Music at Juan March Foundationh

The Juan March Foundation relies on 93 Metros to document its musical production. An area in which it stands out nationally for programming original and unique cycles and parts. Melodramas, Young interpreters or Chamber Theater are some of the formats that the Foundation hosts and that we have had the privilege of registering in multiple ways.

One of the last projects is the work of tenor Manuel García, Il finto sordo . This production represents the modern recovery of the most ambitious of the five chamber operas composed by the Sevillian artist. Originally conceived for six voices and piano, it has remained unpublished since its Parisian premiere around 1831. This was its first interpretation in modern times.

The mythical tenor sought to move this opera to the bourgeois hall in order to train his disciples, or in other words, “to instruct by delighting”.

As always, 93 Metros attended the different stages of preparation, stage set-up, costume tests, rehearsals … to transfer the effort, hard work and artistic merit that underlies a representation of these characteristics.

The hand-held program with more information can be downloaded here.

Another exciting project was the Italian-style harmonic opera The Elements , by Antonio Literes . The best tradition of the Hispanic verse converges with the Italian novelties of music, materialized 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. His resurrection at the Juan March Foundation includes a staging that brings these allegorical codes to the present </ strong >, while maintaining the emblematic world of baroque opera, with the original results of the splendor of this golden stage of Spanish music.

With musical direction by Aaron Zapico and set design by Tomás Muñoz.

La Romería de los cornudos, Gustavo Pittaluga (music), Argentinita (choreography) and Alberto Sánchez (set design).

The current production recovers this reference from the history of Spanish dance that had remained unpublished since its premiere in Spain in the thirties and in North America in the forties. With The pilgrimage of the cuckold, the Chamber Music Theater format opened in 2014 reaches its eighth edition and enters the world of dance for the first time. In parallel to the functions, the Juan March Foundation exhibits in the lobby of the auditorium a documentary exhibition with materials from different archives around Pittaluga, Lorca and Spanish ballet.

We also produced this video about Bach, jazz and improvisation. Bach’s case is unique in the history of music: no other composer has left such a deep mark on the style in the following generations. The unparalleled dominance of the counterpoint and the timeless and abstract character that emanates his music have been inexhaustible sources of inspiration. To the extent that, like few other authors, Bach has crossed the stylistic boundaries to encourage reinterpretations in jazz, with the free and improvised character that characterizes this music.