The band La Casa Azul joins the poster of the Festival Jardins Terramar de Sitges (Barcelona) 2021 , which will be held from July 29 to August 13 The euphoric group led by Guille Milkyway will perform on the night of August 12 in the fourth edition of the musical show.
Due to the restrictions imposed by the covid-19 pandemic , the capacity of the Terramar venue will be reduced to 50% compared to the other three previous editions of the festival . In this way, 1,100 tickets are available for each concert, numbered and with seats assigned in advance.
The line-up is completed by Manel , the band with which the cycle will begin on July 29, Fangoria , Rosario, God Save The Queen, El Barrio, Sílvia Pérez Cruz, Ara Malikian, Amaral , Sopa de Cabra, Mónica Naranjo, Sergio Dalma , Antonio Orozco , Los Secretos y La Oreja de Van Gogh, set with which the Garraf appointment will end on August 13 .
It has taken many years for the sought-after Spanish cellist Pablo Ferrández (Madrid, 1991) to re-record. But the wait has been worth it. ‘Reflections’ (Sony Classical) is a marvel where this cello virtuoso explores the connection between Russian and Spanish music alongside pianist Denis Kozhukhin.
Both have known each other since their time at the Reina Sofía High School in Madrid and have collaborated in various concerts. Their understanding is as impressive as the depth, beauty and feeling that they impress on the works of Sergei Rachmaninov, Manuel de Falla and Enrique Granados.
The album opens and closes with two solo pieces by Ferrández: ‘Zdes’Khorosho’, a beautiful two-minute piece by Rachmaninov and ‘El cant dels ocells’ popularized by the legendary Pau Casals, his idol. Although he usually plays it as a tip in almost all his concerts, Ferrández had never recorded it on a solo album. “I know that Casals and Rachmaninov played together but I do not know the date and the place. Too bad it was not recorded,” laments the musician who plays a 1696 stradivarius.
This album is a reflection of his main influences, the Spanish music that is in his blood and the Russian music that he learned to love with his teacher Natalia Shajovskaya. “The idea for the album came from Rachmaninov’s ‘Sonata for piano and cello’, which I love. Then I chose pieces by his contemporaries that fit in but were not typical. I wanted to get away from clichés and portray the romantic atmosphere of those years “, says the musician who included the ‘Oriental’, by Granados and the ‘Nana’ and the ‘Asturiana’, by Falla .
He, who has played with the best orchestras and conductors, from Mehta to Dudamel and the ensembles of violinists like Anne-Sophie Mutter and Gidon Kremer, was clear about what he was looking for. “I wanted it to sound organic. That is why the order of the songs was very important and the sound, too,” he says, a perfectionist to the core. “My way of listening is not the same as that of the sound technician.
And I wanted it to sound exactly as I hear it,” he says. For this, he did not hesitate to dedicate time to all the details of the recording made with 13 microphones. “It took me a while to find the setting I was looking for. In the end, I even sat down at the mixer myself.”I wanted full control of the recording. “The process was very long but very beautiful. I took all the takes. It took me hours to listen to everything and select, which is not easy.”