21st April

Giving their 27th performance of the oratorio, the London Symphony Chorus excel as angelic angels and demonic demons.

****1

Benedetti ablaze with the Philharmonia

Christopher Woodley, 19th April

As gifts to the Philarmonia's 80th birthday season, Nicola Benedetti gives a barnstorming account of Elgar's Violin Concerto before Cristian Mӑcelaru gets emotionally drained by La Mer.

*****

Nicholas McGegan brings delicacy and elegance to Mendelssohn

Erica Miner, 18th April

The Seattle Symphony offers an enchanting evening immersed in the joy and brilliance of both the young and the mature genius of Felix Mendelssohn.

****1

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María Elena Cuenca

María Elena Cuenca es estudiante de doctorado en la Universidad Complutense de Madrid. Anteriormente estudió el grado de Educación Musical en la Universidad de Alicante. También hizo el grado de Musicología en la Universidad Complutense de Madrid y a continuación el Máster en Música Española e Hispanoamericana en el mismo centro. Para su doctorado está investigando sobre “Las misas de Francisco de Peñalosa (ca. 1470-1528), estilo musical y contexto”.

Un Liszt a la española, pero sin ayeo, en la Fundación Juan March