La Tempestad

«Versions of evident interest when offered by performers of this calibre, with executions of great technical perfection and in penetrating, intimate interpretations, through which they pass on to listeners the enjoyment they themselves experience in making this music. Enthusiastic applause and shouts of ‘bravo’ from the devoted, wholehearted audience.»

«The small number of musicians, their closeness and their harmonic and chromatic talent ensured sonic coordination. And by becoming permanent soloists they produced an impression equivalent to the one achieved in good ballets when one can see a corps de ballet whose dancers are alive, and have not come out of a photocopier. (…)»

«In the far from easy undertaking of creating a consistent pastiche […] the soprano Olalla Alemán took part, familiar with this repertoire and lavish with accents, always appropriate, for each scene. Her voice flows with ease and her careful diction allowed us to enjoy the nuances of the text, which the actress Rocío Bernal supported as a sensitive and elegant reciter. A most complete journey, in short, through a very rich and distinctive heritage that always leaves one wanting more.»

«With a carefully crafted dramaturgy by Curro Carreres and impeccable musical direction – in precision, nuance and attention to detail – by Silvia Márquez Chulilla at the harpsichord, that unending constellation of women was traversed in order to revisit it.»

«In the symphonic narrative of the instrumental ensemble directed by Silvia Márquez one senses a dense poetry in which a serenity spread over refined phrasing predominates. The sonic fabric woven by the solo instruments of La Tempestad is very well balanced; the musical narrative speaks for itself, regardless of the instrument that gives it life. The version of the symphonies of the great Austrian master offered by these seven instrumentalists, whose way of playing stands out for its expressive force, takes the breath of creativity to its ultimate consequences.»

«The Spanish ensemble offers its chamber-music visions of the symphonies of the so-called father of the genre, in an evening in which they proved to be the best national ensemble in this repertoire. The performance by La Tempestad, an ensemble otherwise very accustomed to this Haydnesque symphonic language transformed into chamber music – theirs is the first complete recording of the 12 London Symphonies by Haydn/Salomon, for Música Antigua Aranjuez Ediciones – was truly interesting and outstanding in many passages. The stylistic fit is total, since few ensembles in the world today are better equipped to take on this kind of repertoire.»