Promotional Brochure Cartagena Music Festival by Fundación Salvi

SYMBOL

AND SOUND JANUARY 6 - 16 , 2017

SYMBOL AND SOUND

Paris and French music of the early 1900s January 6 - 16, 2017

INTRODUCTION GENERAL DIRECTOR

The setting is Paris at the beginning of the 20th century and France is experiencing a lively and inspiring atmosphere. It's a time when scientific and material progress, artistic and cultural sensitivity, and civic education come together to produce original and concrete results that have led a nation to the height of its power. Paris is the beautiful capital, full of air, light and space, with its characteristic boulevards, shops and cafés. No other city can claim to be the center of such significant cultural processes and movements; from a musical point of view, Paris has it all. The most important events in European music have found it to be the perfect setting. This is the case of the premiere of Debussy's Pelléas and Mélisande (1902), of Strauss's Salomé (1907), of Mahler's Symphony No. 2 (1910), of Ravel's premiere of L'heure espag-

nole [The Spanish Hour], and Stravinsky's The Rite of Spring (1913), as well as the Russian Ballet seasons of Diaghilev. There are countless music institutions: Théâtre National de l'Opéra, Opéra-Comique, La Société des Concerts du Conservatoire, Concerts Colonne, Concerts Lamoureux, the Conservatoire, Société Nationale de Musique and Schola Cantorum. Newspapers and the press in general actively cover musical life in the city. From Le Temps to Le Figaro, from Le Journal to Le Matin, dedicate a column to music. Moreover, Le Ménestrel, Le Courrier Musical, Le Monde Musical, Musica, La Revue Musicale, and Le Mercure Musical are all magazines that specialize on the subject matter. Salons, cafés, and libraries often become the stage of different concerts, where music coexists with

other art forms: poetry, painting, theater, and literature. In such a creative context, French music finds the ideal conditions to embark on innovative and original excursions that would eventually bring about the evolution of the musical language of the 20th century. We have mentioned Debussy and Ravel, two pillars of the time, but we cannot forget Roussel, Chasson, Caplet, Franck, Satie, Hann, Saint-Saëns, among others. Each of them, with their own poetry and language, contributed to make this a unique moment in history. The 11th edition of the Cartagena International Music Festival pays homage to this exceptional time in French cultural music history by following its tradition and preparing programs that highlight the wealth of the period, as well as inviting artists that specialize in the performance of said repertoire. This is the

case of Les Siècles, under François-Xavier Roth, of Jean-Yves Thibaudet, Gautier Capuçon, Jean-Efflam Bavouzet, Juliette Hurel, Emmanuel Ceysson, Quatuor Voce, and Richard Galliano, among others. The same prestige is afforded to the Latin American series, which focuses on the influence of French music in some of its tendencies. The interpreters of this series include Cuarteto Latinoamericano, Quinteto Villa-Lobos, Renato Borghetti, and many others. This will be our way of contributing to the bilateral cooperation agenda known as the "Year Colombia-France Year 2017." We would especially like to acknowledge the efforts of the French Institute and the Colombian Ministry of Culture who have helped us make this program a reality, and we look forward to a successful outcome for the important

bilateral initiative that has begun. I'd like to say a few words on Mozart's “The Marriage of Figaro”, a special project featured on this edition. This is an ambitious joint production with the Spoleto Festival dei 2Mondi (Italy) that brings together Italian and Colombian artists in a refined and grand performance. The staging, costumes, and decoration used during the first mise en scène of this Opera in June 2016 in Spoleto will travel from Italy to Cartagena. All of this forms part of a great endeavor that we hope will be enjoyed by Colombian and foreign audiences alike, as well as create a positive impact on the Festival's international projection.

Serie FRIDAY / JANUARY 6th / 7:00 p.m./ SATURDAY / JANUARY 7th / 11:00 a.m.

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"THE FRENCH WAY" Opening Concert

The lives of Debussy and Ravel on the one hand and the life of Rameau on the other are separated by almost two centuries, yet there is much in common among these quintessential masters of French: their devotion to dance, harmonious coloring, attraction to exotic cultures, melodious strength, instinctive musical expression and a search for personal and unique aesthetics in French music. During his time, Rameau had to deal with a predominant Italian opera, while Debussy and Ravel, who found in the Masters of the past an opening through which they could develop their art, raised a torch against the supremacy of German aesthetics. This concert, organized by true specialists in the subject matter, must be understood as a manifesto of French music during a two-century transition.

JEAN-EFFLAM BAVOUZET piano FRANÇOIS-XAVIER ROTH conductor LES SIÈCLES Claude Debussy Première série, Prélude a l’après-midi d’un Faune Jean-Philippe Rameau Les Indes galantes, suite from the opéra-ballet Maurice Ravel Concert in G Major

Serie SATURDAY / JANUARY 7th / 7:00 p.m.

SATIE AND THE Lightness of spirit, irreverence, a care-free indulgence in bohemian life, and spicy or sentimental songs are some of the codes that light up the brilliant universe that is the cafĂŠ-chantant or the cafĂŠ-concert, an institution that flourished in Paris during the optimistic times of the Belle Ă&#x2030;poque. Furthermore, the festive, daring, rebellious and amorous attitude that characterized music during this time finds its soul mate in the world of the operetta, which threw well-aimed darts against the vices of a decadent society, amidst humoristic outbursts. It is within these suggestive scenarios that the music included in this program comes to life.

JENNY DAVIET soprano ALPHONSE CEMIN piano Oscar Straus Trois valses Francis Poulenc Les chemins de l’amour, Fêtes Galantes, Deux poèmes de Louis Aragon Erik Satie La diva de l’Empire, Je te veux, Chez le Docteur, “Tedrement”-valse chantée, Poudre d’Or Léo Delibes Les filles de Cadix Georges Bizet La coccinelle Jacques Offenbach La Périchole, Orphée aux enfers Reynaldo Hahn Une revue

Serie SUNDAY / JANUARY 8th / 7:00 p.m.

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ROMANTIC

Heritage

FRANÇOIS-MARIE DRIEUX violin FRANÇOIS-XAVIER ROTH conductor LES SIÈCLES Jules Massenet Le Cid, suite from the ballet Ernest Chausson Poème pour violon et orchestre, Op. 25 Emmanuel Chabrier Habanera Claude Debussy Première suite

The dying tree of French Romanticism was still producing delicious fruit in the final years of the 19th century in a sphere of creativity nurtured by composers at different stages of their musical evolution. Composers such as Chabrier, Massenet, and Chausson had found their own style, while Debussy had yet to finish his studies at the Paris Conservatory and was still trying to find an original voice stemming from diverse influences. It was then that he composed an exploratory work hinting at the

final breath of the last romantics and the sway of many of his accomplished colleagues. This was none other than his first Suite for Orchestra, a work worth mentioning because it was recently rescued from falling into oblivion and will be performed for the first time in America during this festival. It will be conducted by François-Xavier Roth and performed by Les Siècles, the same orchestra that in 2012 showed this work to the world for the first time in Paris.

Serie MONDAY / JANUARY 9th / 7:00 p.m.

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BEYOND

Impressionism

One of the particular aspect of French music is its atavistic taste for dance, a trait that can be traced back to remote times and was consolidated in the court of Louis XIV, when the main characteristics of ballet were defined. During the transition from the 19th to the 20th century, when France strove to find new forms of expression for national music, dance and ballet came to the rescue as sources of inspiration for several authors

who shaped rhythm at their will and donned it with new harmonic garments. Another characteristic of this concert is that it shows a development via different innovators of the French tradition; this is why the inclusion of Pierre Boulez, who died on January 5, 2016 and was one of the bastions of contemporary music, becomes pertinent.

JULIETTE HUREL flute EMMANUEL CEYSSON harp FRANÇOIS-XAVIER ROTH conductor LES SIÈCLES Erik Satie Tres Gymnopedias Maurice Ravel Le Tombeau de Couperin Pierre Boulez Mémoriale ...ExplosanteFixe...Originel, pour flûte solo et huit instrumentistes Claude Debussy Danses pour harpe et orchestre Albert Roussel Le Festin de l'araignée Gabriel Fauré Pelléas et Mélisande

SUNDAY / JANUARY 8th / 11:00 a.m.

DEBUSSY

and music for piano

JEAN-EFFLAM BAVOUZET piano Claude Debussy Ballade (slave), Nocturne, Tarantelle Styrienne (danse), Clair de lune, La Fille aux cheveux de lin, La cathédrale engloutie, Ce qu'a vu le vent d'ouest, Estampes, Arabesque n.º 1, L’isle joyeuse

At the end of the 19th century there was a strongly felt influence of German tradition in French music. It was at this point that the visionary Claude Debussy appeared in the music scene to open unexplored paths and create a national musical form of expression that would have deep repercussions at the vanguard of the 20th century. His creative process and findings were captured in the rich repertoire for piano, which shows the scope of influences involved in forging his art: impressionist painting, symbolist poets with their elusive yet suggestive language, Russian music of the 19th century, complicit winks at past French composers, and a fascination for the musical world that opened up to him when he discovered all the possibilities that traditional Javanese gamelan music could offer.

SUNDAY / JANUARY 8th / 4:00 p.m.

DEBUSSY

and chamber music Although Debussy was clearly a composer that found new roads for his music, one must not forget that he also remained faithful to certain laws of classical tradition. This dual nature of his art is exemplified in his brief chamber music repertoire. In his Syrinx for solo flute and his Quartet we find a rebel composer, one who sires an evanescent aesthetic full of timbres, changing rhythms and freedom of form. In his Sonata for flute, viola and harp, written in the final stage of his life, we find a Debussy concerned with constructing simple and conventional structures, that nevertheless show unequivocal traces of his identity.

JULIETTE HUREL flute EMMANUEL CEYSSON harp QUATUOR VOCE Claude Debussy String quartet in G Minor, Op. 10, Syrinx, La Fille aux cheveux de lin, Arabesque n.ยบ 1, Sonata for flute, viola and harp

MONDAY / JANUARY 9th / 11:00 a.m.

MUSICAL CONVERSATION:

"words and music" GIORGIO FERRARA artistic director of the Spoleto Festival Dei 2Mondi EVA MEI soprano JENNY DAVIET soprano GĂ&#x2030;RARD KORSTEN conductor PIEDAD BONNETT guest moderator

Many songs that became popular during the golden age of music owe a great part of their success to their lyrics: true poems imbued with such emotion that moved composers to turn them into music. In this conversation, singers Jenny Daviet and Eva Mei, conductor GĂŠrard Korsten, and the artistic director of the Spoleto Festival Dei 2Mondi, Giorgio Ferrara will look into arias from Italian operas and French songs. Their link to poetry is definitive. The connection between words and music will become the main axis of a pleasant conversation hosted by Piedad Bonnett, currently one of Colombia's most important poets.

MONDAY / JANUARY 9th / 8:00 p.m.

POETRY

and music in the French song of the 1900s

What do French poets Victor Hugo, Charles Baudelaire, and Paul Verlaine have in common? All of them had verses turned into music by some of the Francis Poulenc Mélancolie, Métamorgreatest composers in music history. This evening is phose, FP 121 both musical and literary. Composers such as Fauré Charles Gounod Serenata or Bizet were enchanted by several of these poems Gabriel Fauré Quatre Poésies de Victor Hugo, Rêve d’amour, Les Roses d'Ispahan, wanted to enrich them through their musical notes. Claire de lune, La bonne chanson Today, these songs have helped spread poetry, while Henri Duparc Chanson triste, Extase, at the same time giving us a clear image of what the Serenade Florentine aesthetic preferences, images, and most recurring Jacques Offenbach Les Contes feelings were a century ago. d’Hoffman JENNY DAVIET soprano ALPHONSE CEMIN piano

Georges Bizet Adieux de l'hôtesse arabe Gustave Charpentier Depuis le jour

TUESDAY / JANUARY 10th / 11:00 a.m.

RAVEL

and music for piano

BERTRAND CHAMAYOU piano Maurice Ravel Jeux dâ&#x20AC;&#x2122;eau, Pavane pour une infante dĂŠfunte, Sonatine, Valses nobles et sentimentales, Le tombeau de Couperin

Maurice Ravel was an essential figure at the forefront of French music during the first decades of the 20th century. His works reveal that he was a meticulous composer who obsessively chased technical perfection. In the piano compositions of this recital we found the musician who knew how to be modern without turning his back on the expressive forms and characteristics of the past. If the audacity of Jeux d'Eau, with its incursions into the superimposition of two keys and the use of scales that were foreign to western tradition, single him out as a revolutionary in piano composition, the remaining works of the program show him as a "neoclassicist" with modern sounds and held-back emotions, a distinctive sigil of his personality.

Rue de Paris, temps de pluie,1877 Gustave Caillebotte (1848 - 1894) Image of public domain

TUESDAY / JANUARY 10th / 4:00 p.m.

RAVEL

and chamber music Ever since his early years as a student, Ravel showed two characteristics ever present in his music. First, from his reading of poetry he absorbed a taste for the aesthetics of the decadent movement, with its unreal and dreamed universes and a search for formal perfection, evident aspects in several passages of his chamber music repertoire. Second, his mother, who was originally from the French Basque Country, passed on to him a genuine love for Spain, which became a source of inspiration frequently reaped. He even turned to this source for Iberian rhythms and harmonies to create one of his most notable works: The Trio for piano, violin, and cello.

JULIETTE HUREL flute EMMANUEL CEYSSON harp PAOLO SERGIO SANTOS clarinet FRANÃ&#x2021;OIS DUMONT piano QUATUOR VOCE Maurice Ravel String quartet in F Major, Trio for piano, violin and cello in A Minor, Introduction and allegro for harp, flute, clarinet and string quartet

TUESDAY / JANUARY 10th / 7:00 p.m.

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LA OPÉRAThe French Opéra-comique began to develop in the first decades of the 18th century as a popular and light alternative to the traditional serious operas. In order to promote this genre, the Opéra-Comique Theater was soon founded in Paris. The theater has kept its name even after three centuries have passed, although its repertoire now includes stories of a more tragic tone. During the 19th century it underwent a period of great splendor thanks to composers

such as Berlioz, Bizet, and Massenet, who presented their shows before a middle-class audience who would go to these shows as a family, with the hope of seeing emotional dramas, without going past the limits of decency and good manners. Fortunately, the expectations of the audience were not always met and on those occasions the hall would become the setting of conflicts and controversy. Such was the case of the first showings of Carmen.

JENNY DAVIET soprano LUCIENNE RENAUDIN-VARY trumpet JULIETTE HUREL flute LES SIÈCLES FRANÇOIS-XAVIER ROTH conductor Emmanuel Chabrier España, Menuet pompeux, Habanera, Air de la rose in l’Étoile Léo Delibes Les filles de Cadiz Georges Bizet Carmen Camille Saint-Saëns Odelette, Romance Hector Berlioz Beatrice et Benedict Francis Poulenc Mamelles de Tiresiass Jacques Offenbach Les contes d’Hoffman

THURSDAY / JANUARY 12th / 11:00 a.m.

IT IS NOT ALL DEBUSSY AND RAVEL:

French music for piano during the early 1900s FRANÇOIS DUMONT piano Erik Satie Trois Gymnopédies Albert Roussel Sonatine, Op. 16 Reynaldo Hahn Premières valses Emmanuel Chabrier Habanera, Mauresque, Scherzo - Valse Germaine Tailleferre Fandango, Romance Vincent d’Indy Poème des Montagnes, Op. 15 Paul Dukas La plainte au loin du faune

An important part of French culture originated in the so-called salons. Literary gatherings, meetings of painters, and all sorts of rendez-vous (to employ the term they used) were accompanied by music, often composed for piano. Two generations of composers poured into this instrument the most sublime inspiration resulting in imaginative formats such as the sonatina, waltz, or romance. This recital explores the expressive possibilities of the piano and the poetic reach of some of the most important musicians in France during the late 19th and early 20th centuries.

SO THURSDAY / JANUARY 12th / 4:00 p.m.

TRENDS

in French chamber music of the early1900s FRANÇOIS DUMONT piano QUINTETO VILLA-LOBOS Francis Poulenc Sextet for wind quintet and piano Camille Saint-Saëns Romance for horn and piano, Op. 37 Darius Milhaud Suite d’Aprés Corrette, Op. 161b André Caplet Quintet for winds and piano Albert Roussel Divertisiment, Op. 6 for winds and piano

Wind instruments such as the flute, the clarinet, the oboe, the horn, and the bassoon will be the main characters in this gathering. During the 19th and 20th centuries, French composers were brought closer to these sounds by a desire to explore, albeit without leaving behind models such as the eighteenth-century serenade. The results were varied, from euphoria to reverie. But above all, the works that will be heard in this session have the mysterious charm of wind instruments. In the words of a musicologist: "producing sound by using air itself is making music out of the archetype of life." .

SATURDAY / JANUARY 14th / 11:00 a.m.

YOUNG

talent concert

SHARON AVELLA viola JOSĂ&#x2030; DAVID SIERRA cello PABLO MARTĂ?NEZ tenor ANNA OLIVIA AMAYA HOFFMANN cello

In the beautiful chapel of the Sofitel Legend Santa Clara hotel, it is a tradition to offer a recital that brings together the most remarkable young Colombian interpreters. Since 2009, the Cartagena International Music Festival has had its doors wide open so that these restlessly active interpreters may not only show their hard work based on discipline and a love for music, but also to experience the vertigo and emotion of a concert of this Festival. In the past 10 years, instrumentalists and singers have showcased their skill on the stage, proving that Colombia is a hub for talented soloists under the age of 25. This edition will also feature the new group selected as Young Talents of the Festival, a public contest carried out every year by the Salvi Foundation.

WEDNESDAY / JANUARY 11th / 11:00 a.m.

GREAT FRENCH

interpreters beyond France

JEAN-YVES THIBAUDET piano GAUTIER CAPUÇON cello Dmitri Shostakóvich Sonata for cello and piano Gabriel Fauré Élégie, Op. 24 Jules Massenet Méditación (Thaïs)

Pianist Jean-Yves Thibaudet and cellist Gautier Capuçon are two globally-acclaimed interpreters of the classical music scene. Each with their respective instrument, amidst broad horizons, has taken important steps towards spreading the French repertoire, as evidenced by their concert tours and recordings with prestigious labels. They are good friends and every once in a while they will come together in the intimate sphere of chamber music to imbue it with their technical and expressive talents. Cartagena will serve as a witness to one of these joyous gatherings.

WEDNESDAY / JANUARY 11th / 5:00 p.m.

GREAT FRENCH

interpreters beyond France

JEAN-YVES THIBAUDET piano GAUTIER CAPUÇON cello Claude Debussy Sonata for cello and piano Camille Saint-Saëns Le carnaval des animaux Johannes Brahms Sonata n.º 1 for cello and piano in E Minor, Op. 38

During his final years, Debussy was planning on composing a cycle of six sonatas for different instruments, but he was only able to finish three of them. The first was the Sonata for cello and piano (1915), which became a benchmark for the genre in the 20th century. Despite its brevity, this work defies interpreters and testifies to the composer's predilection for the use of scales alien to western tradition and for French music of the 18th century.

FRIDAY / JANUARY 13th / 11:00 a.m.

FRENCH MUSIC LOOKED

at from the New World

MIDORI violin IEVA JOKUBAVICIUTE piano Works by Paul Hindemith, Johannes Brahms, Franz Schubert y Maurice Ravel

Since her highly acclaimed debut at the age of 11 with the New York Philharmonic, under the baton of Zubin Mehta, Midori Goto has become one of the greatest violinists of our time. Cartagena will join her with the brilliant Lithuanian pianist Ieva Jokubaviciute who has performed at New York's Carnegie Hall as well as with the Chicago Symphony Orchestra. They will both offer an attractive program featuring Ravel's Sonata for violin and piano, a work full of subtleties, technical challenges, and complicit winks to jazz and blues by the French maestro.

THURSDAY / JANUARY 12th / 7:00 p.m.

LA BELLE LUCIENNE RENAUDIN-VARY trumpet FRANÇOIS DUMONT piano MARIO CRIALES double bass CUARTETO LATINOAMERICANO Reynaldo Hahn Sérénade, String quartet n.º 2 in F Major Astor Piazzolla Paris Erik Satie Trois Gymnopédies Camille Saint-Saëns S eptet in E flat Major for trumpet, piano and string quintet

In Western European countries, the time immediately preceding WWI was characterized by the optimism and prosperity of society and this, of course, was reflected in its music. Paris was the main hub. Songs and chamber pieces had a "semi-serious" tone (to use the term employed by many critics). This means that despite being conscientiously written, they moved away from complexity. This recital includes a fair sample of the music of this belle époque by composers such as Erik Satie and Camille Saint-Saëns as well as a fervid remembrance of the Paris environment by the Argentinian composer, Astor Piazzolla.

FRIDAY / JANUARY 13th / 4:00 p.m.

CANTAS

y Coplas

COLECTIVO COLOMBIA JORGE VELOSA

Cantas y Coplas is a new adventure from the musical project known as La Casa that takes the Spanish romancero and adds to it the dĂŠcimas and broken cadences of the Andes highlands and Caribbean plains. Coplas, healing songs that add a sense of harmony to life, are born out of narrative and poetry. They appear as eager and revealing new rhythms that shape our home (our Casa) and are inspired by the pastoral trace of our mountains, of the climate, of the land. Wood found along an ancient path becomes tempered instruments in the heat of the new surrounding: tiples, cuatros, and bandolas that evoke bandurrias and guitars from the Old Continent. Whether vallenato or guabina, the musical journey combines the copla, juglarĂa and cantas.

PC Puerto de Cartagena TV

WEDNESDAY / JANUARY 11th / 10:00 p.m.

TOWARDS PARIS

from Latin America to the Old World

One of the most highly anticipated moments of the Festival each year is the concert set in the Port of Cartagena. The magic of the ocean and the multi-cultural spirit inherent in all ports becomes part of the experience. On this occasion, the voyages are those traced from the main cities in America to Paris, long considered by artists to be a place of mandatory pilgrimage. The main instrument featured in these recreations will be the accordion,

played with astounding versatility by Renato Borghetti and Vincent Peirani, which has held a prominent position in the music of Paris. In addition to the above, and in keeping with tradition, young musicians from Cartagena that make up the Orchestral Social Project will participate in this concert under the baton of a Colombian guest conductor and in that setting, under the stars, they will perform a new work written exclusively for them.

RENATO BORGHETTI QUARTET VINCENT PEIRANI TRIO

Nuevo NM Mundo

TUESDAY / JANUARY 10th / 7:00 p.m.

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THE MUSETTE

and French music of the early1900s Before Richard Galliano appeared on the music scene, the accordion in jazz was not only an unusual instrument, but it also had a bad reputation. Following Astor Piazzolla's advice, Galliano figured out how to adapt old French rhythms with grace and ingenuity. This is how in 1993 he became known through the album New Musette, which alluded to his musical synthesis. Alongside European jazz figures such as Aldo Romano and Pierre Michelot, Galliano managed to raise the status of the accordion to a position that had been lost since the time of Django Reinhardt. His great contribution to today's jazz was to shift the perception of the accordion as an instrument at the service of improvisation, blues, tango, and chamber music. We will be able to see this at the concert, which will also feature the virtuoso clarinetist, Gabriele Mirabassi.

RICHARD GALLIANO accordion GABRIELE MIRABASSI clarinet MARIO CRIALES double bass

Nuevo NM Mundo

WEDNESDAY / JANUARY 11th / 7:00 p.m.

PARISand Latin American music From its foundation in 1982, Cuarteto Latinoamericano has specialized in the interpretation and recording of works by some to the most transcendent composers if Latin America. An impressive repertoire has passed through the hands of Javier Montiel and brothers Saúl, Arón, and Álvaro Bitrán, including distinguished names such as Silvestre Revueltas, Blas Emilio Atehortúa, Carlos Chávez, Alberto Ginastera, Manuel María Ponce, Astor Piazolla, and Heitor Villa-Lobos, having entirely recorded the latter's 17 works for quartets. In their 20 years of existence, Cuarteto Latinoamericano has recorded more than eighty records that celebrate chamber music of the New World. It is, after all, a deft and inspiring gesture.

Following this same line, yet focusing specifically on their own country, Quinteto Villa-Lobos has endeavored for more than half a century to spread Brazilian chamber music. This decision, made at an early point in the life of the group, already has the feel of a legend. In its effort to avoid raising barriers between "popular" and "learned", to play outside the solemn walls of a theater, and to encourage the creation of innovative pieces, it reached a prominent position that has allowed it to come closer to the informal pedestrian who enjoys the work of popular composers such as Bebeto, Milton Nascimento, Marcos Valle, Pixinguinha, Ernesto Nazareth, or even the ineffable Guinga.

CUARTETO LATINOAMERICANO Heitor Villa-Lobos String Quartet n.º 3 Manuel M. Ponce Estrellita, Gavota Carlos Gardel Volver, Por una cabeza Astor Piazzolla Four for Tango

QUINTETO VILLA-LOBOS

Ernesto Nazareth Odeon, Eponina, Fon-fon

Heitor Villa-Lobos Quinteto em forma de chôros, W231 Bachianas Brasileiras n.º 5 Hermeto Pascoal Suite norte, sur, este, oeste

Nuevo NM Mundo

THURSDAY / JANUARY 12th / 7:00 p.m.

ON THE CANTA the copla, and the juglaría A crucial figure in New Colombian Music, in 2004 Antonio Arnedo gave life to the Colectivo Colombia. This initiative focused on exploring Colombian root music from the point of view of jazz and improvisation. This intuition would later influence a great number of national musicians from later generations. Colectivo Colombia, with its new project titled La Casa, will present De la copla, la canta y la juglaría, a look into Hispanic ballad singers [romanceros]. They will be joined by the talented Jorge Velosa. In addition to the "carranguero mayor", renowned figures such as the singer Lucía Pulido or Juan Miguel and Daniel Sossa (members of the Sinsonte Ensemble), Jorge Sepúlveda (one of the brains behind the association La Distritofónica), the young guitarist Santiago Sandoval, and double

bass player, Julián Gómez, will appear.   As an heir to this convergence of sound, the Bogota group Monsieur Periné successfully emerged at the end of the last decade, at a moment when gypsy jazz (that catchy strain of jazz developed by guitar player Django Reinhardt in the thirties) was starting to take over some Colombian cities. The unexpected success of the group was brought about by several factors: first, the charisma of singer Catalina García and, second, the proficiency of guitar players Santiago Prieto and Nicolás Junca, who were able to define something that became known as "suin a la colombiana" (Colombian swing), a particular style of alternative pop in which jazz and folk mix with gypsy, Caribbean, and Brazilian sounds.

MONSIEUR PERINÉ

COLECTIVO COLOMBIA JORGE VELOSA Y LOS CARRANGUEROS DE RÁQUIRA * Repertoire to be confirmed

Closing Concert + TV

SATURDAY / JANUARY 14 th / 5:00 p.m.

BATUTA:

25 years of transformation & reconciliation The National Batuta Foundation will celebrate 25 years transforming the lives of children and young musicians through music. Important Colombian composers, conductors and interpreters passed through its ranks and their memory is ineffaceable. Now the members of this orchestral project will experience a marvelous opportunity: playing music under the baton of conductor Christopher Warren-Green, who comes to Colombia especially to accompany them in this experience. The result is this concert in which music plays a transformative role. As they say in Batuta: "An orchestra is a positive metaphor of human society."

RICHARD GALLIANO accordion JUAN PABLO VALENCIA HEREDIA conductor CHRISTOPHER WARREN-GREEN conductor ORQUESTA METROPOLITANA BATUTA BOGOTÁ

José Pablo Moncayo Huapango Richard Galliano Opale Concerto Georges Bizet Carmen suite no 1 Camille Saint-Saëns “Danza bacanal”, Op. 47 de Sansón Ennio MorriconeVíctimas de guerra

FC Free Concert

SATURDAY / JANUARY 7 th / 10:00 p.m.

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INTERLUDES

at plaza San Pedro Op.1

JEAN-EFFLAM BAVOUZET piano Gabriel Fauré Nocturne Gabriel Pierné Nocturne en forme de valse, Op. 40, Étude de concert JENNY DAVIET soprano ALPHONSE CEMIN piano Charles Gounod Roméo et Juliette Reynaldo Hahn A Chloris mélodie sûr poème de Théophile de Viau Jules Massenet Manon FRANÇOIS-XAVIER ROTH conductor LES SIÈCLES Darius Milhaud Le Boeuf sur le toit Camille Saint-Saëns Danse macabre Emmanuel Chabrier Joyeuse marche Georges Bizet Carmen suite no 1

Each year, Plaza San Pedro brings us all together under the stars to listen to a selection of the greatest moments in music history. Some of the most prominent pieces of French music will be heard at this first encounter of the 11th edition of the Festival. Furthermore, there will be a vast array of musical formats: from the enigmatic songs of Erik Satie to the energetic orchestral scores of Emmanuel Chabrier and Camille Saint-Saëns. This year, the Festival will take you on a journey that will cover two centuries of piano, voice, and orchestra.

FC Free Concert

MONDAY / JANUARY 9 th / 10:00 p.m.

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INTERLUDES

at plaza San Pedro Op. 2

BERTRAND CHAMAYOU piano Camille Saint-Saëns 6 études, Op. 111, 6 étudess, Op. 52 EMMANUEL CEYSSON harp JULIETTE HUREL flute Claude Debussy Beau soir Gabriel Fauré Trois mélodies, Op. 7 Bizet-Borne Fantaisie brillante sur “Carmen” QUATUOR VOCE Gabriel Fauré String Quartet in E Minor, Op. 121

The harp is perhaps the musical instrument that listeners most relate to the heavens. In this concert at plaza San Pedro, it will enjoy a prominent presence, first as a soloist and then accompanied by the flute in musical genres that bear suggestive names such as fantasias or romances. The second part of the evening will bring the Quatuor Voce along with another intimate aspect of music: the union of violins, viola, and cello, recreating one of the most delightful French chamber works of the past century.

L'Arc de Triomphe, ParĂs, 1941. 'E.Galien-Laloue (1854 - 1941) Image of public domain

FC Free Concert

THURSAY / JANUARY 12 th / 10:00 p.m.

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ININTERLUDES

at plaza San Pedro op. 3

FRANÇOIS DUMONT piano Reynaldo Hahn Premières valses SANTIAGO CAÑÓN cello ALPHONSE CEMIN piano Camille Saint-Saëns Le carnaval des animaux Gabriel Fauré Papillon, Op. 77 Claude Debussy Beau soir NONETO INÉDITO Louise Farrenc Nonet in E flat Major, Op. 44

The nonet format (a group of nine instruments) is a rarity in classical music. Half-way between chamber music and the small orchestra, some French composers of the 19th century turned to this format because in its particular sound they found a vehicle for the expression of their least common ideas. In this concert, Noneto Inédito, a group whose members are mostly South American, looks into this repertoire. French pianists François Dumont and Alphonse Cemin will also perform alongside the Colombian cellist, Santiago Cañón.

FC Free Concert

SATURDAY / JANUARY 14th / 10:00 p.m.

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INTERLUDES

at plaza San Pedro Op. 4 The Colombian National Symphony Orchestra will be the featured guest this year, giving life to The Marriage of Figaro. On this special performance it will offer extracts (including voice pieces) of this masterpiece by Mozart. Furthermore, in this soirĂŠe under the stars, the audience will be able to see the Ensemble of the France-Colombia Encounter, which was especially formed for this occasion: for the first time the saxophone of Antonio Arnedo from Colombia and the trumpet of Lucienne Renaudin-Vary from France will come together and offer the best that the music from both nationalities has to offer.

ENCUENTRO ENSAMBLE FRANCIA-COLOMBIA ORQUESTA SINFÓNICA NACIONAL DE COLOMBIA GÉRARD KORSTEN conductor OPERA SINGERS

Photo: Andrés Gómez

FRIDAY / JANUARY 13th / 10:00 a.m.

THE FESTIVAL

in the neighborhoods

SANTIAGO CAĂ&#x2018;Ă&#x201C;N cello RENATO BORGHETTI accordion GABRIELE MIRABASSI clarinet * Repertoire to be confirmed

An important part of the Festival has been its social commitment. Musicians will not only be constrained to the concert halls, but they will also go to different neighborhoods in Cartagena to offer the best of their repertoire to the community. This gathering at the Cristo Rey church has all of the elements of a memorable evening: some of the great artists of the Festival in an informal setting where they may come closer to their audience.

Barranquilla Concert

MONDAY / JANUARY 16th / 6:30 p.m.

THE VOICE

of the accordion

Before Richard Galliano appeared on the music scene, the accordion in jazz was not only an unusual instrument, but it also had a bad reputation. Following Astor Piazzolla's advice, Galliano figured out how to adapt old French rhythms with grace and ingenuity. This is how in 1993 he became known through the album New Musette, which alluded to his musical synthesis. Alongside European jazz figures such as Aldo Romano and Pierre Michelot, Galliano managed to raise the status of the accordion to a position that had been lost since the time of Django

Reinhardt. His great contribution to today's jazz was to explore the versatility of the accordion as an instrument at the service of improvisation, blues, tango, and chamber music. He took on this endeavor with the Italian clarinet player, Gabriele Mirabassi, with whom he recorded the exquisite album titled Coloriage (Egea, 1992). Galliano will interpret works by Piazzolla and pieces of the French musette in the acoustic shell of the Sagrado Corazรณn Park in Barranquilla, with Mirabassi and the Q-Arte Quartet.

RICHARD GALLIANO accordion CUARTETO Q-ARTE GABRIELE MIRABASSI clarinet * Repertoire to be confirmed

THE MARRIAGE of Figaro

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FRIDAY / JANUARY 13th / 7:00 p.m./ SUNDAY / JANUARY 15th / 5:00 p.m.

A CO-PRODUCTION BETWEEN THE SPOLETO FESTIVAL DEI 2MONDI AND THE CARTAGENA FESTIVAL INTERNACIONAL DE MĂ&#x161;SICA Musical comedy in four acts by LORENZO DA PONTE Music of WOLFGANG AMADEUS MOZART Premiere: Viena, Burgtheater May 1st, 1786 GĂ&#x2030;RARD KORSTEN conductor GIORGIO FERRARA artistic director DANTE FERRETTI and FRANCESCA LO SCHIAVO scenography MAURIZIO GALANTE costume A. J. WEISSBAND lighting design

Thanks to the transatlantic voyage that will bring the stage design of Mozart's The Marriage of Figaro to Colombia from Italy, the bond between the Cartagena Festival and the Spoleto Festival dei 2Mondi will be tightened through a joint production, the first of its kind which solidifies the idea that our Festival will continue building bridges between Europe and America. In the same spirit of collaboration, the opera will welcome Italian artists such as the scenographers Dante Ferretti and Francesca Lo Schiavo who won three Oscars, and renowned singers Eva Mei, Andrea Concetti, Elena Belfiore, Serena Gamberoni, and Vittorio Prato, who will join soloists and institutions of our country such as the Colombian National Symphony Orchestra and the Colombian Opera Choir. Even though The Marriage of Figaro is an Italian opera composed by an Austrian genius, it is strongly

linked to France (featured country in this edition of the Festival) because it is based on a theater work by Beaumarchais. This work was quite controversial when it first came out given that it showed servants that were more intelligent and competent than the nobles who governed them, an intolerable concept in the age of absolutes. Without the original subversive load, given that Viennese censorship would not have allowed it, Mozart and Da Ponte, his librettist, kept clear elements of that class struggle in the eve of the French Revolution and built an exquisite and intimate human comedy driven by the eroticism of a defeated society. Mozart's miraculous score, richly orchestrated, includes arias and memorable scenes and is pierced through by inspiring melodies and a tense and changing harmony.

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1. Conde de Almaviva VITTORIO PRATO Condesa de Almaviva EVA MEI Fígaro ANDREA CONCETTI Susanna SERENA GAMBERONI Cherubino ELENA BELFIORE Marcelina ALEJANDRA ACUÑA Bartolo ALEXIS TREJOS Don Basilio HANS EVER MOGOLLÓN 9. Don Curzio PABLO MARTÍNEZ 10. Barbarina JULIETH LOZANO 11. Antonio JUAN DAVID GONZÁLEZ 12. CORO DE LA ÓPERA DE COLOMBIA 13. ORQUESTA SINFÓNICA NACIONAL DE COLOMBIA 14. GÉRARD KORSTEN conductor 2. 3. 4. 5. 6. 7. 8.

Artistic project SPOLETO FESTIVAL DEI 2MONDI Executive production FONDAZIONE TEATRO COCCIA