Histórico conciertos

Guided by a singing grandmother and her memories, Ilargia kantari will journey through various melodies of Basque folk music and famous songs from the extraordinary era when humankind first walked on the moon. The grandmother will share stories about her life and the moon — a runaway from the Earth and sister of the sun, according to Basque mythology. She will intersperse musical pieces, some of which are directly related to the moon.

When we see death, it is usually not our own, but we see ourselves in its reflection, tormented by unanswered questions about our future. Loss causes unbearable pain. It is the sudden and unforeseen death of a loved one, without apparent cause or justification. Delirium can confuse everything, beautify the past, darken our vision of the world dramatically, or lead us to recreate past situations in a loop, immersed in constant obsessive analysis. The “I” collaborates with the “others” and is recreated in search of comfort and hope, often unfulfilled. The music sings of Christ’s death, a great universal tragedy that, at some point in each life, becomes private and personal. The body and its parts form the actor, who inhabits two souls—one that remembers Jesus’ love and one that swims in the forest of his childhood, with the sole purpose of understanding his loss. The piece is a staging of the 1680 concert Membra Jesu Nostri by Dietrich Buxtehude. This cycle of seven cantatas, dedicated to Christ’s feet, knees, hands, side, chest, heart, and head, will be interwoven with a text written and performed by actor Eneko Sagardoy. The text tells the story of a man who disappears forever in an alleged motorcycle accident, and of the love of the person who remains.

When we see death, it is usually not our own, but we see ourselves in its reflection, tormented by unanswered questions about our future. Loss causes unbearable pain. It is the sudden and unforeseen death of a loved one, without apparent cause or justification. Delirium can confuse everything, beautify the past, darken our vision of the world dramatically, or lead us to recreate past situations in a loop, immersed in constant obsessive analysis. The “I” collaborates with the “others” and is recreated in search of comfort and hope, often unfulfilled. The music sings of Christ’s death, a great universal tragedy that, at some point in each life, becomes private and personal. The body and its parts form the actor, who inhabits two souls—one that remembers Jesus’ love and one that swims in the forest of his childhood, with the sole purpose of understanding his loss. The piece is a staging of the 1680 concert Membra Jesu Nostri by Dietrich Buxtehude. This cycle of seven cantatas, dedicated to Christ’s feet, knees, hands, side, chest, heart, and head, will be interwoven with a text written and performed by actor Eneko Sagardoy. The text tells the story of a man who disappears forever in an alleged motorcycle accident, and of the love of the person who remains.

After a long stay in Peru, Juan returns to his native village, old but immensely rich. During the celebration of his return, Juan confesses the true reason for his departure: the love of a woman, Adriana. Upon reuniting with his former love, Adriana, Juan meets her young daughter, Rosaura, with whom he secretly falls in love, perhaps seeking in her the youthful beauty he never found in her mother. When the villagers realize this, the scandal is huge, and those who once presented themselves as close friends of the indiano now become his enemies and scorn him. Amparo Navarro, Antonio Torres, Facundo Muñoz, Ainhoa López de Munain, and a large cast of actors and singers, together with the Sasibill Orchestra and Choir, conducted by Arkaitz Mendoza.

After a long stay in Peru, Juan returns to his native village, old but immensely rich. During the celebration of his return, Juan confesses the true reason for his departure: the love of a woman, Adriana. Upon reuniting with his former love, Adriana, Juan meets her young daughter, Rosaura, with whom he secretly falls in love, perhaps seeking in her the youthful beauty he never found in her mother. When the villagers realize this, the scandal is huge, and those who once presented themselves as close friends of the indiano now become his enemies and scorn him. Amparo Navarro, Antonio Torres, Facundo Muñoz, Ainhoa López de Munain, and a large cast of actors and singers, together with the Sasibill Orchestra and Choir, conducted by Arkaitz Mendoza.