New course, new life for orchestral training based at L’Auditori. The Barcelona and National Symphony of Catalonia premieres next season both as the principal conductor -replacing Kazushi Ono- and as the main guest. The first, the Frenchman Ludovic Morlot, is expected above all that in the four years ahead of him he will contribute to internationalizing the whole but also bringing it closer to the community, that the city and the rest of the Catalan territory feel it as their own.
For now, the musician, excited about the idea of meeting an orchestra and settling in a new city, proposes a recording plan with the OBC. Morlot’s great success in this field is well known, as he has recorded with what he was his orchestra in Seattle and with the BBC and other formations. And to begin with, he already has three projects in mind for the L’Auditori digital label.
“Recording is always an opportunity to grow artistically -he told the Barcelona press-, because you have to focus on that specific project, the orchestra is dedicated. It is also an opportunity to better understand a piece and become familiar with the repertoire, or tackle a new one.”
We will record Vivancos, Parra and I would also like to do Ravel, starting with his operas”
Morlot has advanced that next month he will work with OBC on the first two installments: a piece by Bernat Vivancos created for the Barcelona orchestra and another by Hèctor Parra, which they would do in January. “And I’d like to record Ravel too, because there aren’t that many Spanish orchestras that have dared with all of his work, and I don’t know if we’ll do it all, in any case I’d like to start with the operas: we’ll record Daphnis et Chloé, Bolero, Rapsodie Espagnole... And thinking of guaranteeing gender equality, we will approach female composers, rediscovering some and building a catalogue”.
The OBC’s new guest principal conductor, Marta Gardolinska, head of the Opéra National de la Lorraine and collaborator with the Los Angeles Philharmonic, is expected to provide balance and control, as she demonstrated on her last visit to L’Auditori with a score as demanding as The Magical Horn of Youth of Mahler. His stay would be two years.
These are the main novelties with which the room faces the 2022-23 season, which revolves around the concept of death or return. Among the batons that will pass through the room, Zoi Tsokanou Rebecca Tong, Anja Bihlmaier and Elim Chan stand out, with whom the room endorses its desire to achieve parity on the podium of its orchestra. Trevor Pinnock, Vasily Petrenko, Roderick Cox, Cristian Macelaru and Juanjo Mena will also return. Without forgetting the composer Jörg Widman in the facet of his baton.
“Our role in society is to tell musical stories to generate emotions and also comfort people, especially in a context like the pandemic. And that means telling stories that we love, others that are a mystery and others that open us to new vocabularies,” said Morlot, a conductor with a wide variety of repertoire. “Yes, I am. There are voices that I want to defend and that may be new to the orchestra and others that will be new to me and not to the musicians. is to be ambassadors of these stories.”
As for the solo performers, the room will feature a guest artist, the cellist Nicolas Altstaedt, who since being chosen for the BBC’s New Generation Artists program a decade ago has made an important qualitative leap to being appointed artistic director of the Festival of Lockenhaus, at the proposal of the founder himself, Gidon Kremer.
Russian Sofia Gubaidulina and Danish Hans Abrahamsen are guest composers for this season, which revolves around the concept of ‘Death or Return’
As guest composers, the Barcelona venue is betting on Sofia Gubaidulina and Hans Abrahamsen, both artists who swam against the tide when they began their creative careers half a century ago. The Russian of Tatar origin opted for the depth of religious music, specifically Catholic spirituality, but in the middle of the Soviet regime. The Dane, a prolific creator whose instrument was the horn, renounced the post-avant-garde currents of the seventies to join the so-called new simplicity. He is also interested in the orchestration of pieces by Bach, Schumann…
In any case, the big names that are included in the season -from Sarah Connolly to Andreas Ottensamer, Heidi Melton, Emanuel Pahud, Bertrand Chamayou, Vilde Frang, Isata Kanneh-Mason or Lea Desandre, going through those already announced by BCN Clàssics and Ibercamera, like Yuja Wang, Yo-Yo Ma, Maria Joao Pires or Pinchas Zukerman. Among the national names there will be Javier Perianes, Albert Guinovart, Marta Infante, Serena Sáenz or Pablo Sáinz Villegas.
The Casals, who are celebrating their 25th anniversary, invite the Ebène, Jerusalem or Belcea to the Barcelona Biennial of Quartets
The starting signal, however, is guaranteed by the Barcelona Quartets Biennale curated by the Casals, this time celebrating its 25th anniversary as a chamber group. Focusing on Bach’s Art of the Fugue, this year they will bring together eleven formations: Ebène, Jerusalem, Belcea… proposing premieres by Octavi Rumbau, Núria Giménez-Comas, Daniel Apodaka and Joan Arnau Pàmies.
The premieres will be large: about fifty of which 23 will be world premieres. For example, by Octavi Rumbau, Luis Codera, Maner Riera, Albert Guinovart and the German Jörg Widmann (who directs it himself). Or the commission from Barcelona Creació Sonora to Agustí Charles. In addition to premiering in Spain a work by Gubaidulina.
On the centenary of the death of Felip Pedrell, the OBC will recover the work ‘I trionfi’ by the Tortosan and will take it on a tour of Catalonia
At the same time, there will be a commitment to heritage projects -40 no less- highlighting the commemoration of the centenary of the death of Felip Pedrell. The OBC recover the work I trionfi of the composer from Tortosa and will take her on a tour of Catalonia. She will also record a monograph and, in the neighboring Museu de la Música de Barcelona, the mark he has left will be investigated with an exhibition on his figure. Other anniversaries to celebrate will be the 150th anniversary of the birth of Joan Lamote de Grignon and the centenary of Manuel Oltra.
But, what music articulates the artistic story of the season? Among the repertoire that the director of L’Auditori, Robert Brufau, is committed to, highlights Mahler’s 4th and 5th Symphonies, the midday witch of Dvorak, the island of the dead of Rachmaninoch, the 4th of Nielsen, the symphony of psalms of Stravinsky, the Pelléas et Mélisande of Schoenberg, the last four songs of R. Strauss, the Ascension of Messiaen, the Death and Transfiguration of Strauss, the unfinished of Schubert and the Requiem from Mozart.
The latter will be under the umbrella of the Festival Mozart Nits d’Estiu, which will include other milestones of classicism such as the concerto for cello of Haydn. And as for the search for the original sound, Jordi Savall will display four projects: the 8th and 9th by Schubert, the Te Deum of Charpentier, the Missa Solemnis of Beethoven -which can be compared to that of Philippe Herreweghe in the Palau de la Música- and The seven last words of Christ on the cross of Schutz and Haydn.
Jordi Savall, for his part, recovers the concept of the season of El So Original that started 15 years ago for the recovery of heritage and the projection of ensembles such as La Capella Reial that are celebrating their 35th anniversary. And now he has created the Capella Nacional de Catalunya to increase the capacity for voices, always from young professionals. Savall explains that the project is carried out thanks to the help of the Generalitat, the French government and a grant for the next three years from Creative Europe, which allows him to continue with the Beethoven project, the current Schubert project and the eventual of Mendelssohn. “We have the goal of incorporating 50% of young people, 50% of women and also, in three years, musicians from 20 European countries,” he explained.
Apart from the four projects at L’Auditori, Savall will tackle at Santa Maria del Mar the vermilion book of Montserrat. Projects with which they go to 14 cities in Europe. Thinking about the future of his ensembles, Savall proposes that his ensembles be residents in the room, although L’Auditori focuses on it in terms of co-production so that the Fundació Cima and its ensembles can function. That translates into an economic contribution by the room, although Savall is still in talks with the administrations.
“The objective is to ensure that the intangible assets that are the choir and the orchestras reach the same level as the Municipal Band or the OBC so that when I disappear they have institutional continuity, and that is why we are talking with the City Council, the Government and the Ministry”, he concluded. Savall.
In Llums d’Antiga you can listen to the Franco-Italian mezzo Lea Desandre, who has just fallen in love at the Palau
At the Llums d’Antiga Festival, which takes place in medieval churches in Barcelona, it will be possible to hear the French-Italian mezzo Lea Desandre -who has just fallen in love at the Palau- will perform together with the lutenist and theorbo player Thomas Dunford, and they will make their debut Tiento Nuovo, the set of Ignacio Prego. There will be no shortage of performances by the Cererols, Cantoria, Francesc Valls or O Vos Omnes choirs.
L’Auditori announces a new cycle that explores music from various religious traditions. They call it Trànsits, it is organized by the Museu de la Música with the complicity of the Oficina d’Afers Religiosos of the City Council and they will take place in temples, be it the Synagogue of Barcelona or the Orthodox Church of Sant Jordi. Although Room 4 will host proposals for funeral rites from Indonesia, traditional Hindu music…
L’Auditori announces a new cycle that explores various traditions in complicity with Religious Afers of the City Council
in tune with the leitmotif of the season, the Barcelona Municipal Band will abound in requiems -by Maslanka, Rutter or A Requiem for Brussels by Appermont. And the Emergents Festival will offer a free chamber marathon with eight concerts in Hall 2.
Jon Hopkins, Sandra Monfort, Arnau Obiols, Niño de Elche, Za! & La Transmegacobla and Low will be the artists of the Sit Back and Sessions cycles that explore new languages and avant-garde visions. And in Sampler Sèries, creators such as Maryanne Amacher, a precursor of electroacoustic phenomena, or Éliane Radigue, a benchmark in electronics, are proposed. The prestigious Latvian Radio Choir will premiere Llum by Ramon Humet, one of the projects interrupted by the pandemic, and the Barcelona Modern Ensemble will dedicate a day to Gubaidulina.
Finally, the room proposes to release, together with the Museu de la Música, a great sound installation for quarters that occupies the Foyer of room 1. The first will be Phonos by Marc Vilanova. The digital platform is now called L’Auditori Play, with streaming concerts -there will be 35 next season- or productions that take place in the house. And with the record label of L’Auditori Morlot he will make three recordings of the OBC.