Critics praise her and the audience loves her - Kristine Opolais, the primadonna and the star of the New York Metropolitan opera in a splendid solo concert at the Latvian National Opera. The programme includes arias both from operas that brought Kristine international acclaim and pieces that will be included in her future repertoire.

The beautiful programme, mostly dedicated to Italian music, will encourage you to dream about love and think about what is truly important. It will touch your heart in many ways.

The comparison of Caravaggesque chiaroscuro with Baroque musical creation has become popular. Based on this idea, this project brings together various baroque compositions with tableaux vivants that recreate live paintings by Caravaggio and Velázquez.

Los elementos is explicitly presented as a "harmonic opera in the Italian style", in which the best tradition of Hispanic verse converges with Italian musical novelties, materialised in the use of violins and the alternation of recitatives and arias. These stylistic features were then understood as synonymous with modernity, something that would not escape its first listeners either. The staging of this new production brings these allegorical codes to the present, while maintaining the emblematic world of baroque opera, with the original results typical of the splendour of this golden age of Spanish music.

In addition to postponing her LIFE Victoria debut - scheduled for spring 2020 - Sylvia Schwartz's confinement also led her to reflect on the power of escape. Music is precisely one of the quickest ways to escape, how with these vibrations in the air we can flee to other worlds, embarking on perhaps one of the most intense journeys. The soprano presents us with a three-part programme, together with Malcolm Martineau, which also becomes very pictorial (another evasive world): in the first, dedicated to German Lied, we experience romantic evasion through passionate poetry, as in a painting by Friedrich; in the second, we escape through Granados into the world of Goya, an evasion that the composer himself experienced at a time of war - the First World War - which ended his own life; in the third, Poulenc presents us with the most primal and greatest evasion: that of children. Before that, the promising Lluís Calvet i Pey and Èric Varas on piano offer two delightful cycles, as LIFE New Artists: Let us Garlands Bring by Finzi and Chansons gaillardes by Poulenc, in which constant reference is made to an ideal woman... called Sylvia.

With songs by Mahler, Liszt, Schumann, Vaughan Williams, Guastavino and others, British soprano Kate Royal, together with Joseph Middleton on piano, will explain a young man's journey from dawn to dusk, reaching the deep hours of the - sometimes difficult - night. A song for every hour of the day, beginning at six o'clock in the morning in a vital way with Mahler's spring morning Frühlingsmorgen and ending at five o'clock the next morning in a more sombre and passionate way with Wolf's Morgenstimmung.

Two sides of the same coin and of seeing the dawn, in the midst of which this young woman presents herself to us as hedonistic (with Guastavino's Siesta) and profound (with Schumann's Mondnacht); nostalgic (with Korngold's Mond so geht du wieder auf) and earthy (with Bernstein's Rabbit stew). A highly personal cycle created by the soprano and pianist that is a journey through the human psyche and the different states of the soul. Before, Pau Armengol and Álvaro Carnicero participate in the recital as LIFE New Artists with a short selection of Lieder by Schubert and Schumann.

For 20 years the Berliner Philharmoniker have marked their founding in 1882 with a concert – every year at a venue of cultural importance in a different European city. 2011's Europa Konzert takes place at the beautiful Teatro Real of Madrid in Spain. The Berliner Philharmoniker and their musical director Sir Simon Rattle welcome famous flamenco guitarist Cañizares. His virtuosity, his technique, harmony, strength and sensitivity have distinguished Cañizares as a unique artist, considered as one of the great flamenco musicians of the turn of the century.

Since 20 years the Berliner Philharmoniker have celebrated their foundation on May 1st with the annual Europa Konzert - 2010's concert takes place in Oxford. The orchestra, under the baton of worldwide renowned musician Daniel Barenboim, welcomes cellist Alisa Weilerstein, who has attracted widespread attention for a playing that combines natural virtuosic command and technical precision with impassioned musicianship. 

The Ciclo Jóvenes Talentos Fundación Banco Sabadell is organised by the Fundación Amigos del Teatro Real, in collaboration with the Fundación Banco Sabadell and the Escuela Superior de Música Reina Sofía.

This concert, which takes place at the Sony Auditorium, offers works by Franz Joseph Haydn, Vincenzo Bellini, Antonino Pasculli and Fryderyck Chopin, on the occasion of the performance of Norma at the Teatro Real. Of great humour and wit is Haydn's Quartet op. 33 no. 2, known by the nickname "The Joke". In it, the composer explores a new way of elaborating themes in the form of a fragmentation of small motifs combined in a variety of ways. The last movement is a rondo in which the theme or refrain, of a joyful and playful character, contrasts with the intermediate sections to give way to a hesitant and unexpected finale, displaying its jocular character.

A work by the composer paraphrased in this evening, Vincenzo Bellini, could not be missing. In his Oboe Concerto in E flat major, he displays a lyricism directly related to bel canto and the instrumental poetics of Chopin, while at the same time giving the strings tinges reminiscent of Viennese orchestras, giving the ensemble a great internal balance without renouncing the expressive. Pasculli's work, originally for English horn and harp, is based on themes from Bellini's operas Il Pirata and La Sonnambula. And this was not the only occasion on which Pasculli turned to opera, as he had already dedicated part of his catalogue to other composers such as Donizetti, Verdi and Meyerbeer. In this Omaggio, written in the form of a fantasy, all the technical resources of the instrument are exploited, while the warm, deep timbre of the horn underlines the dramatic and theatrical character of the works from which it draws its inspiration.

The evening ends with three works from the piano repertoire par excellence: a Nocturne, a Waltz and a Ballade, all by the brilliant Chopin. To speak of his music is to speak of voice, singing, expressiveness and poetry. The aperitif of the two short pieces gives way to an immense, unrepeatable work, the pinnacle of his entire output. Narrated in the form of a varied theme, each episode of this Ballade in F minor takes us into an emotional universe of great intensity, which feeds and grows until it reaches the final paroxysm, the last breath, the last beat.

In times of pandemic it is a challenge to organise any event, especially cultural ones. But often the vital need is so strong that it helps to overcome all the difficulties. It is with this idea, to bring music back to the stage after so many months, that the Ciclo Reencuentro was born, organised in Santander by the Escuela Superior de Música Reina Sofía in July 2020. This new encounter with the public brings us all the depth of the cello in two works from the second half of the 19th century.

Brahms' first Sonata for cello and piano op. 38, written after the death of his mother, was the result of several elaborations, finally remaining in a three-movement structure that lacks a proper slow tempo. In addition, Brahms, always faithful to his German roots, takes material from J.S. Bach's Art of the Fugue to elaborate part of his movements. Thus, the final fugue follows a form based on the Contrapunctus XIII of that piece.

Klid, Silent Woods op. 68, is one of four short pieces that Dvorák wrote for cello and piano, arranged from the original for piano four hands. In contrast to the magnificence of the Cello Concerto, in this Klid Dvorák evokes stillness and calm, in a more than successful attempt to capture silence through sound.

On the afternoon of 18 October, Burgos Cathedral once again hosted a concert by the Orquesta y Coro Titulares del Teatro Real de Madrid. 

The High Altar of the temple was the setting for the masterful performance of works by Pergolesi and Vivaldi, a performance that forms part of the calendar of events programmed by the VIII Centenary of the Cathedral Foundation.

20 July 2021 will mark the 800th anniversary of the laying of the first stone in Burgos Cathedral, which is why the VIII Centenary of the Cathedral Foundation was created. Burgos 2021, whose Honorary Presidency is held by Their Majesties the King and Queen of Spain. This project, declared an event of Exceptional Public Interest, is intended to unite the city of Burgos around the celebration of this event, through the development of various cultural and social projects over the coming years.

A unique concert, due to the historical and artistic framework, promoted by the Junta de Castilla y León and recorded by RTVE, with whom the Foundation has a collaboration agreement. From the High Altar of the temple, as part of the events programmed by the Foundation VIII Centenary of the Cathedral of Burgos 2021 to commemorate the 800 years of the Cathedral of Burgos.

With the presence of four international soloists whose careers are touring the world's main theatres, including the Teatro Real, where they have been heard on several occasions:

Soprano Sylvia Schwartz, protagonist in two of the most beloved productions at the Teatro Real: Hansel and Gretel and The Magic Flute, among others; tenor Toby Spence, whose last appearance at the Real was to participate in the most awarded production of recent years, Billy Budd; mezzo-soprano Marifé Nogales, one of the regular voices at the Madrid coliseum for her great versatility, and bass Alexander Tsymbaliuk, who left his mark in two recent productions: Das Rheingold and Idomeneo.

Together with them, for the first time in Burgos Cathedral, the Coro y Orquesta Titulares del Teatro Real, conducted by maestro Ramón Tebar, performs this sublime composition by the genius of Salzburg, whose notes will be heard in the central nave of the temple.

This score, W.A. Mozart's last (incomplete) creation, of extraordinary beauty, where death is the protagonist both as an end and as a transit, contains moments of great drama, sublime sweetness and resigned intimacy, in a masterly composition. Beloved by all audiences, music lovers or not, this Requiem has always been surrounded by mystery and legends that have only enhanced its popularity and made it a point of reference.

As part of its spring concert programme, the orchestra of the National Centre for the Performing Arts (NCPA) offers this journey through pieces by Johann Strauss I, Johann Strauss II, Offenbach and Suppé.