#elena mendoza

[elmartillosinmetre]

Mi crítica del concierto de la ROSS esta noche en el Maestranza.

[blueflyingturtleontheway]

I want to let the three of them loose in a Maruvian temple and see who kills who first

[katieluvsindienostalgia]

Luz Elena Mendoza (2010's)

[aperint]

Día del compositor

Día del compositor #aperturaintelectual #palabrasbajollave @tmoralesgarcia1 Thelma Morales García

[desdasiwrites]

[book-quotes-and-moodboards]

“But that’s life. One long tunnel. There are lights along the way. Sometimes they feel spread farther apart than others, but they’re there. And when you find one, it’s okay to stand under it for a while to catch your breath before marching back into the dark.”

The Apocalypse of Elena Mendoza (by Shaun David Hutchinson)

[fangomusic]

Y La Bamba, "Lucha" like a magazine ad from the '90s.

[cartoonfangirl1218]

A Friendly Interrogation

Note: Originally this was going to be an Estenaomi since I do so few of those but it just didn’t fit the mood of the piece so I won’t with a very old ship that was mentioned in the beginning of EOA fandom days. Esteban and Prof. Mendoza. probably stemming with how easily Prof. Mendoza dispatched Esteban’s foibles with aplumb in Finders Leapers. 

“I’m just saying, I should get to interrogate her too! I’m one of your best friends. I’m the one who said she’d be perfect for you!”

Esteban rubbed his temples in annoyance at his companion’s insistence that she talk to Zelia about their new relationship. Honestly, Dona Paloma was like a dog with a bone on the subject of his romantic life. First, trying to set him up, now this. And how the hell did they went from tariffs to this topic anyway?

“My family has already met her over dinner and like her, and you didn’t set us up. We’ve known each other for years before you even suggested I go out with her.”

“But I’m the one who said you should date her. I set you up, I expect full credit at your future wedding. Can I plan it?”

Esteban facepalmed, groaning, “No, I’m not putting my wedding in your hands. And you don’t get credit for anything. My relationship with Zelia progressed without any interference from you.” 

“I just want to see how happy she is with you and if she deserves you,” Dona protested, swiping the hand that was still stuck to Esteban’s face. 

“She is enough for me.” Esteban snapped meaningfully at the insuination of Zelia’s character, “She is more than enough. It’s not a matter of whether she deserves me.” 

“Please, Esteban. It’s not fair. I’m practically your family. I’ve seen you at your worst. I don’t want you to be hurt again.

Esteban almost did a double-take at that comment. Dona never made any mention that she cared about his emotional well-being. Well not in such direct words. He would make a jab tthat she was getting soft about him but addressing their relationship or vulnerabilities was not their style.

“You haven’t seen me at my worst.” Arguing and contradicting each other was much more their style. 

“Uhhh the panic attacks. The multiple panic attacks. The time Shuriki found out you stopped her mercenaries from quashing a rebellion. The time when we failed to-” Dona began to list.

“Okay, fine,” Esteban sighed, conceding her point.

“I wasn’t agreeing to letting you check out Zelia,” Esteban corrected before Dona could start doing her ridiculous victory shimmy dance. 

“Too bad. I already set it up. I’m meeting her for lunch,” Dona smirked, snapping her fan open with a flutter. 

“What!” Esteban knocked his chair over in his suddenness and fell to the floor. Dona didn’t even have the decency to hide her laughter, “I knew you were going to be stubborn so I set it up anyway.” 

“But, you, her what are you going to say?” Esteban babbled frantically, already envisioning all the rude questions and embarassing stories coming out of the former Magister’s indiscreet, gossipy mouth. 

“Don’t look so horrified. I want you to be together. It’s only going to be half an hour. Just enough time to find out what I want to know. And tell her some things she should know about you.” Dona opened the door to exit Esteban’s office. 

“But. . . but. .”

“You know, good things. All good things in the best of light,” Dona winked. 

He was so fucked. 

Which is why, hours later, he was waiting outside of Dona Paloma’s emporium as Zelia Mendoza walked up from the palace. 

“Esteban what are you doing here?” Zelia asked in surprise. 

“Don’t listen to anything she says!” Esteban blurted, “You know how she loves to embarrass me and cause drama. So-so don’t take any of her questions seriously. And the stories are lies!” 

Zelia looked at Esteban’s flushed face for a moment and said slowly as to not agitate him further, “But if she likes embarrassing you, wouldn’t the stories be based on truth?”

“Yes, but they’d be so exaggerated that they’re lies. You don’t really have to have lunch with her. She’s not important. My family already loves you. I love you.” 

Zelia took Esteban’s hands in her own, smiling a bit at Esteban’s increasing hysteria. She found it amusing the more she spent time with him. “Esteban, it’s just a short lunch. Nothing she can say or do will alter how much I love you. It’ll be fine.”

Esteban inhaled deeply, some of the anxiety he felt drifting, “I just don’t want you to be. .” he searched for the word, “Offended. She wants to check you, see if you “deserve” me. But I don’t think that. I feel lucky to have you.” Zelia smiled fondly at her boyfriend. So eager to make her feel good and safe with him. So different from the distant and pompous chancellor she knew him as back when Shuriki was in charge and they had to work in secret to protect valuable artifacts from falling into her hands.

“I feel lucky to have you,” Zelia kissed him, “Now I’m going to go. This lunch will be fine. We’ve fought malvagos and deceitful queens and other awful people. I think I can handle a little lunch interrogation by your friend.”

“Can’t say she’ll remain my friend,” Esteban grumbled as Zelia walked inside. 

“Come in, come in!” Dona Paloma grandiosly swept Zelia past the rows of merchandise into her office where a tea tray was set up on her desk. 

Zelia took a seat on a plush wing-backed chair as Dona took hers at her desk, the sun shining brightly from the window behind Dona’s silhouette, causing the archeologist to squint.

“Sorry, we’re doing this so informally in my office but I have a meeting coming up. Maybe next time we can eat at a cafe. Perhaps La Vida Dulce. Has Esteban’s abuela shown you there?” 

Well that was quick. 

“Yes, yes, she has. Esteban and I sometimes bake chocolate there with the rest of the family,” Zelia replied, pouring herself a cup of chamomile. 

“Hmmm, that’s good. And how are Esteban’s cousins, do they like you? I hear how tough it is when the family doesn’t approve of you.” Dona raised a single questioning eyebrow, her eyes intently looking at her as if searching her face for a sign of weakness. 

Zelia bit the inside of her cheek at the laughably unsubtle questioning and managed a polite sip. No wonder the two clashed so much, they were too alike in their dramatics. 

“I-I think they approve of me. They’re so sweet. So energetic and full of life which is a bit of an understatement with Elena. But I understand why Esteban’s so close.” 

Dona nodded, “Good answer.” 

Zelia choked down a reply of how many points does she need to pass the test but instead took another sip and a bite of the tapas. Thank dios, there was tea. It was the only she was going to be able to remain looking serious through this.

“And how about your extended family? Have they’ve visited since you and Esteban announced your relationship? What do you do together with Esteban?” 

So so unsubtle. 

“My parents invited him to one of their lectures and dinners. Well sort of a potluck, everyone brought a dish and my mother loves to share off her famous pear and pomegranate shrub. They really liked Esteban. My father “interrogated” him about our future and all that.”

Zelia answered about to continue on how Esteban ventured to try to learn some more about her parents’ research and talk about their theses when Dona interrupted. 

“And Esteban had your mother’s famous pear and pomegranate shrub?” 

“No, no, no. He’s allergic to pomegranates.” Zelia shook her head, she was about to say that instead Esteban had some of the kebabs she made even though she had accidentally burnt the edges. Cooking was not her speciality but he was so sweet, eating it whole without complaint of its crispiness. 

“Ah, so you know about his allergies. Very good, he’s opening to you. You know how he likes to act like he’s invincible.” Dona paused and then looked at her intently as if realizing Zelia might not have known this privy information, “You do know that right?”

Zelia snorted but manahed to cough instead of letting the laugh slip out, “I think anyone who has ever met Esteban knows that.” 

Dona smiled genuinely for the first time since the beginning of this lunch, “He’s very. .” 

“Layered.” Zelia supplied. 

“I was going to say foolish at times to make up for his incompetencies, but layered is a much nicer way to put it. Good thing you’re the one dating him and not me,” Dona laughed.

Zelia nodded emphatically, from what she’d seen of their fights and the stories of Esteban, she was pretty sure they’d kill each other before the year was up. 

“Even though he’s a complicated an, Esteban is such a good catch. Handsome, somewhat mature, has a wonderful family, the title, the riches. . “ 

“Yes, but that’s not what really attracted me to him when I first met him,” Zelia admitted wistfully and with a bit of surprise at herself for falling for an obvious test question. It had come out so naturally/ 

Because it was true. 

The intense look in Dona’s eyes was back again as she indiscreetly leaned closer, “What did?” 

Zelia couldn’t help the unconscious smile that spread across her face as she wracked her brain for the exact words she was looking for. 

“I’I’ve been on my own most of my life. My romantic life was a desert to say the least. But Esteban. . . even though we butted heads and avoided each other at first, I’ve come to know his nobleness, his passion. He cares about people. He sees nuances in life and. . he knows what it’s like to have your life consumed by work, to feel your job defines you and you can’t be much more. Yet you want to be so much more. He encourages me to do what I want outside of work. I love that. I love how he makes me feel like life can be fun and exciting and hard and we can survive it with each other. . I just, there’s so many things. It’s his character. I love him.” 

“And he truly loves you too, Dona said softly, “You fit well. You know each other well.” 

A sly smie swept across her face as she leaned over conspiratorially, “I bet you know about Margarita.” 

“His mother, yes?" Zelia edged slowly, starting to suspect that the embarrassing stories that Esteban warned her about were going to be revealed.

“And you know how much he loves her and misses her. Well one night, after a few too many brandies, Esteban decided on the perfect way to honor her.” 

20 minutes later, Zelia left the store with a wave and almost walked right into Esteban who was pacing nervously outside. “How was it? What did she say? I love you more than anything.” 

“I told you, it was fine. She approves of me. We’re going shopping next week.” 

Esteban looked at her with a face of abject horror, “Ar-Are you friends now?” 

Zelia was almost tempted to say yes just to see his reaction but decided not push it, “No, I don’t know if we have enough in common to be best friends or anything. But we’re going to hang out. She’s going to get me discounts at the arboretum.” 

Esteban’s face visibly relaxed, “That’s it. She didn’t tell you anything? No stories?”

“Well. . .” 

Esteban groaned, slumping against the store’s door.

“I didn’t think they were that embarrassing. I thought it was sweet you wanted to honor your mom with a tattoo. It was the artist’s fault for thinking it was the drink and not the name.” 

“Ughh why?” 

[internetpersonality]

just wrote a comparison piece about my current book and fight club for english to turn into my teacher 💯

[yamamiya]

Y La Bamba - Hues feat. Devendra Banhart

Y La Bamba is an American indie alternative/experimental band led by singer-songwriter and guitarist Luz Elena Mendoza. She is a first generation Mexican American, and sings in both English and Spanish. The current ensemble includes Mendoza: vocals, guitar; Julia Mendiolea: guitar, bass; Antonio Montanez: drums; Gordon Walters: bass; and Isabeau Waia'u Walker: vocals, percussion. Y La Bamba has released five albums and two EPs.

[sixcostumerefs]

Happy Asian and Pacific Islander Month to our queens!

Here in the US, May is Asian-American and Pacific Islander month. So just like last year, I'll be highlighting the Asian and Pacific Islander queens of Six. This year is especially fun as there's currently an Asian or Pacific Islander queen in every currently-running replica production of Six!

Pictured: Aragon: Grace Mouat (Burmese, 1st UK Tour and West End), Nicole Kyoung-mi Lambert (Korean, pre-Broadway regional tour and Broadway); Jasmine Shen (Chinese/Hong Konger, Breakaway 1.0); Chloé Zuel (Mauritian, 2020 Sydney); Phoenix Jackson Mendoza (Filipino, 2021-23 Aus Tour); Kristina Leopold (Chinese/Thai/Indian, Broadway/Boleyn Tour); 이아름솔/Lee Arum-soul (Korean, South Korea); 손승연/Sonnet (Korean, South Korea) Boleyn: Andrea Macasaet (Filipino, pre-Broadway regional tour and Broadway); Cherelle Jay (West End and 2nd UK Tour); Amanda Lindgren (South Korean, West End); Sunayna Smith (Indian, Breakaway 3.0 and 5.0); 김지우/Kim Ji-woo (Korean, South Korea); ���수정/Pae Su-jeong (Korean, South Korea); Fiorella Bamba (Filipino, Bliss 6.0); Thảo Therése Nguyễn (Vietnamese, West End) Seymour: Jasmine Forsberg (Filipino, Aragon Tour/Broadway); 박혜나/Park Hye-na (Korean, South Korea); 박가람 /Park Ga-ram (Korean, South Korea); Singh Viki (Indian, Hungarian non-replica) Cleves: 김지선/Kim Ji-sun (Korean, South Korea); 최현선/Choi Hyun-sun (Korean, South Korea); Danielle Mendoza (Filipino, Breakaway 3.0/Boleyn Tour); Kardffy Aisha (Persian, Hungarian non-replica) Howard: Jaina Brock-Patel (Desi/Indian, 2nd UK Tour); Zoe Jensen (Filipino, Broadway); 김려원/Kim Ryeo-won (Korean, South Korea); 솔지/Solji (Korean, South Korea); Elysia Cruz (Filipino, Canadian); Hien (Vietnamese, Hungarian non-replica); Sierra Fermin (Filipino, Broadway); Alizé Ke'Aloha Cruz (Filipina, Bliss 3.0/Boleyn Tour) Parr: Shimali de Silva (Hong Konger/Sri Lankan, original student cast); Vidya Makan (Desi/Indian heritage, 2020 and 2021-23 Australian Tours); Shannen Alyce Quan (Eurasian, 2020 and 2021-23 Australian Tours); Karis Oka (2020 and 2021-23 Australian Tours); Megan Leung (Chinese/Hong Konger, Bliss 2.0 and Breakaway 5.0); Roxanne Couch (Maori, West End); Joy N Woods (Southeast Asian and/or Pacific Islander, Broadway); Elena Breschi (Filipino, Breakaway 4.0) 유주혜/Yoo Ju-hye (Korean, South Korea); 홍지희/Hong Ji-hee (Korean, South Korea); Aoife Haakenson (Taiwanese, UK Tour); Lauren Mariaoosay (Indian/Polynesian/Malaysian/Cambodian, Canada) Notes: - All information is from this post. There may be additional info or queens missing, as it's only information I specifically have been able to verify. This list also doesn't encompass the full breadth of many queens' identities; many of them are of mixed race and ethnicity, or of several nationalities. That post provides further information. - I usually don't include actors who haven't debuted. That means that Kimberley Hodgson and Deirdre Khoo (both of the recently-announced Australian Tour) and Fia Houston-Hamilton (cancelled Breakaway 2.0) are not included.

Credits: Aragon: anniekwithacamera; Lloyd Bishop; _jasmine_shen_; jamesmorganphoto; sixthemusicalau, unsure of origin; ymduck_pic; _young_img Boleyn: Sara Crulwich; jonalderson_; Pamela Raith; sunaynasmith; _young_img; _shannon1025_, unsure of origin; fiorellabamba; Pamela Raith Seymour: Joan Marcus; hbiiii._.iin; jjang_beautiful; Szabina Jardek Cleves: hbiiii._.iin; gren_pic; Joan Marcus; Szabina Jardek Howard: Pamela Raith, Joan Marcus, day_star_._, 890110kr; Joan Marcus; Szabina Jardek; sierrafermin; Joan Marcus Parr: sixthemusical, unsure of origin; sixthemusicalau, unsure of origin; daynaransleyphoto; daynaransleyphoto; meganswleung; Pamela Raith; michaelah.jpg; elenabreschi; yoozuyoozu, unsure of origin; jjang_beautiful; Pamela Raith; Joan Marcus

[elmartillosinmetre]

"Los compositores no dejan de sorprenderte"

[La trompista valenciana María Rubio durante la grabación del CD. / IBS CLASSICAL]

La trompista valenciana María Rubio presenta en IBS su primer disco como solista, un recorrido por música de nuestros días

Miembro actualmente de la Orquesta de Valencia, María Rubio es una de las más activas intérpretes españolas de su instrumento, la trompa. Acaba de presentar en IBS un disco con nueve obras escritas en el siglo XXI.

–¿Qué quiere hacer saber?

–[Risas] El título es de la obra de Elena Mendoza que cierra el disco. La idea del CD surgió durante el confinamiento. Me habían escrito algunas obras compositores como Voro García o Amparo Edo, y siempre me decía que ya que las había estrenado estaría bien grabarlas. Durante el confinamiento decidí aprovechar para hacerlo. Empecé a seleccionar obras y planteé dos encargos, a Elena Mendoza y Joan Magrané. La idea era incorporar lenguajes diferentes pero con un hilo: tenían que ser obras para trompa sola o con acompañamiento pero sin piano, así hay una de trompa y percusión, que es la de Elena; trompa y ensemble, la de Nina Šenk; trompa y trombón, la segunda de Voro García; trompa y electrónica, que hay dos, las de Vicent Gómez Pons y Joan Gómez Alemany. Esa era la idea. Estamos en el siglo XXI y la música actual bebe de muchos lenguajes diferentes. Son obras escritas en nuestra época pero con lenguajes más rompedores y más clásicos. Se hace saber que todo cabe en la música actual.

–Veo encargos específicos, obras ya dedicadas previamente a usted y obras dedicadas a quienes fueron sus maestros, como las de Jörg Widmann y Vicent Gómez Pons…

–Exacto. Eso servía para cerrar aún más el círculo. Cuando escuché Air de Widmann me encantó, y es una obra muy grabada, no sólo por Bruno Schneider, que fue en efecto mi maestro, sino por muchos trompistas, y me decidí a meterla, porque además era abrir el abanico de compositores, no hacer sólo música de compositores españoles. También metí luego la obra de Nina Šenk, que es eslovena.

–La trompa está en la orquesta clásica desde sus mismos inicios, pero ha tenido un papel secundario como solista, ¿a qué piensa que se debe?

–Sabemos que Mozart escribió más de siete conciertos, Strauss tiene dos, el repertorio es muy amplio. Pero es cierto que no sólo la trompa, sino los instrumentos de viento hemos perdido la batalla respecto a los de cuerda y al piano. Mire cualquier programación de cualquier orquesta española y compare los conciertos de violín, violonchelo y piano frente a los de viento programados durante una temporada. Luego te dicen que el público quiere conciertos de violín y de piano; el público quiere aquello a lo que lo acostumbras, a lo mejor hay que insistir más en conciertos para instrumentos de viento, porque por repertorio no es. Por seguir con la trompa, el año que viene toco la Serenata de Britten, que es un obrón, una preciosidad. Lo fácil es programar a violinistas y pianistas, con todo el cariño y todo el respeto, por supuesto.

–Hay mucho repertorio pero se programa muy poco…

–Exactamente. Vende más el Concierto para violín de Chaikovski que uno para trompa de Mozart. Eso es así.

–Y por qué…

–El violín o el piano son instrumentos más populares y fáciles para los abonados. Pero es que además solistas de viento que se dediquen sólo a ser concertistas hay relativamente pocos. No te puedes dedicar a ser solista porque no hay programación suficiente como para subsistir como solista. La mayoría somos solistas de orquesta y hacemos ese doble papel o te dedicas a ser profesor en una escuela de música. No puedes vivir de ser solista de viento. Los que viven de ello los puedes contar con los dedos de una mano.

[María Rubio con el trombonista Vicente Enrique Boix durante la grabación del disco / IBS CLASSICAL]

–Decía que su idea era presentar distintos lenguajes de la música actual, ¿puede comentarlos?

–El más clásico es el que usa Amparo Edo, que es una compositora de música de películas. Ella es jefa del departamento de música contemporánea de Berklee, Boston, la escuela por excelencia de música de cine. Es su lenguaje, y es muy buena en eso. Maruna es una obra que yo le pedí para un bis hace mucho, antes de que fuera famosa, porque ella fue alumna mía de trompa, y ese bis se transformó en esta obra. Las obras de Voro García, Elena Mendoza o Jörg Widmann están mucho más cerca de lo que identificamos como música contemporánea. Ellos trabajan mucho la tímbrica del instrumento, la forma de modificar el sonido, mediante recursos muy técnicos (pisar media válvula, jugar con la misma nota en posiciones diferentes, porque son armónicos distintos...). En el caso de la obra de Widmann, por ejemplo las resonancias al proyectar el sonido sobre la caja abierta de un piano; en el caso de la de Mendoza tengo que gritar a la vez que toco, es muy teatral, y en directo gana muchísimo. Las dos con electrónica son muy diferentes entre sí: la de Vicent Gómez fue una experimentación que se le encargó para el Congreso Internacional de Trompa que se celebró en Valencia en 2004, usa un lenguaje muy clásico que transforma mediante electrónica; en cambio la obra de Joan Gómez Alemany utiliza solos famosos del repertorio de la trompa (un concierto de Mozart, 5ª sinfonía de Chaikovski, Till Eulenspiegel de Strauss, Trío de Brahms o el motivo famoso de Sigfrido de Wagner), que reelabora mediante recursos técnicos de absoluta vanguardia junto con recursos melódicos y la electrónica. Las obras de Joan Magrané o Nina Šenk usan un lenguaje más convencional en el sentido de que está más cercano a la tradición.

–Para los encargos apuntó alto: Elena Mendoza y Joan Magrané son dos de los compositores más prestigiosos e influyentes de la actual música española…

–Sí, claro, ya que me ponía. En lugar de comprarme el coche, me he hecho un disco. Y ya está. Para los encargos me dejé aconsejar por Paco Moya y por Voro García, a partir de las obras que tenía ya y procurando que lo nuevo encajara con eso, pero desde una perspectiva diferente. Escuchando sus obras decidí apostar por ellos. Por ejemplo, Joan Magrané tiene una obra para trompeta sola que me encantaba, y la que me ha hecho bebe un poco de esa misma idea.

–¿Muchas técnicas extendidas en el disco?

–Todas…

–¿Está todo inventado ya?

–Pues acabo de estrenar una obra que encargué a Nuria Núñez para un Congreso al que acabo de asistir en Finlandia, y muestra una imaginación extraordinaria. Yo pensaba que lo había hecho todo y me demostró que aún se pueden inventar cosas. Lo que pasa es que luego hay que tener en cuenta el directo y la sala en la que toques, porque hay cosas que pueden funcionar muy bien en el estudio, pero en determinados auditorios a lo mejor no tanto.

–¿Qué es lo más raro que ha hecho con la trompa?

–Uf, no sabría decir, aunque lo de gritar y tocar alternativamente en la obra de Elena es muy heavy. En el uso de armónicos naturales tenemos ya el ejemplo clásico de Ligeti, que hizo una exhibición de eso en su Trío. En este disco hay de todo, y algunas cosas no las había probado. Por ejemplo a Joan Gómez le tuve que preguntar si quería determinadas cosas, que yo no había hecho nunca. Los compositores no dejan de sorprenderte, aunque la percepción de sus obras es diferente a la que tú tienes como intérprete.

[María Rubio en foto promocional / DAVID GIMENO VESES]

–¿Ha hecho todas las obras en concierto?

–Salvo las dos con electrónica, que son las más difíciles de programar, y la de Widmann, todas las demás sí.

–¿Las programa en ciclos de contemporánea o se atreve a meterlas junto a repertorio más clásico?

–Lo segundo. Esta es la idea. Lo contrario no me gusta demasiado, porque es crear un gueto para la música actual. Pienso que la forma de normalizarla es programarla con la clásica.

–¿Y la respuesta de la gente?

–Absolutamente normal. Mire. La obra con trombón de Voro García es un dúo que nos escribió para mi marido, que es el trombonista del disco [Vicente Enrique Boix], y para mí, una especie de discusión de pareja, y el año pasado la tocamos en un pequeño pueblo del interior de Valencia, que nos decíamos, cómo vamos a hacer esto aquí… Pues a la gente le encantó. Yo considero un deber hacer pedagogía, y la pedagogía empieza por explicar al público lo que hacemos: me dirigí a la gente para decirle que se tenía que olvidar de todo lo anterior porque íbamos a hacer algo muy diferente. Y les expliqué el trasfondo de la idea del compositor, que planteaba su obra como una discusión entre dos personas, y les puse en la pista de los motivos, a ver si eran capaces de identificarlos y seguirlos… Al final la gente vino para agradecerlo. Es una obligación. No podemos aislar la música contemporánea en festivales específicos. El mes pasado en Finlandia éramos todos trompistas y lo interesante de los conciertos es que se hacían amenos por la variedad de estilos. Creo que es lo mejor.

–¿Para quién está pensado este disco?

–Para todo aquel al que le interese el repertorio para trompa actual. Mi ambición no es que este disco se exhiba en El Corte Inglés y la gente vaya a comprarlo como compran (o compraban) discos de pop, pero dentro del mundo de la trompa tiene su espacio. El lunes [por el pasado 24 de julio] me voy al Congreso para trompa más importante del mundo, el de la International Horn Society, que se hace en Montréal, soy artista invitada, y cuando me invitaron hace dos años les dije ya que estaba preparando este disco y me pidieron justamente que por favor hiciera este repertorio. Hago tres recitales y en ellos presento las obras de Elena y Voro y estreno dos obras: el Trío de Roberto Sierra, que está grabado en IBS, pero no está estrenado en público, y otra obra que he encargado a Ramón Cardo para trompa y piano. En el tercer recital hago la de Voro, luego una obra de un compositor canadiense contemporáneo, la de Ramón Cardo, que es un lenguaje más jazzístico, y acabo con otro trompista portugués que toca en el recital haciendo una obra de Amando Blanquer para dos trompas y piano. Ese Congreso es el escaparate de los trompistas, está todo el mundo, es una promoción ideal y allí iré con mi CD, que está muy enfocado al mundo de la trompa. Ahora no haces un disco para venderlo. Lo haces para decir estoy aquí y esto es lo que puedo hacer con mi instrumento.

–Es su primer disco como solista, ¿le han quedado ganas para repetir?

–Sí y no. Por una parte sí. Me gustan los retos. Los retos me hacen mejorar. No toco igual que hace un año o dos. Voy mejorando. Todo aquello que técnicamente es un quebradero de cabeza, que te exige resistencia física me gusta, porque luego más allá de lo físico y lo técnico, hay que darle un sentido musical a las obras, que para mí es el reto más difícil cuando haces música contemporánea. Así que por ahí, sí. Pero por otro lado, uf. Es mucho trabajo y mucho dinero, porque esto me lo pago todo yo. Y también le digo que he cuidado mucho la imagen. El mundo del Clásico está a años luz del pop en este sentido. Creo que los músicos deberíamos vendernos mejor, aportar valor al producto a través del envoltorio, los textos... Ya que me he gastado el dinero, decidí que lo hacía lo mejor posible, y creo sinceramente que el esfuerzo ha valido la pena.

[Diario de Sevilla. 30-07-2023]

EL CD EN SPOTIFY

[the-bi-library]

Here is the final part of the bi4bi books posts!

I'd appreciate it if you let me know if there are any more bi4bi books that I didn't include here 💕

Books listed: They Never Learn by Layne Fargo If We Were Villains by M.L. Rio Silver Nitrate by Silvia Moreno-Garcia The Drowning Summer by C.L. Herman Case Sensitive by A.K. Turner Missing, Presumed Dead by Emma Berquist Her Soul to Take by Harley Laroux Iron Widow by Xiran Jay Zhao City of Shattered Light by Claire Winn City of Vicious Night by Claire Winn The Light Years by R.W.W. Greener The Apocalypse of Elena Mendoza by Shaun David Hutchinson Tell Me Anything by Skye Kilaen Her Scarlet Letters by Cat Giraldo Break Free by Raleigh Ruebins Modern Divination by Isabel Agajanian Caroline's Heart by Austin Chant The Door Into Fire by Diane Duane The Stone Prince by Fiona Patton Swordspoint by Ellen Kushner Wolf, Willow, Witch by Freydís Moon When the Stars Alight by Camilla Andrew Love at First Set by Jennifer Dugan Cleans Up Nice by Margo Phelps Educated by Nellie Wilson Queried Sick by Dallas Smith Chance Agreement by Margo Phelps Sirens & Muses by Antonia Angress Release by Suzanne Clay Orphia and Eurydicius by Elyse John Crown of Starlight by Cait Corrain To Beg or Not to Beg by Cat Giraldo Two Winters by Lauren Emily Whalen Electric Idol by Katee Robert Neon Gods by Katee Robert The Scandalous Letters of V and J by Felicia Davin The Spinster's Swindle by Catherine Stein Rocky Mountain Freedom by Vivian Arend Um traço até você by Olívia Pilar Biforia by Rebecca Romero Escalando Você by Rebecca Romero Entre estantes by Olívia Pilar → translated Between Bookshelves by Olívia Pilar Honor Among Thieves by Rachel Caine Victories Greater Than Death by Charlie Jane Anders The Stars Undying by Emery Robin Legend of Korra: Graphic Novels Harley Quinn: The Eat. Bang! Kill. Tour Novels Seven Days: Monday–Sunday by Venio Tachiban Brimstones and Roses It Would Be Great If You Didn't Exist My Werewolf Girlfriend The Fiancée Farce by Alexandria Bellefleur Xeni by Rebekah Weather

Part 1

Part 2

[lightleckrereins]

The end of an era: Six cruise productions have officially closed

13 productions (plus two cancelled ones), four and a half years and 103 queens later. A chaotic but iconic era in six history is over.

Candace Furbert, Hazel Karooma-Brooker, Caitlin Tipping, Sophie Golden, Alicia Corrales, Viquichele Cross, Natalie Pilkington, Bryony Duncan, Lori McLare, Jasmine Jia Yung Shen, Kelly Sweeney, Amy Bridges, Jessica Niles, Georgia Carr, Amelia Walker, Liv Alexander, Elizabeth Walker, Jade Marvin, Lucy Aiston, Gabriella Stylianou, Scarlet Gabriel, Rebecca Wickes, Megan Leung, Abbi Hodgson, Sophie-Rose Middleton, Artemis Chrisoulakis, Ellie Sharpe, Melinda Porto, L'Oréal Roach��, Wesley Carpenter, Maya Christian, Brianna Brito Mooney, Meghan Dawson, Marilyn Caserta, Ashlee Waldbauer, Lauren Irving, Danielle Mendoza, Shelby Griswold, Kennedy Monica Carstens, Abigail Sparrow, Jarynn Whitney, Madeline Fansler, Channing Weir, Gabbi Mack, Casey Esbin, Ellie Wyman, Sasha Renae Brown, Nicole Lamb, Aja Simone Baitey, Willow Dougherty, Kayla McSorley, Jessie Bodner, Jasmine Hackett, Janice Rijssel, Lucia Valentino, Elena Breschi, Princess Sasha Victomé, Rae Davenport, Gianna Grosso, Kathryn Kilger, Reca Oakley, Jillian Worthing, Bethany McDonald, Sunayna Smith, Hannah Taylor, Sarah McFarlane, Eden Holmes, Fiorella Bamba, Lucinda Wilson, Haley Izurieta, Caitlyn De Kuyper, Amanda Simone Lee, Gabriella Boumford, Meghan Corbett, Analise Rios, Ruby Gibbs, Cydney Clark, Caroline Siegrist, Eloise Lord, Deirdre Duncan, Audrey Fisher, Lorren Santo-Quinn, Billie Kerr Amelia Atherton, Giulia Marolda, Izzy Formby-Jackson, Laura Blair, Maddison Firth, Emily Harrigan, Kara-Ami McCreanor, Sadie Hurst, Adrianna Glover, Alizé Ke'Aloha Cruz, Kristina Walz, Chelsea Lorraine Wargo, Emily Rose Lyons, Meg Dixon-Brasil, Lois Ellise, Jasmine Smith, Jaelle Laguerre, Kate Zulauf, Brooke Aneece, Hannah Lawton

Plus Gabrielle Davina Smith, Melissa Ford, Kaylah Attard, Fia Houston- Hamilton, Rhiannon Bacchus and Rhiannon Doyle who were set to join Breakaway before lockdown.

[desdasiwrites]

The apocalypse began at Starbucks. Where else did you expect the end of the world to start?

– Shaun David Hutchinson, The Apocalypse of Elena Mendoza

[book-quotes-and-moodboards]

Who came up with the incredibly brilliant idea of putting locker rooms in high schools? Being a teenager means surviving puberty. It means dealing with acne and awkward changes to our bodies that don’t make any sense. It’s the most vulnerable time in our lives, even though we’re all going through it, and often the easiest way to deflect our insecurity is to make fun of anyone who’s different. So, sure, let’s dump gasoline on that fire by forcing us to publicly expose our freaky, misshapen bodies before and after mandatory athletic competition. Sounds like a super plan.

The Apocalypse of Elena Mendoza (by Shaun David Hutchinson)