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Rain acronyms. The CNDM is the new department for the musical thing INAEM the MCU. It is the result of the merger of the CDMC, the CNMH de Leon and the programming characteristic of AN.

[translate: the National Dissemination Center Musical is the new department for the musical thing National Institute of Performing Arts and Music the Ministry of Culture . It is the result of the merger of Dissemination Center for Contemporary Music , National Historical Music Center de León and its own program of Auditorio Nacional .]

sure, with so many acronyms, a reader, and some estimate has been lost.

Well, CNDM submitted the schedule for the remainder of the season. Under the guidance of the departments that brings, has a cycle of early music (baroque universe), another contemporary (Series 20/21) and a flamenco.

I guess the hand of Antonio del Moral-drive from the Liceo CajaMadrid Foundation Chamber and current director of the notable CNDM-weight contemporary chamber music cycle. Throughout the 15 scheduled concerts, listen to the Quartet Pacifica (presentation in Madrid), Leipzig Quartet (Beethoven cycle / Halffter), Breton Quartet (premiere of the quartet and recorded! Of Aracil), Javier Quiroga Quartet and Trio Perianes Arbós. While fans of avant-garde music programming will seem somewhat conservative, I warmly welcome a bit of animation to a chamber music life just does not live in Madrid that golden age.

What I do not see is that these institutions focus their activities both in Madrid. We can not have pictures of the Prado Museum in continuous roaming but beyond Alicante Leon, could not the Ministry to spread their activities among the major English cities? Sure there are obstacles obscure administrative / budget but since we pay among all ...

All kinds of good wishes to the new institution. For now, no web. I hope this clarification lunar soon.

PS: I reread the entry and I think that makes clear a key issue. Beyond the chamber music, the new facility represents a significant impoverishment of the music scene in Madrid. No regret over the disappearance of programming self-confusing and inequitable, the Auditorium. However, it does not replace CNDM what they were doing the CDMC, not even close. Far from the aesthetic of its leadership positions, was proud that Madrid had a cycle like the Queen of Mondays. The crisis, once again ...

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Candidates

went out lists of candidates for the 2010 Grammy Awards. In the only candidate that interests us, those selected are:

Beethoven: Complete Sonatas For Violin & Piano
Alexander Melnikov Isabelle Faust & Harmonia Mundi

Gnattali: Solo & Chamber Works for Guitar
Marc Regnier (Tacy Edwards, Natalia Khoma & Marco Sartor)
Dorian Sono Luminus

Ligeti: String Quartets Nos. 1 & 2
Parker Quartet Naxos

Porter, Quincy: Complete Viola Works
Eliesha Nelson & John McLaughlin Williams (Douglas Rioth & Northwest Sinfonia)
Dorian Sono Luminus

Schoenberg: String Quartets Nos. 3 & 4
Fred Sherry String Quartet (Christopher Oldfather & Rolf Schulte)

The
Naxos Grammy is a good chance to see what happens across the ocean. Along with recordings or less "mainstream" are always amazed with the original proposals. Radames is a Brazilian Gnattali the generation after Villa-Lobos, Quincy not be confused with Cole Porter.

With exceptions, the performers chosen not usually very popular here. Just a thought that, in chamber music, relations between the U.S. and Europe are still pre-Columbian. Thank God there Naxos.

For the winner there to wait for February 13. The same thing we put in a post.

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X Grammy 2010 Chamber Music Competition "Montserrat Alavedra" Chamber Music

Before it is too backward in time, I confirm the conclusion of X Chamber Music Competition "Montserrat Alavedra" de Terrassa. Every two years, the event is aimed at young English interpreters or resident in this country of ours. The concept of chamber music that handle very large databases, support any group of three to nine components, with or without a conductor. Comparing

pears and melons, it seems difficult the task of the jury. Finally, they decided to award the first prize for piano trio Metamorphosis-from the Escuela Reina Sofia in Madrid, the second quartet of saxophones Sound Art de Palma de Mallorca, and the third Wogen Trio, a group that joins soprano, clarinet and piano. As I found photo of the Metamorphoses, illustrated with a beautiful image of Wogen.

The winners are added to a winners list that already includes groups such as the Quartet Quixote (2008), LOM Piano Trio (2004) and the Casals Quartet (1998). We congratulate the organizers, financiers and supporters, the Friends of Arts and Musical Youth's Terrace, unanimous, Catalunya Música ... It is for many editions.

A humble advice to developers. At this point in the film and given the objective importance of the event, it would not hurt to have all the information centralized on a website or blog itself.

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and digestion


an article Xurxo Leo Fernandez in Correo Gallego. It's funny the final paragraph:

"I have always defended the chamber music helps to better enjoy a meal. And put your hand in the fire regarding a physical fact: the string quartets aid digestion. The I learned then, eating those first pigeon. Mozart sounded on the record player. It was precisely the quartet Hunting in B Flat Major, KV 458. As performers, the best quartet in history: the Amadeus Quartet, the Fab Four of the classical music. That itself was the perfect picture of happiness. "

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Arditti Quartet, the ray that does not stop

leave very recent evidence of the disposal of two new CDs of English music Arditti today. This is the complete recording of the quartets (and some other things) of Benet Casablancas-n º 1 "Zinc interludis" (1983), No. 2 (1991) and No. 3 (2009) - and the continuation of the integral that began in those of Cristobal Halffter, Volume 2, No. 2 "Memoires" (1970), No. 4 "with bravery and sense", n º 5 "Zeitgestalt" and No. 7 "Space of Silence" (2007). Tritó stamps and Anemos, respectively.

Is the Arditti Quartet good? In a remote post, I expressed my serious doubts tras escucharles un Scelsi que requería técnicas de afinación y coordinación rítmica "convencionales". Pero, seguramente, la pregunta es improcedente: tras 36 años de labor frenética, son ya un mito, un género propio, en el panorama musical contemporáneo.

Para despejar dudas, será interesante escucharles -el mes que viene- en el Liceo de Cámara. Tocan Brahms, Ullmann y un primer Schoenberg.

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Upcoming shows in Madrid. December 2010

Con algo de retraso, cuelgo la lista de conciertos capitalinos del mes de diciembre. Como este año apenas puedo ir a conciertos, la confección de esta lista es un esfuerzo mayor y más estéril. En todo If, like me owe me impose obligations ...

AN = National Auditorium
ESMRS = School of Music Reina Sofía
IIMCM = International Institute of Chamber Music of Madrid
OSM =
Madrid Symphony Orchestra

19.30 Wednesday 1 pm; Conference Room of the Caja Madrid Foundation
AN . Lyceum House
Renaud (violin) / Gerard Causse (viola) / Gautier Capuçon (cello)
Beethoven, Bach-Sitkovetsky



19.30 Thursday 2 pm; Conference Room of the AN
Fundación Caja Madrid. Lyceum House
Renaud (violin) / Gautier Capuçon (cello) / Nelson Goerner (piano)
Brahms, Schumann, Tchaikovsky

Friday 3
19.30 hours the ESMRS Sony Auditorium
IIMCM. Da Camera
Cycle Groups
piano Mozart, Shostakovich, Kurtág, Dvorak

Saturday 4
19.00; Hall of
Ateneo Ateneo de Madrid. Music Section
Piano Trio "Hermeneya"

Friday 10
19.30 hours Chamber Hall of
AN AN. Fall programming

Salazar García Abril Quartett, García Abril, Debussy

Wednesday, 15
19.30; Chamber Foundation Chamber
AN Caja Madrid. Lyceum House
Tokyo Quartet / Sabine Meyer (clarinet)
Haydn, Beethoven, Mozart



19.30 hours, Auditorium
FJM FJM. Wednesday
cycle Leticia Moreno (violin) / Adolfo Gutiérrez Arenas (cello) / Sacha Rattle (clarinet) / Zeynep Ozsuca (piano)
Brahms, Messiaen
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16.00 Friday 17 hours of the ESMRS Sony Auditorium
IIMCM . Da Camera Series

Mozart String Quartets, Shostakovich, Kurtág, Dvorak

Sunday 19
12 hours
Teatro Real Teatro Real. Sunday
Soloists Chamber
Taffanel WSO, Perez Velázquez, Brahms

There are some names. Let's see if I can go to any ...

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The "indies" of classical music composers Miscellaneous

In a media landscape which is dificles find musical references (beyond the very obvious), is welcome to bring La Vanguardia today an article devoted to chamber music . The text summarizes the current situation of gender in the country, its achievements and difficulties.

Despite being a very brief exposure, and, at times, somewhat cumbersome, "poses defining hallmarks of our time: the emergence of an extraordinary generation of performers, the fragility of the domestic market, the needs of administrative adjustments to the promotion of gender ...

worth reading.

http://www.lavanguardia.es/cultura/noticias/20101127/54077317095/quartet-casals-los-indie-de-la-musica-clasica.html

For these times of crisis, I left with the words of general director of the Auditorium, Joan Oller: "Just as the box office never hold a symphony season, they stand a chamber music."

To record in the marble halls throughout Spain.

Along

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my computer I have a piece in which I write down topics that may be the subject of a blog. Most of them perish with time. Before it's too late, telegraphed transcribe a few notes on issues compositional

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Schubertiada in the mountains

Land Vorarlberg is the westernmost Austria. It is considered one of the richest regions in the world with a thriving tourism industry and a thriving and snow mountain. In two locations in the Walhalla Alpine-Schwarzenberg and Hohenems-held, since 1976, a festival known as Schubertiade. Perhaps chamber music cycle / Lied / pianist posh world scene. Although almost half a year needed to start the 2011 edition, has already left the program of events.

lately

As is usual, the event will take place in four different calls (from 6 to May 22, from 18 June to 3 July, from 27 August to 11 September and from 2 to 9 October). Are more than ninety concerts with a stunning roster of guests paragraph camera. I do a hotshot, more or less complete:

1) String Quartets: Acies, Musagetes Apollon, Artemis, Belcea, Casals, Emerson, Hagen, Jerusalem, Kuss Minetti, Modigliani, Pacifica, Pavel Haas, Takács.

2) Piano Trios: Eggner, Jean Paul, Wanderer Wiener.

3) several instruments: the Capuçon, Chamayou Bertrand, Gérard Caussé, Isabel Charisius, Sol Gabetta, Daniel Hope, Sabine Meyer, Daniel Müller-Schott ...

move programs between the very conservative and openly reactionary. I love to go.

more input 109 euritos face are the cheapest 15 (rate very few performances: not all cost the same). On their website have the Schubertiade is a private organization that receives no public subsidy. More information: http://www.schubertiade.at/

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SHORT CURRICULUM CONTACTO

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Carlos Delgado Mayordomo (Madrid, 1979) is curator exhibitions and art critic. As independent curator she has exhibited for many institutions: Extremadura and Latin American Museum of Contemporary Art in Badajoz, Museum of Contemporary Art Fenosa Gas Natural de La Coruña, Fundación Carlos de Madrid Antwerp, Museum of Contemporary Art in Santo Domingo in the Dominican Republic, National Gallery of Jamaica; Museum of Art, El Salvador, Anthropological Museum of Contemporary Art and Guayaquil in Ecuador; Museum of Contemporary Art in Santiago de Chile and the Museum of Modern Art of Medellín in Colombia. Among its highlights curated Synergies. Current Latin American Art in Spain (with Carlos Jiménez), Agustí Centelles. The memory box and Ciria. Rare paintings, post-gender and Dr. Zaius .

Author of numerous catalogs of exhibitions of contemporary artists, among his publications include painting Traverse (Madrid, 2007) and their participation in the books Who and why. Proceedings of the XXI century art (Madrid, 2001) and Scope. Cervantes. The spatial and aesthetic factor , Antonio García Berrio (Manchester, 2010).

Since 2004 leads and participates as a teacher in seminars and lectures in art history at various institutions. He has published art criticism and research articles in various media such as Discovering the Art , The Andalusian legacy, Arts. Journal of Caribbean Arts and point arts.

is currently Project Director National Foundation International Fund for the Arts, Exhibition Director of the Department of Culture of the City of Las Rozas, editorial coordinator of the magazine and editor Platea Otrotipo magazine.

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Hispanic Chamber music by Consuelo Carredano XIX (II)

chamber music to bring the chapter, you need to know the overall structure of the volume. The index of the book is divided into eight chapters: I.
The transit of the viceroys of Independent States (Aurelio Tello)
II. Nation and identity in the songs and dances Creole (Victoria Eli)
III. Religious music and cathedral chapels in the new republican order (Consuelo Carredano)
IV. The Lyric Theatre (Victoria Consuelo Carredano and Eli)
V. The piano (Consuelo Carredano)
VI. Artistic and musical societies (Victoria Eli)
VII. CHAMBER MUSIC (Consuelo Carredano)
VIII. Education, criticism and journals (Clara Meierovich).

Despite my passion for music genres, musicologist my reason tells me that not a good idea to use them to organize a historiographical discourse as it addresses the volume. Its use can end up obscuring the two axes, in my mind, should organize retrograde historical narratives: the geography and chronology.

This structural problem usually ends up affecting the chapter. In fifteen pages, the author must face the challenge of telling a story that encompasses a genre, a hundred years and a continent. The result is not just convinced me.
After a first reading, I find the following objections.
1) Lagoons repertoire: I am not an expert in chamber music of Latin America, only a curious interest. So, I'm surprised that some works I know, because they are recorded or edited-not included in the chapter. The author complains of the small size of the repertoire and at the same time, forget the quartet Teresa Carreño (1895), the Julian Carrillo (1903), a sonata for violin and piano by Guillermo Uribe-Holguín (1909), the trio with piano Manuel Ponce (c. 1912) ... A warning to the clueless: Although some of these pieces were written in the twentieth century, chronologically, it is purely nineteenth-century works. If Taruskin Dahlhaus and a close the nineteenth century European music in 1914, why close the Hispanic in 1900? (NOTE: time limits on the volume, I find no reflection in the book)

2) Problems with fonts, by necessity, Chapter must be a synthesis from secondary sources. The materials of which the chapter is built are the stories of domestic music-some very stale, and the Dictionary of English and Latin American music of the ICCMU . However, I do not think that working with literature exemption to understand and assess the portfolio to which it refers. I would be surprised to find, in a study of this nature, new data from archives and local newspaper archives. However, awaiting trial on direct-personal-musical works cited.

3) Arguably line of interpretation: from the beginning of the chapter, the author seeks to assert a "Classical period" in Latin American music. Citing Carpentier, then refers to a "strange process of regression" because of the Italian opera ends with the efforts and progress, salvation, reform, etc. the end of the century. It seems that the author takes this story of redemption, well known in musical historiography English-default. The book takes "aged" (as the same directors declared in the prologue) and, by not proposing an alternative interpretation is embedded in the speech. Today, I think it will musicological discourse in other ways.

Beyond these objections, the chapter Consuelo Carredano is the best synthesis available on the Latin American chamber music of the nineteenth. Hopefully our musicological community (although I'm not sure that something like this exists) to produce new materials / new interpretations that allow us to go further and deeper.

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Hispanic Chamber music by Consuelo Carredano XIX (I)

If there is a Musicological speaking community, would now be in full swing. After many years, is launching the project of a new History of Music in Spain , driven by the Fondo de Cultura Economica, Spain and directed by music critic John A. Vela del Campo.
At first, the novelty of the initiative is in the second part of the title of the book: "History of Music in Spain and Latin America." Almost in passing, the project goes beyond the problem-already notabilis-national history and takes account of the musical evolution of the entire subcontinent.
The full collection will include eight volumes as follows:

1. From its origins to c. 1470
2. Of the Catholic Kings Philip II
3. The music in the seventeenth century
4. The music in the eighteenth century
5. Music in Spain in the nineteenth century
6. Music in Latin America in the nineteenth century
7. Music in Spain during the twentieth century
8. Music in Latin America in the twentieth century

understand that the volumes 2, 3 and 4 will address together the Hispanic (of the two sides of the ocean). At the moment, Volume 1 came out and was just released the number 6-the nineteenth-century Latin American music, "directed by Eli Consuelo Carredano and Victoria. Given the aging
is the History of English Music Alliance and the lack of musical stories in our Latin American book market, the project deserves all sorts of congratulations. However, it could make many objections to a plan set leaves, venting, many untied ends. Maybe at another time (and in another forum) to order my opinions. What I want with this post is to account for volume 6 chapter devoted to chamber music in nineteenth-century Latin America. Consuelo Carredano writes.

I read with much pleasure Carredano essay devoted to the Cuarteto Latinoamericano. Strings riots titled: Cuarteto Latinoamericano, twenty years of music (Mexico: FCE, 2003), is a book that should grow in the music publishing market-English: entertaining, informative, very well told ... With that background, I I made few hours with the new publication and I just finished Introduction and Chapter VII, entitled briefly Chamber music.

continued ...

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Salzburg, and Guinness Mandelring

The importance / seriousness of the music festivals can be measured by how early to show their programming. Already out the list of actions for the next Festival of Salzburg (more than seven months before) and I've taken a look.

There will be time to discuss the chamber music section which, while not overwhelming, it is worth really worth it. However, I opened this post because I want to highlight an event worthy of the Guinness in two days, the Quartet will perform Mandelring fifteen quartets of Dmitri Shostakovich. I know that have recently been grabaditos and to be major challenges ... but ceases to amaze. Here are the details:

August 18, 1600 hours; Mozarteum

Shostakovich: Quartets 1, 2, 3, 4, 5, 6, 7 and 8.

August 19, 1600 hours; Mozarteum

Shostakovich: Quartets 9, 10, 11, 12, 13, 14 and 15.

are six hours of music. A feat for the performers and the public!

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Vikram A constant music Seth

I just read A constant music. Years ago, some friends who know my passion for chamber music, recommended me. I ignored them. I usually convince fiction musical themes. However, in a weak moment, I started reading the novel by Vikram Seth.

Baroja remember an essay (or was it the prologue of a book of stories?) In which he explains how, in the modern world, there was no time for the novel. According to the author, the story was appropriate long leisurely evenings long nineteenth century. The thousand walks of life contemporary-and wrote in the twenties, married wrong with the cadence of the genre.

There are many types of life. Even in a single individual. I read the first half of a continuous music in a weekend, with the calm enough to let me go with the rhythm simple, unhurried, his prose. I finished the novel on the subway, hastily. I was happy to finish.

At the bottom of the book is a tragic love story that does not convince me. Nor do I have a big test because I'm not used to reading such stories. I prefer the novels in which nothing happens. So I read newspapers and novels of mystery writers.

However, the landscape of the drama is, at times, poignant. The main character is second fiddle in a quartet and the group's life (their activities, their relationships, their trials ...) seem to give off a lot of reality. When the love story allows it, the author also conveys a sincere passion for great music.

could recommend.

I like the final paragraph. I copy here:

The music, the music, it is enough. Why seek happiness?, Why wait not suffer? It is enough, and is quite blessed to live day after day and hear that music, not over, the soul could not bear it, from time to time.

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Upcoming shows in Madrid. November 2011

I read this book somewhat hastily and I do not have left me many things in the pipeline. If any reader is likely to miss something that let me know. AMCC =

Madrid Association of Composers
ESMRS = School of Music Reina Sofía
IIMCM = International Institute of Chamber Music of Madrid
OSM =
Madrid Symphony Orchestra Wednesday, 3

19.30 hours Nicolás Salmerón Cultural Centre
AMCC. COMA Festival 2010

Turina Trio Brouwer, Benavente, Jurado, Mosquera, González-Acilu, Morales Case

19.30 hours, Auditorium of the ESMRS
Sony IIMCM. Da Camera
cycle Poulenc Group / Piatti Quartet / Trio Metamorphosis
Danzi, Haydn, Shostakovich

Thursday 4
12.00; Auditorium of the ESMRS
Sony ESMRS. Prelude cycle
Rui Borges Maia (flute) / Cameron Roberts (piano) / Trio Metamorphosis
Mozart, Dutilleux, Bertran, Mendelssohn

Friday 5
19.30 hours, Auditorium of the ESMRS
Sony IIMCM. Da Camera
cycle of string quartets Department

Wednesday 10
19.30 hours Auditorium
FJM FJM. Wednesday
cycle
Quiroga Quartet Webern, Schoenberg, Brahms



19.30 hours, Auditorium of the ESMRS
Sony IIMCM. Da Camera Series Brass Department


Thursday 11
19.30 hours the ESMRS Sony Auditorium
IIMCM. Da Camera
Cycle Groups Department

piano Sunday 14
12 hours
Teatro Real Teatro Real. Sunday
Soloists Chamber of OSM
Janácek, Ewald, Holst, Shostakovich


Wednesday 17 19.30 am; Auditorium
FJM FJM. Wednesday
cycle
Kandinsky Trio Zemlinsky, Schoenberg, Brahms




Friday 26 20.00 am; Real Academia de Bellas Artes de San Fernando
Fundación Caja Madrid. The Centuries Quiroga Quartet Gold
Breton


Monday 29
12.00; Auditorium
FJM FJM. Lunchtime concerts
Götterdämmerung Duo (clarinet and piano)
Burgmüller, Menéndez, Poulenc, Piazzolla

Quiroga seems that, finally, have a regular presence in their city. It was unusual that the only full-time quartet Madrid was heard around Easter to Ramos.

is also good news that we see the Kandinsky Trio, a group of Barcelona. Historically, the chamber music life of the two largest cities of the peninsula have tended to be ignored. Hopefully soon, the AVE and the crisis- we know better.

And some more ...

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Nuevo León

As not all be bad news, I get the happy news of a new festival in León. The next December, between 1 and 17, are scheduled seven chamber music concerts in the beautiful-at least for out-and underused, in my opinion, of course, Auditorio Ciudad de León.

The initiative is a collaboration between the Foundation seems Monteleón-principal promoter of the event, the Foundation Eutherpe and the City of the capital. The program is modest, calling for mainly young English interpreters and, as sponsors of the baptism, the hyperactive Kuss Quartett Berlin.

I hope the success will encourage developers to more ambitious future editions. Live long and glorious future at the Festival de Leon!

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Festival Chamber music in Seville, or how desperate the situation is likely to worsen

order not to leave the jeremiad that stains my last post, I confirm the penultimate bad news that comes from Sevilla. Thanks to the kindness of a reader of the blog, I just saw an article, published today in the local press, which talks about the budget problems for the next edition of the Festival Joaquin Turina. It seems that the Government of Andalusia have been removed budget support and the city does not specify the amount of your help. Are looking for sponsors to save them from disappearing. The full story at:

http://www.diariodesevilla.es/article/ocio/818056/festival/turina/busca/apoyos/para/asegurar/la/continuidad/la/cita.html
About this Festival and was on the blog a long and not very enlightening discussion. Then he saw that its organizers raised all sorts of passions. Not entered or entered stuff. My only regret is that the very narrow circle Seville continue narrowing chamber music. Hopefully soon publish

glad tidings to the south.

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Nuria Delgado

C / Méndez Álvaro 62A 2A.

28,045 (Madrid)

nurdelse@yahoo.es

http://www.nurdelse.blogspot. com /

NURIA DELGADO SAFE

PHYSICAL:

-Height: 1.68 cm .

-Hair: brown .

-Eyes: honey.

-Weight: 53kg .

-Size: 36

-Pie: 40.

EXPERIENCE:

- actress starred in the experimental setup and coral "Bla, Bla, Bla" in the room LeSwing under the direction of Michael Pittier (actor, director and coach of Imanol Arias). (From October 26 to November 29, 2009 and February-March 2010).

- client Character sketch in Chapter 144 cashiers " Strip" the Sixth (Globomedia).

client -Character sketch in chapter 33 cashiers " Strip" in the Sixth (Globomedia).

-woman character in Chapter 75, "Aida" in T5 (Globomedia).

- character in the film "Disfigured" Israel's la Rosa.

- character in the film "And I give you my heart" by Pedro Leon (Petrus).

- Main dance in the film "His heart borrowed" from Israel to la Rosa.

- character in the horror film "The Lady of the Lake" by Oscar Prieto.

- Two interventions in the TV show "Pepper and chocolate" given at a local chain of Barcelona.

- Plays: "The triumph of the flesh" by Chekhov, directed by Oriol Grau, "My friend Chekhov, directed by Oriol Grau," Sweet Charity "directed by Josep Costa and" The Good Doctor "by Chekhov, directed by Marta Calvo and Cesca Pinya.

- dancer on the anniversary of TV France (TF1), choreographer Philip Dos Santos Fialho (choreographer and producer).

- Dancer Santi Arisa orchestra at Christmas dinner.

- animation show on the anniversary of the school's engineering Barcelona.

- Intervention group video clip Revolver "No more bets."

ART STUDIES:

- interpretive improvisation course the Argentine director Miguel Pittier. (Madrid).

- Course camera Tonucha César Vidal Luengo and Destination Theatre (Madrid).

- Course camera with the director Victor Garcia León The Central Film (Madrid).

- course of action before the camera in "First team" with Assumpta Serna and Scott Cleverdon (Madrid).

- course of action before the camera in "The film's central" with Marta Fernández Muro Azucena De La Fuente and Elena Arnau (Madrid).

- Seminar improvisation in acting school "Juan Carlos Corazza" (Madrid).

- A year in the school of interpretation "Juan Carlos Corazza" (Madrid).

- A year in acting school "The school of theater" (Barcelona).

- three years in musical theater school "Memory", completed studies (Barcelona).

- Monographs clown, contemporary dance and classical percussion at school, "Memory" (Barcelona).

- Jazz dance: 5 years in school, "Swing Dance" (Barcelona).

- ballroom dancing and salsa: a year in school, "Ball Centre (Barcelona).

ACADEMIC:

- COU: IB Torras i Bages.

- Degree in Gemology from the Gemological School of University of Barcelona.

-English: Currently 4 th level in the British Council.

-Catalan : Spoken and written.

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CURRICULUM Videobook

YOUTUBE LINK:

http://www.youtube.com/watch?v=jUb8QHJjkFU