There are projects that are born designed to reach a result and others that are born, precisely, to never have a definitive form. Gàbia belongs to the latter. The Principal Theatre of Inca placed the six Cello Suites by Johann Sebastian Bach inside a cube, placed cellist Miquel Àngel Aguiló there and began to invite artists to inhabit that space and transform it. Music, dance, circus, graffiti, visual arts, video and movement have been entering and exiting a structure that functions simultaneously as a scenography, limit, refuge and exhibition space.

Once again, an incomparable setting welcomed the equally incomparable Bach. The Cathedral was transformed into a Bach-infused spectacle. To the popular and widespread messianic tradition of George Frideric Handel, we must add this small but significant glimpse of the immense and marble-like master. Christmas Oratorio BWV 248 The Capilla de la Seu, directed by Joan Company, and the Illes Balears Symphony Orchestra, conducted by Pablo Mielgo, have been performing for several years in the cathedral's presbytery, beneath Gaudí's baldachin and alongside Jujol's transgressive and incendiary paintings. And if the setting can only be described as sublime, the concert shone equally brightly, with soprano Irene Mas, countertenor-soprano Rafael Quirant, tenor Bryan López, and baritone Tomeu Bibiloni as vocal soloists. As for the orchestra's soloists, Emma Goillot, on the piccolo trumpet—a small, four-valve instrument tuned to D—consolably captivated the audience. Bach trumpet— in his speech, performing with Tomeu Bibiloni an excellent Gosser Herr, or Starker König.

"Bach will never grow old. The construction of his works is those ideal geometric figures where everything is in its place and there is never a superfluous line," said Fryderyk Chopin. Sir András Schiff, a luxury of many carats, the protagonist of the second concert of the Pollença Festival, began his talk by saying that Bach was the greatest composer of all time and his favorite. It's not very original, but no one has any other choice. Therefore, a good reason to start his performance with the'Aria of the Goldberg Variations. A measured, delicate, as if weightless reading, which made it clear that, once again, we were the fortunate spectators of a memorable evening, and that, furthermore, we had no idea what was coming next. Sir András doesn't like others writing his programs, which he explains much better with the addition of an enigmatic element. The truth is that two days earlier he had given a concert in Torroella de Montgrí and more or less repeated the composers, but I think he only repeated one of the pieces from our batch. Intermezzo by Brahms and the Bach encore. Let it be clear, therefore, that it is not difficult to predict what we will feel, it is simply impossible.