La Fúmiga will put an end to its career in October 2026 with its final concerts, on October 17 in Barcelona and October 24 in Valencia. In Mallorca, those from Alzira will say goodbye earlier, on May 29 as part of the Tribufest festival, in Felanitx. The band, born in Alzira in 2012, is retiring after more than a decade in which it has performed on hundreds of stages, filled dozens of venues, and garnered millions of streams on digital platforms. From its origins linked to the Societat Musical d’Alzira, La Fúmiga has brought the energy of charangas and bands to the stage, fused with urban and festive sounds. We speak with its vocalist, Artur Martínez.

Third installment of a new season at the Principal Theatre of Inca, home of the Orquestra de Cambra de Mallorca, which we were able to hear once again at the church of Llubí. A program that was already quite appealing in itself, with a degree of difficulty that made it an added value and with an undisputed figure, Eduardo Ríos, violinist of the Berliner Philharmoniker, as the soloist commissioned for the occasion to bring to life the Violin Concerto in D major, op. 6. One of the most convoluted concertos and the only one Ludwig van Beethoven composed for the instrument. A composition that, like so many others, carries its legend attached. Premiered by Franz Clement, he received the score very shortly before the concert, and performed it as if it were almost a first reading, but, moreover, he added a sonata of his own as a cadenza played on a single string and with the violin upside down. So difficult was the execution of the concerto that the virtuosos of the time decided it was unplayable, until, thirty-six years after its premiere, at the age of thirteen, and with Felix Mendelssohn conducting, Josef Joachim placed it on the pedestal it deserved and from which it has never descended again.

Third installment of a new season at the Principal Theatre of Inca, home of the Orquestra de Cambra de Mallorca, which we were able to hear once again at the church of Llubí. A program that was already quite appealing in itself, with a degree of difficulty that made it an added value and with an undisputed figure, Eduardo Ríos, violinist of the Berliner Philharmoniker, as the soloist commissioned for the occasion to bring to life the Violin Concerto in D major, op. 6. One of the most convoluted concertos and the only one Ludwig van Beethoven composed for the instrument. A composition that, like so many others, carries its legend attached. Premiered by Franz Clement, he received the score very shortly before the concert, and performed it as if it were almost a first reading, but, moreover, he added a sonata of his own as a cadenza played on a single string and with the violin upside down. So difficult was the execution of the concerto that the virtuosos of the time decided it was unplayable, until, thirty-six years after its premiere, at the age of thirteen, and with Felix Mendelssohn conducting, Josef Joachim placed it on the pedestal it deserved and from which it has never descended again.

The Balearic Cultural Work (OCB) will put an end to the Sant Jordi Day in Palma with a concert by the group Nou Romancer. The performance will take place on April 23rd at 8 p.m. in L'Olivar square and will serve as the closing of a day marked by books and street culture.

The Estudi General Lul·lià will launch a series of small-format concerts on Saturday, March 28th, promoted by Always Winchester. The series aims to bring contemporary European artists to the public with intimate, original, and personal performances. The first concert features Rachid B, a Moroccan multidisciplinary artist based in Spain, and Miquel Serra, a musician from Mallorca.

Young People of Mallorca for the Language has announced the full lineup for the Acampallengua 2026 concert, which will take place on Saturday, April 11, as part of the fifteenth edition of the event, which returns to Manacor this year. The concert will feature performances by Nastallat, Maria Jaume, La Ludwig Band, Auxili, and Plan-ET, in an evening that will once again transform Catalan music "into a space for encounter, celebration, and collective activism."

Sopa de Cabra, one of the pioneering and most important bands in the history of Catalan rock, will perform in Campos on August 7th to celebrate their 40th anniversary. The group will share the stage with Aero.Sol, who are also celebrating their 25th anniversary this year. The event will take place in the parking lot of the town's municipal sports field, starting at 10 pm.

The San Sebastián festivities will once again transform Palma into a giant open-air stage. Indie band Crystal Fighters will headline the first major concert of the celebrations on January 16th in Plaça d'Espanya, kicking off a musical program that combines internationally renowned names with a strong commitment to Mallorcan talent. This year's lineup includes artists and bands such as José de Rico, Guille & The Waves, Pitxorines, Toque de Llamada, Pelo de Gallo, Burning, Tennessee, and Héroes Tribut Band, among others, spread across different squares throughout the city and encompassing a variety of musical styles. "The San Sebastián festivities are part of our identity and our culture," remarked Lourdes Roca, Councilor for Education and Citizen Participation, during the program's presentation. A kickoff with a local flavor.

On January 16, Plaça d'Espanya will host the first major concert, featuring Teballs, Guille & The Waves, Temaso, and headlining the event, Crystal Fighters, an Anglo-Spanish indie band that will get Palma dancing with their festive and eclectic live show. The City Council emphasizes that the lineup strengthens the presence of local groups and combines formats and styles to appeal to all audiences.

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The auditorium on the seafront was packed to capacity to hear what was supposedly Ludwig van Beethoven's last symphony. Theoretically, because there was a later one, the Tenth, which was only missing one movement. So much so that on May 7, 1824, when the... Symphony No. 9, Op. 125, in D minor at the Kärntnertortheater in Vienna, with the composer present and on stage —which they had to turn towards the audience so that he could enjoy the intensity of the applause; If it is not vero, it is well trovato—, the three movements that the genius from Bonn had already completed were also performed. An anecdotal circumstance, since the Novena It has overshadowed everything. Undoubtedly, and without getting into rankings that might seem purely sporting, what is clear is that this "last" one is the most imposing of the eight preceding ones. The description monumental It has become a prefix for the Ninth Symphony, for the simple reason that it takes both a heart and an orchestra large enough to reach this great musical summit.

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The fourth concert by the Illes Balears Symphony Orchestra at the Auditorium on the Passeig Marítim offered some attractions that went beyond a superb and stimulating program. Curiosity was palpable, to a greater or lesser degree. This was hardly surprising given the announcement of Raise the Roof. Concerto for Timpani, as a starting piece. A composition by Michael Daugherty, a disciple of Pierre Boulez and Luciano Berio, performed by percussionist Javier Eguillor, with Nuno Coelho leading the ensemble. An unusual piece that truly shines live, showcasing the dynamic energy of a protagonist who displays a whole range of possibilities on the timpani and cymbals, from melodic tuning to placing a cymbal on one of the five timpani in a convex position—and I mean convex—an immense array of rhythms that make it a complex and unusual musical singularity. Clearly, its duration, just over twelve minutes, makes it fly by. There was an encore, of course, and right afterward they repeated a fragment of Daugherty's piece, as if to savor it more fully and with greater understanding.

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At the Llubí Theatre, there was that "let's see what happens" vibe. Five musicians who had never met before, a stage, and zero rush to label anything. Leïla Duclos (vocals and guitar), Camille Bertault (vocals), Enric Fuster (drums), Fady Farah (piano), and Joan Garcias (double bass) came out with the only clear idea that mattered: to listen to each other and play.

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With over 80% capacity, the Casa des Poble d'Esporles hosted a solid performance by the Joachim Govin Quartet, a group that has been working together for ten years and has made its mark with its albums Items (2015) andPresent (2020). On stage, Govin—discreet in presence but firm in direction—set the course with a double bass that defined the contours of each piece and maintained the group's balance.

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Like someone going out into the street to sing to their neighbors, Joan Manuel Serrat (Barcelona, ​​1943) moved all of Maó this Saturday. Three years after his official retirement from the stage, he returned to the Principal Theatre to lend his voice to the humanitarian missions of the Clarós Foundation and make it clear that his passion for singing will never leave him, no matter how many years pass.

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Half a century later, Maria del Mar Bonet's voice will once again fill the Olympia in Paris. This was announced in Mallorca by the singer-songwriter and the President of the Generalitat, Salvador Illa, who confirmed that his government will promote a series of concerts featuring Catalan artists in the iconic venue of the French capital. The Mallorcan singer's concert is scheduled for the autumn of 2026 and will mark her return to one of the stages that defined a turning point in her career. Numerous articles have been written about that recital, many of them on the occasion of its fiftieth anniversary, which Bonet celebrated with several concerts and the re-release of the album. At the Olympia that emerged, but now she herself will write, on the spot, a new page. "I will experience it very well, because the last time I sang, the concert was also part of a cycle of voices called Chansons en liberté, at a time when freedom was hard to find in our country. Now that I have reissued the recording of that concert, I am very happy to be able to take it to the Olympia, which is an absolutely wonderful theater," she said.

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Studium Aureum inaugurates a new season with a revised and expanded lineup, with nearly seventy members on stage, including singers, musicians, soloists, and, of course, the conductor. Carlos Ponseti, the silent musician. The chosen piece also has enough elements of special interest, although, being a Mozart piece, it doesn't usually appear in the programs. Penitent Davide K 469 It is a cantata that was commissioned by the Tonkünstler-Societät (Musicians' Society) of Vienna, on the occasion of Lent. The year was 1785, a rather busy year for the genius, during which he signed up to sixteen works, among which we find three piano concertos, a sonata for piano and violin, a quartet for piano and strings... and we already know that religious music was not among his preferences. A good reason to undertake the Kyrie and the Glory to its unfinished, who knows why, Great Mass in C minor K.427. Perhaps that's why there are so few performances. The golden selection, therefore, and as on so many occasions, has added value.

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The legendary Valencian group La Gossa Sorda recently announced their return to the stage after almost 10 years. Specifically, they announced they will be performing a three-concert tour next spring, on April 25 in Picassent; May 2 in Palma; and May 23 in Cunit.

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The singer Aitana has been the first artist confirmed for the ninth edition of the Mallorca Live Festival, in Calvià. The concert will be part of her new world tour, scheduled for 2026.

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There were many notable and relevant moments in the opening concert of the season of the Illes Balears Symphony Orchestra, but, to begin with, I would like to highlight what corresponds to Prelude to the après-midi of a faun, of Claude Debussy. The first piece played in the second half and of which Pierre Boulez said that "The flute of Faun by Debussy breathed new life into the art of music." Josep Miralles, the group's solo flute, was in charge of showing off his best attributes in the interpretation of these supernatural moments, which suggest the sensual evocations of the main faun. somos, Mielgo and the Symphony Orchestra displayed this primordial moment that the group is experiencing, and the Frenchman's piece, which at the time marked a revolution, was a good thermometer to confirm it. There are many instruments that at one moment or another become protagonists in this translation of the poem, soloist, the oboe, of course, and even the antique cymbals, to achieve a chromatic universe that, moreover, is unlike any other of the compositions of one of the great avant-garde artists in the history of music. crushed the new world of the arts, with one of the capers of musical impressionism. The bullfighter's prayer It is a small but no small work, with all the ingredients of Spanish music and the impressionist envelope that had so unnerved him. Originally conceived for four llaüts, which is difficult to imagine how they might have sounded, it was later converted to a string quartet and finally to the version that began the evening, for string orchestra. From one of his companions in Parisian musical adventures, Manuel de Falla, who drew from the same sources, Davide Cabassi on piano played the three Nights in the Gardens of Spain, the one of the Generalife, the Distant Dance and those of The mountains of Córdoba, where we can find the most obvious references in Debussy and Ravel,Perfumes of the Night of the first and the Prelude to Night of the second. Intense, tempered and meticulous, was the soloist's interpretation, with these masterful dialogues with the orchestra, creating textures of sublime richness and ending with a finale of a fineness extraordinary, with the "extinguished sound", as the score notes.

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Once again, just after the Pollensa Festival, Bernat Quetglas and the Mallorca Chamber Orchestra, converted into a symphonic orchestra for the occasion, with more than fifty musicians on the stage of the Cloister of Sant Domingo, take the musical witness to delve into the personality of more musicians than with the originality. Maurice Ravel needs no introduction, but revisiting him is always a joy and, in a way, a rediscovery where we can glimpse new details and nuances that only serve to further enhance his indisputable talent. If the program is as succulent as it is substantial, so much the better, given that it increases the possibilities of discoveries, as is the case.

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They're coming back from the Salzburg Festival, last Thursday they enchanted the audience at the Pollença Festival, today, Friday, they're playing at the Jordi Savall in Santes Creus, then they'll be back at the Schubertiade in Vilabertran, and the Pierre Boulez in Berlin awaits them... A calendar that serves to contextualize and confirm their career and prestige. They are the Casals Quartet. That said, any surprise could only be negative, which, on the other hand, seems more than unlikely. As for the program they performed at the third concert of the 64th Pollença Festival, they gave a brief but exquisite tour of the quartets from their institution as a stable composition and formation until the 20th century.

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