It is difficult to write about a concert that was not one as such. The second ‘concert’ of the monograph malherian it became a syncopated reading, or something similar, of Alma Mahler's memoirs. Paragraphs that did not contextualize the music that followed nor contributed anything interesting about either composer, except for the moment where it tells how Mahler forbade Alma from composing again. Although, without clarifying that he later rectified it, nor why he did so, which would have become a Sálvame deluxe in D minor. In any case, if tempo is a fundamental pillar of a composition, someone did not measure it at all. Furthermore, the tedious talk, read in fits and starts, was not in the program, just as there was no mention of the name of the person who became the protagonist of an evening that could have been a good concert. It was already surprising that it began with the reading of a text that did not fit with what would follow, by the string quartet and piano formed by Fabiola Tedesco (violin), King Wojdalska (viola), Zuzanna Sosnowska (cello) and Magí Garcías, at the piano. Promising was the first intervention of the ensemble with the interpretation of the only movement of the Piano quartet in A minor, by Gustav Mahler. A true example of the powerful solidity with which the group exhibited the essential cohesion to be able to enjoy so many and such solid elements in perfect harmony. It is proof that Mahler is very much Mahler, despite being only as a test, as a sketch from when he began his studies at the conservatory.Just after, another philippic arrived, in an exercise of coherence as decontextualized as the previous one, which gave way to the mezzo-soprano Begoña Gómez to perform two Lieder by Alma and two others by Gustav: Die stille Stadt and Bei dir ist es traut, by the former, and Wo die schönen Trompeten blasen and Es sungen drei Engel einen süßen Gesang by the latter. Impeccableperformance, colorful, with volume and consistency, well accompanied by Magí Garcías. We could say it was a brilliant moment, characteristic of the mezzo's voice, if between one Lied and the other, which have a duration of more or less two minutes, they had not included the corresponding bore, of much longer duration, eternal, which eliminated and dynamited any possibility of properly enjoying the subtle compositions.The ‘concert-reading’ concluded with the performance of the Piano Quartet No. 1 in G minor, Op. 25, by Johannes Brahms. Forty magical minutes, without words, a mirage. The quartet once again showed its excellences, which were not few, but overlapped by a structure that did not hold up. It was not that.

A resident who attended the Rels B concert this Friday in Palma has reported to ARA Balears that he suffered a disproportionate response from the event's security staff. According to the witness, several members of the security team tackled him to the ground in a "very violent" manner after he slightly shifted one of the barriers defining the concert perimeter, during a moment of peak crowd density and exit.

There were still a few hours left before the Council proclaimed him Favorite Son of Mallorca, but Rels B preferred to start the celebration without waiting for the diploma. In front of more than 30,000 people gathered between the Parc de la Mar and the Passeig Marítim and with the Cathedral illuminated in the background, Daniel Heredia wanted to celebrate the distinction in his own way: with a free concert, on the eve of the Diada, so that anyone could share the recognition with him.

Palma hosts this Friday, September 11, the free concert by Rels B, one of the main events of the Diada de Mallorca. The Mallorcan artist will perform starting at 9:30 PM at the Parc de la Mar and the Passeig Marítim, in a concert co-organized by the Consell de Mallorca and the Palma City Council. Access will be free until full capacity is reached.

Palma is preparing a special traffic and public transport plan for the free concert that singer Rels B will offer this Friday, September 11, at Parc de la Mar. The disruptions began this Tuesday and will last until Saturday, with traffic closures on Avinguda d'Adolfo Suárez and temporary diversions and cancellations on several EMT lines.

The Majorcan artist Daniel Heredia, artistically known as Rels B, will offer a free concert in Palma on September 11th to mark Mallorca Day and his appointment as Favorite Son of Mallorca. The performance, organized by the Consell de Mallorca, will begin at 9:30 PM in the area between the Parc de la Mar and the Paseo Marítimo of the Balearic capital.

The Orquestra de la Comunitat Valenciana, led by its principal conductor, Sir Mark Elder, was responsible for setting off the grand finale of the fireworks display that marked the latest edition of the Pollença Festival. Sixty-five editions stand testament to it, and its momentum only serves to enhance its legend. The full capacity of each and every one of the seven concerts that made up the program could serve as a sufficiently eloquent summary of what it has been, with this festive closing of a magnitude that merely anticipates the next edition.

Karmento is the artistic name of Carmen Toledo Sánchez, a neofolklore singer-songwriter originally from Bogarra, a village in the Albacete part of Sierra de Segura. She began making music when she was over thirty, in an "amateur" way, as she explains. That was more than a decade ago: in 2015 she released the album Mudanzas}; in 2020, Este devenir, considered one of the best Root Music albums of that year. In 2024 she releases the album La Serrana, which wins the Music Academy award for Best Folk Album. It is an album, La Serrana, born from research and, subsequently, a dialogue with the place of belonging, memory, and relationships with the community. Karmento's La Mancha folklore will be heard in Montuïri this Saturday, August 29th, within the framework of the La Lluna en Vers festival of the Fundació Mallorca Literària. 

Kick-off to the 65th edition of the Pollença Festival with the Sant Domingo Cloister packed to the rafters and a few extra chairs. Those responsible for this situation came with names and surnames of proven prestige, Daniel Harding conducting the Mahler Chamber Orchestra and Daniil Trifonov on piano. But for contrasts, those they offered us in the first piece of the program, the "Piano Concerto No. 1 in D minor, Op. 15. A monumental and careful musical combat between the soloist and the ensemble of major subtlety and a modest reading, as if wanting to transmit with absolute fidelity all that was going through the composer's mind and heart. It was not spectacular, for the simple reason that it was not the author's purpose or intention – he took five years to finish it – but there was the contained tension to convey a whole series of subtle sensations that Trifonov's piano distilled with such a deep and gigantic Majestic. A first movementthat begins the orchestra with ninety energetic bars, until the solemn entrance of the soloist. Permanent, unfading communion, between the protagonists of a concert more symphonic than anything else, but which in some way draws from the sources of chamber music and with a duration that exceeds that of theEmperor of Beethoven. The collaboration between Trifonov and the Hardings was exemplary, reaching its peak in the exciting and moving Adagio which was so well received by the intended recipient, Clara Schumann. An introspective Trifonov displayed great, meticulous sensitivity, where each touch, each phrase, each silence, opened up a whole spectrum of emotions and numerous interpretations. Nor did the third movement, Allegro non troppo, increased the dose of vehemence, and the Rondo sounded with a more subdued tone than usual. It is a choice that somehow gave even more solidity to the whole. Strange the encore, mournful, gloomy, it can be a bit too much for a summer night. A tu cantem, by Pàvel Txesnokov.

The initial intention of this project was to “make accessible” a repertoire that had profoundly struck Marc Vilajuana. Approximately ten years ago, he discovered Gregorian chant and was fascinated by this sonic universe. “Beyond the spiritual aspect, it is the foundation of Western music. It is with Gregorian chant that musical writing begins in the West, as until then music had been transmitted orally,” he points out.

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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