The postponement to next June of the 37th edition of the Canary Islands Music Festival due to the evolution of the Covid-19 pandemic, In Parallel comes to cover the natural space of the symphonic event, with a list of artists, formations and proposals of Canarian stamp 90 percent, in addition to national and international conductors and soloists.
Some thirty concerts in 22 stages of the eight islands will take place until February 4, with a roadmap subject to health guidelines. “The management of the spaces has been very complicated for many months; We are talking about 22 venues on the eight islands and more than thirty concerts, and the energy invested in this festival is double that of the Music Festival, because we have new guidelines every day or every week ”, explains Jorge Perdigón.
In his opinion, “we could not leave a month of January after 36 years without being active”, and in this case “it is about not losing space, because there are many accustomed people who expect something to happen in January and February musical environment in the Canary Islands, and we have decided to take a leap and create a festival like San Borondón, which comes and goes, and that next year will complement the Music Festival again ”.
Last year 89 concerts were completed with the two programs, the 36th of the Festival, and the first of En Parallel, which was born in 2020 as a “complement to a classic program that was already tradition and the usual one of the Festival in which we could present concerts jazz, world music, dance, and it was also the way to reach those people who are not close to classical, and it happened, because we had a fairly significant increase in the general public ”.
The two Canarian orchestras, the Gran Canaria Philharmonic with its head Karel Mark Chichon and the pianist Iván Martín with a Mozart monograph; the Tenerife Symphony directed by Ton Koopman, Dutch organist and harpsichord player, “one of the masters of the baroque and classicism, an eminence”, according to Jorge Perdigón, who presents a program with Mozart and Haydn; the Trío Hensel, Dúo Curbelo and Camerata Lacunensis, are integrated into the program of En Paralelo.
Along with these are less academic proposals such as those defended by ST Fusión, the dance and percussion project, Transitos, with Paco Navarro, percussionist and solo drummer of the OFGC, together with dancers Daniel Morales and Carmen Macías; the show A World of Music II Edition, which combines jazz, flamenco and Gnawa, Hindu and Canarian music, as well as premiere pieces by the Tenerife saxophonist Kike Perdomo, and which has the participation of the pianist Chano Domínguez, or the bassist Pierre Bonnet; and El Carnaval de los Animales, by Camile Saint-Saëns, on the occasion of the centenary of her death, with a group of ten musicians from different generations under the direction of Ignacio García Vidal, and narration by the humorous group Abubukaka.
“The message is that we are going to listen to these artists who are worthwhile,” highlights the director of the Canary Islands Music Festival. Jorge Perdigón recalls how complicated it has been to carry out this festival In Parallel, whose development can be altered depending on the epidemiological situation in the Archipelago. “The worst of all is the uncertainty to work, but we all have that. and in the cultural sector we have been at half gas for so many months, to put it optimistically, that in my opinion this investment that the Canarian Government is making to alleviate this situation was fundamental ”. The budget for En Paralelo is around 400,000 euros, “which are mostly intended for the Canarian cultural sector, and for the public that also wants it,” says Perdigón.
The health protocols for the Covid-19 have forced to work with 30 percent of the capacity in the different spaces according to their capacity. In these circumstances, of the 35 concerts initially scheduled, they have remained at 30, at least until yesterday Thursday, given the impossibility of having the churches and temples agreed as spaces for En Paralelo. Director Jorge Perdigón confirmed yesterday that “we have had to cancel several of the Camerata Lacunensis concerts programmed in churches, since a mass is not the same as a concert, and more than difficulties there was a lot of uncertainty; and I speak on behalf of the Bishopric, for the musicians and obviously for the Festival ”.
The Camerata maintains dates in other spaces such as the Convent of Santo Domingo, in Fuerteventura; and at Espacio La Granja, in Tenerife.
Similarly, for these same reasons, two concerts assigned to the Tenerife Symphony with Ton Koopman, scheduled for the next January 15 and 16 in temples on La Gomera and El Hierro, are dropped from the schedule. A setback that has made it possible for the Tenerife group to move on the 15th to the Pérez Galdós Theater, in the capital of Gran Canaria.
The program starts today Friday simultaneously in Gran Canaria and La Palma, with ST Fusión and the Dúo Curbelo. ST Fusión will be at the Guiniguada Theater, in the capital of Gran Canaria, today at 8.30 pm, with full capacity, before which its broadcast is offered in streaming. The formation made up of Satomi Morimoto, Tomás López-Perea, Miguel Manescau and Aikor García, which will be repeated tomorrow Saturday at Espacio La Granja, in Santa Cruz de Tenerife, symbolizes the openness to other music and audiences that the En Parallel festival seeks.
In this regard, Jorge Perdigón insists that “it is one of the most relevant Canarian fusion groups, even on the international scene, they have extraordinary musicians, and this concert that opens the festival in Guiniguada, the important and interesting thing is to listen Falla, Prokofiev, Dvorak, Ravel or Bela Bartok, as a group of the XXI century listens to it, and how they do it with that fusion of Japanese and Brazilian music, is very interesting for all audiences ”.
For their part, the Dúo Curbelo, the pianists José María and Óliver Curbelo, begin today on La Palma the cycle of six recitals – they will continue in La Gomera tomorrow – with a repertoire that includes compositions by Schubert, Brahms, Saint-Säens, Infante, Falla and Guinovart.
Centenary of Saint-Säens
As for the rest of the proposals that appear in En Paralelo, the director of the Canary Islands Music Festival notices the Hensel Trio, made up of Esther Ropón, piano; Irina Peña, violin; and Johanna Kegel, cello, who present “a curious program with works by female composers performed by three women.”
In Parallel he also approaches the repertoire of Camile Saint-Saens with The Carnival of the Animals on the occasion of the centenary of his death. Jorge Perdigón maintains that “he has been one of the most important French composers in the history of music, who lived here for almost two decades, spent winters here, it is a tribute that we will continue at the Music Festival in July”.
The narration of this concert falls to the humorous company Abubukaka. “It was more interesting, because of the transversality of En Paralelo, to break with the usual figures, and this is an interesting proposal, which is not easy because it is to move to another space,” says Perdigón. In his opinion, “I think it can be very refreshing, one of the most attractive, with a training of Canarian musicians and the direction of Ignacio García Vidal, who knows the work very well.”
The 37th Festival, from June 27 to August 1
The Advisory Commission of the International Music Festival of the Canary Islands announced in mid-September the advisability of moving its celebration to July 2021. Maintaining the usual dates of January and February entailed “great risks in terms of possible cancellations and limited capacity, which would ruin the economic balance of a Festival that is made with public money and the impossibility of finding viable alternatives, according to the Deputy Minister of Culture, Juan Márquez, at the time. The horizon leads to the month of July, as confirmed yesterday by Jorge Perdigón, director of the Festival. “We would start on June 27 until August 1, with a schedule that is already outlined, but due to the circumstances we are experiencing, I would not like to talk about it until two or three months have passed; we will probably present it in March ”. In the context of a pandemic and with the premise that “if something gets complicated, there will be cancellations”, Perdigón advanced that “it is a strange time to program, and how the situation is, it will be a great festival, with directors and soloists extraordinary, we have been lucky because we have been able to take advantage of the cancellations of others to count on them ”. | DFH