Archive for category: Collaborative Blog

Israeli conductor and pianist David Greilsammer, recognized as one of the most daring and adventurous artists in the classical world, has recently been appointed as chief conductor of Filarmed, starting in August 2022. Get to know him.

“…the orchestra is like a family, like a great community in which we have to take care of each other.” David Greilsammer, chief conductor

Greilsammer committed to Filarmed's purpose

The Medellín Philharmonic Orchestra strengthens close relationships and aims to transform with music.

In 2021, the Orchestra won the Latin Grammy for Best Latin Music Album for Children for Tu Rockcito Filarmónico, and in 2022 it received the Classical:NEXT Innovation Award, in recognition of an Orchestra management model that strengthens close relationships , believes in music as an agent of social transformation and focuses its efforts on programs that bring symphonic music to all populations in the region, reaching unconventional spaces and serving vulnerable populations.

Thinking the orchestra for the future

Filarmed is currently in one of the most interesting moments in its history. In the next five years it will work on four fronts: first, to be a musical reference in Latin America, to be recognized as one of the most important orchestras in the region and even worldwide. Second, to be a bold and innovative organization, which can produce captivating experiences with versatile musicians; that beyond playing an instrument well, they work with others and with other artistic disciplines. Third, to be an orchestra rooted in and committed to all types of populations in diverse territories, putting its capabilities at the service of social transformation, using music to improve the lives of all, and finally being a sustainable orchestra financially, organizationally and the environmental.

What does it mean to you to be the principal conductor of the Medellín Philharmonic Orchestra?

David Greilsammer: “First, I am honored and proud to become the music director and principal conductor of such an extraordinary orchestra, in a city I love so much. Colombia – and especially Medellín – have a very special place in my heart, and since I came for the first time a few years ago, I have fallen in love with the people, the traditions, the hospitality, the generosity, the music, the dancing, the food and nature. Medellín and the Antioquia region are so beautiful and have a rich and fascinating history, so it feels very special to be part of such a powerful cultural heritage. In my opinion, the Medellín Philharmonic Orchestra is already one of the best orchestras in Latin America, with a unique artistic identity and a fabulous group of musicians who are dedicated to bringing joy and beauty to their audiences. “I can’t wait to begin this extraordinary journey.”

How do you want Filarmed to be recognized worldwide?

DG: “In the coming years we will work intensely on the development of the orchestra's sound, its identity, its virtuosity, its musical ideas, its artistic adventures. I would like Filarmed to become a leader in the orchestral world, combining its musical excellence, its originality, its Colombian and Latin American traditions, and its very warm human spirit, to be able to offer spectators unforgettable and exciting concerts. that will have a unique impact on their lives.”

What will be the artistic plan during your tenure as chief director of Filarmed?

DG: “As soon as my term begins, together with the musicians and the team, we will begin to work intensively on a variety of artistic aspects: our sound, our style, our musical ideas, our rhythmic power and repertoire. There are many types of repertoire that I would love to develop with the orchestra, such as the baroque and also the music of the 20th and 21st centuries, which are so important. And, of course, we will continue to explore the classical and romantic repertoire, but my goal is also to offer a new point of view to these famous masterpieces: a fresh and original interpretation that will bring more excitement and wildness to our performances. And, of course, I hope to develop our educational and social programs, which are so important!”

Why should the Medellín Philharmonic Orchestra focus on developing and strengthening the educational and social programs it currently carries out in various sectors of the community?

DG: “One of the most important missions that all orchestras have is to bring music to more people, everywhere, even to those who do not have the opportunity or the possibility to go to concerts. If we want classical music to be alive in the coming decades, we have to open it up to more communities, and especially to the young generation. This is perhaps our most important mission: to share classical music with humans in all parts of society and to ensure that all people have access to the highest quality music. Filarmed has been doing amazing work in recent years with children and I will be very happy to be part of this activity. I hope to work with my colleagues in the orchestra so that we can continue building new social programs and educational projects, not only in Medellín, but in many areas of Antioquia and Colombia!”

Why do you think music is an agent of social transformation?

DG: “Music is the most universal language we have in the world. Music lives inside our bodies, inside our hearts, inside our souls. Music has the power to change people's lives and I am convinced that it has the ability to reduce violence and injustice. Music, arts and culture are the best response to intolerance, racism and hate. The more people play musical instruments, dance and sing, the better our world will be. That is why orchestras must be strong leaders in our society.”

What are the lessons that music has taught you along this path as a performer and director?

DG: “In my journey as an artist I have learned how much power music can have and how much it can change the destiny of humans. Beyond its beauty, music also brings hope to people's lives and teaches you to be generous, enthusiastic, bold and humble. As a conductor, I have the opportunity to work with a community of musicians, as part of a group. It is a great privilege to be part of a collective and create projects in collaboration with many wonderful musicians.”

How do you think the interest of the next generations in classical music can be achieved?

DG: “I think that the musical programs and projects presented by orchestras and ensembles have to be much more exciting, bold, modern, wild and original. Many orchestras in the world still present only programs that are extremely old and traditional, and this is a big problem. We need to build projects that excite the public, and this can be achieved by creating encounters with other styles of music and with other art forms. Classical music needs to be inspired by other artistic disciplines and other musical worlds, such as jazz, rock or folk music, and I am glad that Filarmed is already doing so many projects in this direction! And in the coming years, of course, we will continue to develop these special and original projects, because they have the ability to attract the attention of new audiences who have never been to a classical music concert in their lives.”

The theme of the 2022 Season is diversity, why is it so important to you?

DG: “Our world is changing very quickly, and in recent years there have been great transformations in our society. We have seen the significant impact of the #MeToo movement, the Black Lives Matter movement, the LGBTQ movement, the environmental movement, as well as many other important social developments. These movements are so important because they have made us more aware of the need for diversity in our lives. If we want to have more equality, justice and tolerance in our society, we have to continue fighting for more diversity, every day. We cannot allow inequality to be a part of our world anymore. And I believe that the cultural world must be part of this fight. “I am very happy and proud to have this as our theme for 2022.”

After several experiences with our Orchestra, how do you define the public of our city?

DG: “I love the public in Medellín, because they are so warm, enthusiastic and curious! The auditors of this city are always open to discovering new sounds, new visions, new projects and new proposals. It is a very adventurous audience that wants to be inspired and is always happy to embark on surprising and unexpected journeys. But, above all, it is an audience in love with music, all kinds of music! Wherever you go in Medellín, you hear music: salsa, reggaeton, classical, jazz, tango... the people of the city breathe music, it is part of their lives and bodies, every minute of the day and night, I love it, that !”

1996

“A very exotic instrument will arrive in the city that almost no one knows about” Professor Wilson Berrío said to his students at the Belén Rincón Music School, located in Commune 16 of Medellín. “It is very difficult to play, it requires a lot of study and effort”, the teacher continued explaining, to whom some young students did not pay attention or a good face.

Juan Fernando Muñoz, was nine years old and although he had a clarinet, he wanted to take on that challenge that the teacher insisted on. But Juan was not the only one, one of his companions looked attentively at Wilson, surely she had also been captivated by the instrument he boasted about. The teacher, not knowing what to do, told his two students that they should assign it to luck, and the best option was a heads and tails.

“We were traveling on a bus, and the teacher threw the coin into his hands. Surprise! When the driver brakes, the coin falls to the ground and runs through the entire vehicle; All of our classmates ran after her to see who had won the instrument…and in the end I won.”, recalls with emotion Juan Fernando, who has been a member of Filarmed since 2016, as assistant principal oboe and English horn.

Juan Fernando grew up in music, and like almost all the instrumentalists in the city, he began his studies at the Medellín Music School Network. At first he wanted saxophone, but the places had already been sold out and consequently he was assigned the clarinet, although he practiced it with a lot of love, luck and life destined him for the oboe. The oboe is a musical instrument of the woodwind family, with a conical bore, whose sound is emitted through the vibration of a double reed that acts as a conduit for the air blow. Its timbre is characterized by a penetrating, mordant and somewhat nasal sound, sweet, very expressive.

More music and oboe reeds

“And it really was difficult. At that time it was a very rare instrument, there were only two in the city, almost no one knew it, it always caused curiosity in the ranks.", assures Juan Fernando who, from the first day he used the instrument, his hands adapted perfectly to it, even better than with the clarinet.

The instrumentalist says that the oboe is similar to the clarinet, but they differ technically, especially because of the reed. The clarinet uses a single reed mouthpiece, while the oboe uses a double reed to generate vibration and produce sound.

Professional oboists create their own reeds to their size and preference. In addition, they allow the musician to control factors such as sound and tuning with the instrument.

The most complex thing is getting used to the reed, it does not require as much air as, for example, happens with the tuba; The oboe depends on the pressure and speed of the air, even the temperature, another of the complexities of the instrument is getting its reeds. It is said that an oboe reed costs up to six times more than a clarinet reed. “And then I realized that oboists are the ones who make their own reeds. Currently I produce them myself, both for myself and for my students with supplies imported from Germany and France.”, explains Juan Fernando, who has the necessary machinery to build a rod and it can take up to an hour and a half to manufacture.

Juan Fernando currently lives in the San Pablo neighborhood of Medellín, he is 34 years old. For him, when it comes to humanizing the oboe, I would say that he is a temperamental person, and somewhat bipolar, who can bring out his most beautiful feelings, but from one moment to the next he can be rough and strong in character. He has a kind, happy and expressive personality, he is even quite elegant. Perhaps some of these characteristics are a reflection of the personality of the musician in this story. He says that he has had four oboes, he currently owns one that Filarmed acquired.

“In addition to exciting, the role of music is to unite. Making music is like submerging yourself in water, it is a different sensation, it is belonging to a new world...What is captured in the score goes straight to my heart; That is, if I have to express sadness, joy or another state of mind, I try to catch all this so I can transmit it with music. If you don't take ownership of what you want to express, the audience won't understand it.". Juan Fernando Muñoz, oboist

Musician or lawyer?

Before undertaking his university studies, Juan Fernando wanted to have an introduction to the conservatory; Thanks to the Network he was sent to study in Venezuela for a couple of months. Upon his return to Colombia, he began his undergraduate studies at the EAFIT University and the University of Antioquia under the teaching of Paul Henry Fishler.

At 16 years old he had a career crisis, he didn't know if it was really what he wanted, he decided to take a break and left university. “I spent a couple of years finding myself again, looking to see if it was truly what I wanted; but I always had the oboe in my heart, I left studying music and started studying law, I wanted to be a criminal lawyer.”

But his passion for the art world helped him find his true calling, returning to music! Since then, he has been a guest oboist of the UNAB Symphony Orchestra, and was also a member of the Colombian Youth Philharmonic Orchestra, participating in its tour in Brazil under the tutorship of Frances Colón and the direction of Andrés Orozco-Estrada. Between 2013 and 2015 he was principal oboist of the Symphonic Band of the University of Antioquia. He has played as a soloist with the EAFIT Universidad Symphonic Orchestras, the Symphonic Band of the University of Antioquia and Filarmed. In addition, he is an oboe professor at Iberacademy and EAFIT University.

Enrich Filarmed's life

“Music allows you to get closer to many places and people. On the Internet I had my first international exposure in the first tours of Spain and Italy, which opened new doors for me. There I understood that it is not the one who studies the most, but the one who studies intelligently…”, emphasizes Juan Fernando.

In 2013 he won the position of second oboe and English horn of the EAFIT University Symphony Orchestra, where he remained until 2016, the year in which he won the position of assistant principal oboe and English horn of Filarmed.

In 2018 he began studies at the National Academy of Oboes and in 2019 he completed his master's studies at the Conservatori Liceu in Barcelona under the tutorship of Cesar Altur de los Mozos and Daniel Fuster.

There he shared experiences with the members of the Gran Teatro del Liceu Symphony Orchestra; even some performances with several colleagues who had incredible talent and from whom he learned a lot musically. “I arrived there with a rod of a style and color that I liked, but I remember a very talented colleague who opened the world to other possibilities, she suggested a new style to me. Additionally, I had the opportunity to play with several orchestras. “I won a competition that allowed me to work with the Vallés Symphony Orchestra,” remembers the musician.

For Juan Fernando, performing the traditional music of a territory is an experience “incredible and enriching”, allows you to generate new colors, sensations, face new technical challenges, you even played flamenco and double steps. He also remembers with emotion when he was a guest musician of the Santa Cecilia Classical Orchestra, in which he played oratorical passion Passion according to Saint Matthew by JS Bach, written to be performed by soloists, choirs and double orchestra, for more than two and a half hours! It is the composer's most extensive work.

“My goal was to acquire all that experience in Europe and perfect my technique to bring all that learning back to Filarmed”, expresses the oboist.

After many years of working to share a headquarters where the musicians of the orchestra, the administrative team and the teachers of our educational line are gathered, today this desire for a headquarters for Filarmed becomes a reality. The orchestra will inhabit the old Palermo School in El Poblado with its offices, sheet music library and rehearsal space.

In this space we will continue to advance our purpose of transforming the city with music; with the additional value of sharing this place with other entities with whom we hope to join to energize the sector and strengthen the cultural ecosystem. 

The Medellín Philharmonic Orchestra, the Medellín Metropolitan Ballet and Cantoalegre join forces to re-signify this space, which we are sure will be one of the most representative urban symbols of our city. In this space, the Colombian Real Estate Fund will carry out an urban development that will continue to transform Medellín: a place for adults and children to live and vibrate in unison with artists, nature and spaces designed for collective enjoyment.

Culture is one of the main axes of transformation of territories. Through it, wills are connected, harmonious and safe communities are built, and the economy is energized.

“Our orchestra is a family of about one hundred members that has developed for thirty-eight years without having a shared space. Starting today we can say that we have a house, a case for the life of an organization that firmly believes in its transformative work. It is a privilege to be part of a project with a shared object, which combines expressions such as future, renewal, culture and transformation.” María Catalina Prieto, executive director

Where are you?

Filarmed's offices and rehearsal room will be in Palermo Cultural, a project located in the former headquarters of the Palermo School (Cra. 42 No. 8 – 00).

In this space the orchestra will work together with the Ballet and Cantoalegre to deliver memorable experiences with unique staging, harmonious musical compositions and inspiring voices that invite you to dream of a more united city.

“This project will allow co-creation, teamwork and construction of even larger projects than we can imagine today.” Santiago Uribe López, president of the Colombia Real Estate Fund.

We want to thank Ruta N in Perpetuo Socorro and the Teatro Metropolitano where our offices were for several years. And to the Oviedo Shopping Center where we carried out our rehearsals until recently. Soon we will be at this headquarters to continue building this story together and build the city we dream of, and we will continue to circulate and do concerts in Oviedo, in the Theater and throughout the city and the Department.

Welcome to our new headquarters!

Soon we will present the schedule of open rehearsals for the entire public.
 

An entertaining opera in Spanish

Come, eat and behold, your graces!
Be seated…

As Don Quixote gallops along the trail on his steed Rocinante, he finds puppet theater run by puppeteer Master Pedro and his helper Trujamán…

Join Don Quixote in this quest and see how the story ends

“We will find a work divided in three contexts. First, there's the story as told by the singers, which is that of Don Quixote finding the traveling puppet show. Then there's the context of the puppet theater itself, where a combination of animation and two-dimensional puppets tells the story of Melisendra, who is held captive. Lastly, we have the orchestra, which narrates and uses music to depict the actions that take place both in the puppet theater and in real life.” explains driver Alejandro Roca.

Manuel de Falla's Master Pedro's Puppet Show is the first opera production by Orquesta Filarmónica de Medellín, and it's the first time it will be performed in Colombia. The production will arrive to the stage under the baton of maestro Alejandro Roca and scenic direction of Pedro Salazar, with tenor Christian Correa (Maese Pedro), mezzo soprano Laura Mosquera (Trujamán), baritone Nelson Sierra (Don Quijote) and setenographer Pablo Castillo.

Master Pedro's Puppet Show is presented by the Filarmed-Comfama partnership, with support from the Embassy of Spain in Colombia, and broadcast from the Teatro Universidad de Medellín.

The work

Master Pedro's Puppet Theater is an opera in Spanish, written by Manuel de Falla for three singers and puppets. Its libretto was inspired by a scene from Don Quixote. The work was written to be performed at the private concerts and private performances held by the princess of Polignac, to whom the work is dedicated along with Miguel de Cervantes, author of Don Quixote.

This work gathers scenes from chapters XXV and XXVI of the second part of Don Quixote, where the puppetmaster, Maese Pedro, appears and tells the story of Melisendra, the wife of Don Gaiferos, who was being held captive by king Marsilio. When she is rescued by her husband, they are chased by the moors, and Don Quixote, confusing reality and imagination, intervenes to save the fugitive puppets.

Opera, music and puppets

Manuel de Falla considered puppet theater to be the ideal medium to stage his innovative ideas because of its popular appeal and its comical aspects, and above all, for its artificial characters, which offered expressive possibilities beyond human representation. “For many years, human beings have experienced the need to express themselves and represent the world through figures made of cardboard, wool or wood, in order to transcend reality in a ludic and figurative way. Using puppets and marionettes constitutes an artform as ancient as civilization itself, because they have been used to represent the most profound and superfluous aspects of individuals and society.” Folklore magazine

Scenographer Pablo Castillo, says he designed the scene and costumes in the style of 20th century Medellín. “The puppet theater is a representation of the now-gone Teatro Bolívar, which was demolished in 1954. The Bolivar was the main theater in Medellín and was the stage where many ballet and theater companies, and soloists performed. Beyond a journey to the past, this is a reflection on our present and future.” Pablo explains.

Who was really Maese Pedro?

He was a thief, a fugitive, one of Don Quixote's most puzzling characters. One more reason to approach this musical version of one of the most entertaining stories that Cervantes wrote in Don Quixote.

“Don Quixote lives in us, in our culture and Hispanic identity. We can even see these characters walking our streets. Further, it's a work in Spanish by Manuel De Falla, that proposes a unique and approachable musical universe. Pedro Salazar, stage director.

The cast

Christian Correa (Master Pedro)

• Second prize and an honorable mention to the best tenor at the XXII Concurso Internacional de Canto Lírico Ciudad de Trujillo, Perú (2019)
• First prize in the excellence category of the Bogotá Philharmonic Orchestra National Singing Competition (2019)
• Received a scholarship from Fundación Carolina to pursue his master's degree at the Conservatorio del Liceu in Barcelona.
• You have performed with Ópera de Colombia, Ópera Civil and Festival de Ópera al Parque, among others.

Nelson Sierra (Don Quixote of La Mancha)

• Graduated from the Universidad de Antioquia
• He had his Canadian debut at Opera Ontario, where he is a member of The Canadian Actors Equity Association. You have participated in productions like Il Barbiere di Siviglia, Carmen and La Traviata, among others.
• You have performed in concerts organized by the Embassy of Colombia in Nowrawy, Turkey, and Egypt.

Laura Mosquera (Trujamán) 

• Soloist with Hamburg Symphony, Colombia's National Symphony, Sinfónica EAFIT and Fundación Prolírica de Antioquia, among others.
• You have performed as soloist at Teatro Metropolitano and Belgium's Royal Library.
• You have played roles like Bradamante in Alcina and Margot in the zarzuela La Leyenda del Beso; and Mons in the recreation of baroque opera Le
• Retour des Plaisirs, staged by acclaimed director Guy van Waas, among others.

Alejandro Roca, musical director

• Une of the country's leading opera figures.
• You have conducted the production of Sorozábal's Black el clown, with Colombia's National Symphony (2015), Mozart's Bastien und Bastienne and Der Schauspieldirektor, de Mozart, with the National Opera, and the Bogota Symphony, Britten's Midsummer Night's Dream, with Bogota's Youth Philharmonic, Rossini's La Cambiale di Matrimonio, Roig's zarzuela Cecilia Valdés, and Bernstein's Candide, by Bernstein, among others.
• You have collaborated with conductors like Gustavo Dudamel, Rinaldo Alessandrini, Andrés Orozco-Estrada, Hilary Griffiths, Patrick Fournillier, and Miguel Roa.

“Maese Pedro's Puppet Theater is a great way to approach the opera for Hispanic audiences. Firstly, because of the language and the fact that it's only 30 minutes long. Also, because it's based on one of the episodes in Don Quixote, a pillar of Spanish language literature. “This entertaining performance is a fantastic way to connect with literature, opera and our language.” Alejandro Roca, driver.

Sunday, June 13th
11:00 am
La Tiquetera View

Tickets: $ 9.00 USD approx. (price subject to exchange rate)
Purchase your tickets at: https://latiquetera.com/evento/opera-infantil-el-retablo-de-maese-pedro