Últimas notícias


7 Abr 2022


RP Online

Düsseldorf The Deutsche Kammerphilharmonie Bremen, conducted by Alondra de la Parra, gave a guest performance at the Tonhalle. The soloist was violinist Nemanja Radulovic.

7 Abr 2022


Hannoversche Allgemeine

A pro-musica concert at the Funkhaus provided an opportunity to meet violinist Nemanja Radulović again - and Mexican conductor Alondra de la Parra made a promising Hanover debut.

14 Mar 2022


LA Verdad

On a wonderful night and with an expectation that was fully justified in the light of the result, the series of great concerts offered by the Auditorio Víctor Villegas rewarded [this Tuesday] an enthusiastic and receptive audience with a, once again, delightful concert thanks to an impressive German orchestra, the Deutsche Kammerphilharmonie of Bremen, the baton of Alondra de la Parra and the collaboration of the violinist María Dueñas. As previously mentioned, the concert was magnificent, and for this to happen, several factors had to be present, not the least of which was the choice of a more than attractive programme that began with Ginastera's 'Variations concertantes', which surely surprised anyone who did not know them for the sensitivity, poetry and evocative capacity they exude and the instrumental virtuosity they possess. Organised in the form of short cadences of different soloists performing variations on the inspired initial theme introduced by the violoncello and harp, it is a complex work in that it alternates tuttis and solos (hence the name concertante) giving them, nevertheless, a timbral continuity (cello with treble strings, etc.) was fascinating at times (especially the viola, with its dramatic double modal strings, and the clean, bucolic and expressive horn). The last variation, an exultant dance, gave the measure of a powerful direction by Alondra de la Parra, a conductor of notable experience despite her relative youth, who knew how to envelop with a gesture adaptable to the different moments, each expression that the music demanded, extracting a truly remarkable timbral balance.

The second course on this fantastic menu was provided by a 19-year-old violinist from Granada, who astounds with a sonority and cleanliness that cannot fail to surprise. The transmutation she makes from her apparent fragility, and the multiplicity of nuances with which she sprinkles a very mature reading, all performed with admirable cleanliness, adapting to the demands that a work as complex as Sibelius's 'Violin Concerto' imposes, is extraordinary. Mastering the instrument (no less than a Stradivarius) and in full harmony with a conductor who always was in control of the different needs, the restrained and stimulating gesture came to the boil in an imposing final allegro with an expressive power and complicity between the two that did not go unnoticed. The tip, a version of the first dance from Falla's 'La vida breve', only reinforced the conviction that María Dueñas' career could be splendid. And finally, a fantastic 'Symphony No. 7' by Dvorak which, apparently less inspired than his two later symphonies, the 8th and the celebrated 9th, nevertheless conceals a very high mastery of a rich and varied language, a precursor of what is to come, which demands from the conductor a control of tempo and growth that is not easy to achieve. The orchestra, a current reference point for German music (preferably Beethoven, Schumann and Brahms), shone to the sound of the expression that Alondra de la Parra drew with undeniable mastery, and which reached its climax in a finale that requires a tension 'in crescendo' that she fully achieved.

A most brilliant evening with a magnificent conductor who showed that she masters leisure and that, seconded by a no less brilliant orchestra, she can offer rich contrasts, controlling electrifying rhythms (as in Ginastera's final variation) and capturing evocative sensations (as in Sibelius' Adagio), knowing how to delimit sonorities and languages in an exercise that is not necessarily orthodox but extraordinarily rich.

Source: https://www.laverdad.es/culturas/musica/brillantisima-velada-magnifica-20220312002018-ntvo.html

5 Mar 2022


Alondra de la Parra. A leader in all her facets, the Mexican conductor takes the reins of the energetic Bremen German Chamber Philharmonic on a European tour that stops in Barcelona and Murcia, accompanied by the Stradivarius of the soloist María Dueñas.


Vibrant, strong and full of vitality, Alondra de la Parra (New York, 1980) asks first.  « What if, » she suggests, « these were the first interview in my career in which I wasn't asked about my status as a woman on the podium? » Then she muses, « I think that would be a pretty good sign, wouldn't it? ».  We accept the challenge, though her offer, like the silence, fades as it is being made. To sum up, let's say that the Mexican director started out in the profession without female references, with that strange mixture of enthusiasm and doubts, which is nowadays designated as the impostor syndrome. « It was impossible not to feel intimidated by the great masters of the past; of course I had something in my favor… ». An ear, she later clarifies, immune to disenchantment and frustration. « I used to go with my parents to concerts and I could perceive all the nuances, the mistakes and the possibilities of that colossal instrument called orchestra ».


The documentary La Maestra, which Medici.tv dedicated to her in 2018, features some heroes of her childhood: Kurt Masur, Claudio Abbado, Simon Rattle, Daniel Barenboim, and many more. It tells how, after a very careful musical education in Mexico City, she moved to New York to study conducting with Kenneth Kiesler. And so on until one day, on the verge of her 20th birthday, Charles Dutoit invited her to conduct the Buenos Aires Philharmonic at the Teatro Colón. « There wasn't a specific day and time when I officially became a conductor. It was all a slow process of assimilation and falling in love, of fascination for the work with musicians ». 


Visual coefficient. Somewhere in her memory, she confesses, is tattooed one of Kiesler's first pieces of advice. « He told me not to make the mistake of imitating anyone, and encouraged me to experiment with the freedom of my own language, that voice which opens through technique and imagination, and which requires a radical connection with the orchestra. Anything that doesn't have to do with that essence creaks, is noticed. » That is why she sometimes seems to dance on the podium. « It's what I call the visual coefficient of the music, » she reflects on the phone from London, during a break in a rehearsal of Romeo and Juliet. « Unlike a dancer, the conductor moves on three time axes simultaneously: he has to anticipate what is going to happen, to react to what is happening, and process what already belongs only to the acoustics of the room ». Or to put it another way: « More than dancing, it's about feeling the music in every cell of your body ».

16 Feb 2022


La Vanguardia

The Mexican conductor eclipsed with her versions of works by Debussy, Schumann and Stravinski in the OBC's first concert of the Emergents Festival at the Auditori., The Mexican conductor eclipsed with her versions of works by Debussy, Schumann and Stravinski in the OBC's first concert of the Emergents Festival at the Auditori.

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