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.

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.

The program notes of Calidoscopi, the latest creation by Estudi Zero, state that “characters are moved by absurd, violent, or profoundly human situations”. True, but it would be even more so if the conjunction were copulative instead of disjunctive. If the situations are absurd and violent, it is clear that they are undeniably very human. The caricature does not distort reality but accentuates it, so that this bold, irrational, and bizarre point makes the metaphorical drawing of the human condition arrive with more effectiveness. That the performance is composed of different small stories brings the Sans seal, in such a way that it transports us to that journey that Karl Valentin was piloting in this very room. For the occasion, several authors are listed in the roster of Calidoscopi –Esteve Soler, Juan Mayorga and Joël Pommerat–, which makes the mood of the different sketches raise the heat of each one considerably. There is no white humor. All contain a high dose of venom, in the same proportion as causticity and sarcasm, and without fear of crossing red lines.The first story, that of the man run over by a bus, about which I will say no more because it would be a spoiler, sets the tone of the performance. Black humor in its purest form. Human cruelty or lack of humanity, which in this case is the same, shines with all its splendor. That of the couple who confess to their twenty-year-old son that he was not a desired child, exponentially increases the portion of inhumanity. That of the seller of anything you can imagine is a mirror directed towards the stalls. And so on. All in all, rounded off with a musical number performed by Dominic Hull, a My way in the purest crooner style, accompanied by the rest of the cast and dressed as Fortunio Bonanova and the Glamouramas were in their glorious American years. Naturally, in such a diverse ensemble it is not easy to find the ideal point of homogeneity, but, even so, the performance treasures enough uniformity, both in the different stories and in the interpretation of the seven protagonists, who in such a marathon performance become an immense crowd of characters, always dressed very differently. Only a small caveat, the wigs are not very necessary. With the different changes of register, which are there, it is enough.

Composer Nacho Cano has defended that Ibiza "is a heritage of all", after the Island Council challenged the registration as a trademark at the European level of the name of his new show, Ibiza Paradise by Nacho CanoIn a statement issued by his office, the musician and businessman explained that, although the claim was filed in recent weeks, the trademark was registered in December 2024.

The Ibizan Council has challenged the registration of the trademarks of Nacho Cano, a former member of Mecano, who wants to use the island's name to promote his new show. "This is standard practice, as we denounce all brands that use the name of Ibiza to do business," the Ibizan institution confirmed at the ARA Baleares radio station.