Reviews on Paula Coronas

Reviews on Paula Coronas

DIARIO DE CÁDIZ. CÁDIZ YEAR 2011

Article in Diario de Cádiz about concert in Teatro Falla
See article

COVER MAGAZINE RITMO MARCH 2011

Interview article in Magazine Ritmo

Cover Ritmo March 2011

See interview article

DIARIO SUR. MÁLAGA YEAR 2011

Article in Sur about concert in Auditorio Nacional
See article

DIARIO SUR. MÁLAGA YEAR 2009

Article in Sur about recording of Spanish composers
See article

Paula Coronas. Magazine Ritmo, number 823. October 2009

- Press review: Review from Ritmo

Book Paula Coronas. Magazine Melómano, number 146. October 2009

- Press review: Review from Melómano

REVIEW ON THE CONCERT IN CDMC. AUDITORIO 400 REINA SOFÍA IN MADRID 19 November 2007

- Press review: Review from El Punto de Las Artes
- Press review: Review from La Razón

OPUSMUSICA – Admiring García Abril (by Hertha Gallego de Torres)

Antón García Abril, Poeta de vanguardia (“Antón García Abril, Avant-guard Poet”), Paula Coronas, (Ediciones Maestro, ISBN: 84-933370-7-2) (includes CD).

Antón García Abril (1933) has recently been awarded the prestigious Tomás Luis de Victoria Prize, making this the latest milestone in a prolific musical career.
Part of the “Generation of the 50s” in Spain, but always with his own very personal characteristic contribution, this brilliant scholar of the Real Academia de Bellas Artes de San Fernando possesses, amongst other distinctions, a considerable repertoire covering every genre, its particular high points being Piano Sonatina (1954), Prelude and Toccata (1957), Sonatina del Guadalquivir (1982), Seis Preludios de Mirambel (1984-87), Zapateado (1995), Balada de los Arrayanes (1996), and Madrid (1948-1998), etc... In 2004, the Asociación Cultural de Jóvenes Músicos Turolenses (cultural association of young musicians from Terual), driven by the desire to establish a permanent tribute to the composer’s piano oeuvre, created − with the wholehearted support of politico-cultural institutions − the Concurso Nacional de Piano Antón García Abril (National Antón García Abril Piano Competition) with the double objective of disseminating his piano work, and, at the same time, supporting young Spanish performers. It is based on the principle that the competitors must perform García Abril’s own works, on top of other regular works from the repertoire. This has added numerous piano pieces to the composer’s oeuvre, further enriching it, if that is possible. Amongst his latest contributions, created for this competition ­− although many have already been premiered elsewhere − are Diálogos con la luna, Cinco Microprimaveras,and Las Tres Baladillas

For her part, the Malaga pianist, Paula Coronas, admits to being a devoted admirer of García Abril’s work, whom she regards, significantly, as an “avant-guard poet” − which is the epithet she accords him in the title of the book/CD that she has dedicated to him, in the series entitled Perfiles armónicos. The work consists of a biographical section, written with extreme affection, in which we could paraphrase the verses of the poet Francisco Brines,

no repite los hechos como fueron, de otro modo
los piensa, más felices
 
porque
 
nunca sabremos por qué la memoria ha sepultado
aquel día y ha elegido aquel otro para su salvación

(“Do not recall things as they really happened,
But think of them in another, happier way”

because

 “We’ll never know why memory has consigned
One day to hell, and kept the other for its heaven.”)

 

We would highlight in these pages the portrait of Aurea, Antón’s mother, who helped him so much in his career, the pretty photographs - both family and professional, and the story borne of a joyfully lived existence.

The value of this book resides in the bringing together, with lyricism and sincerity, of a performer who is dazzled by the work of García Abril, far beyond the amazement she feels for her contemporaries. It is from this point of view, subjective if you like, but profoundly vivid, that it must be understood. The focus has therefore been steered towards the better-known compositions, without any pretension to being an exhaustive musicology. Apart from drawing an ample outline of what was the Terual composer’s job, Paula Coronas provides a detailed analysis of works that she herself has played so often and so very well. This, and markedly so, is one of the great successes of the book, and where there resides, in our opinion, its greatest interest, other than the fact that the recording that comes with it contains such beautiful works as la Sonatina del Guadalquivir, las Piezas Griegas, three of the Preludios de Mirambel, la Sonata de Estaciones, and the utterly virtuoso Balada de los Arrayanes, in a performance that exudes freshness and grace. The beginning of the collection is promising. We look forward avidly to the later instalments.

MÁLAGA HOY 3/12/2006. FERNANDO ANAYA GÁMEZ:

THE VERSATILE Paula Coronas

Place: Antiguo Conservatorio María Cristina in Malaga.
Date: 2 December 2006.
Programme: Serenade for Strings in A, by Dvorak and Nocturnos de la Anterqueruela by A. García Abril.
Performed by: Orquesta de Córdoba (Cordova Orchestra).
Soloist: Paula Coronas, piano.
Conductor: Pablo González.

“Here in the second part, the spectators enjoyed Nocturnos de la Antequeruela by Antón García Abril. An unbeatable opportunity to learn more about the compositions of the man from Teruel through the multiple and accomplished facets that the young pianist from Malaga, Paula Coronas, continues to display. The first, as a researcher: let us keep in mind the comments on this work in particular that she made in her book “Antón García Abril: Poeta de Vanguardia”, in which she expounds upon the origins of the immortal Falla’s evocations of Granada. What is more, she reveals to us that the performance of the work is always a guaranteed success. So, with her second facet – that of performer − she reaffirms this on the piano with impeccable technique, personality and aplomb, with pieces of such calibre, and in passages such as la Cadencia. Very effective in the use of the pedal, with a balanced and notably expressive phrasing, reflective, and, without the score, concentrating 100 percent on her execution; her constant communication with the orchestra and conductor lifted the performance to the height of true lyricism, in short, affording us the genuine landscape that the composer himself, present in the hall yesterday, experienced in the Carmen de la Antequeruela.” 

“Personally, I always believed in perseverance, dedication, and industry, as the best tools for achieving rewarding results at all possible levels. Setting a creditable example, Paula Coronas achieves this in her daily work, nowadays with a third facet, pedagogy - over and above her post as a professor - in the shape of Artistic Director of this festival. Certainly, her vitality and verve will continue to surprise music lovers eager for greater musical dissemination.”


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DIARIO SUR MÁLAGA 1994. MANUEL DEL CAMPO::

Malaga Symphony Orchestra. Conductor: Juan Rodríguez Romero. Soloist: Paula Coronas. Mozart’s Concerto No. 14 for piano and orchestra.

“An outstanding performance from Paula Coronas, with enviable aplomb and assurance based on an excellent technique and style”.

DIARIO SUR MÁLAGA. 21 January 2000. MANUEL DEL CAMPO:

Malaga City Orchestra. Conductor: Gregorio Gómez. Soloist: Paula Coronas. Nocturnos de la Antequeruela by the composer Antón García Abril.

“An utterly brilliant piano interpretation of exceptional refinement and technique, particularly in the execution of the arpeggios along the length of the keyboard, as well as in the rhythmic and melodic aspects, with the added extra that she tackled the contemporary opus from memory.”

CORREO DE ANDALUCÍA . SEVILLE. 15 January 1996. FRANCISCO MELGUIZO.

Recital in the Escuela de Estudios Hispanoamericanos in Seville. Review extract.

“With a very well-rounded technique, a steady and sound interpretation, and a full sound: a consummate maestro. The delightful melodic quality of Schubert and the complicated notation of Lizt serve admirably to test a pianist’s qualities, which she affirmed here with the verve of Bela Bartok’s Suite, Opus 14. Enthusiastic ovation that ended with three encores: Fireworks by Debussy, Sacromonte by Joaquín Turina, and la Habanera by Ernesto Halffter”.

DIARIO DEL ALTO ARAGÓN. 26 January 2003. TERESA DEL PUEYO. HUESCA.

Recital dedicated to Spanish music.

“The Paula Coronas concert was exceptional in its virtuosity. Coronas displayed her great technical qualities and an excellent grasp and interpretation of our Spanish music. During the first part, she performed las Cuatro Piezas Españolas by Manuel de Falla, full of rhythmic racial contrasts, sensitivity, and mystery, stamping each of them with the appropriate characteristic style. There followed the outstanding sweetness and intimacy of los Valses Poéticos by Enrique Granados, which the pianist performed with great sensitivity and expressiveness, followed by el Allegro de Concierto, in which the performer showed great virtuosity.”

DIARIO SUR MÁLAGA 2000. FRANCISCO GRIÑÁN:

In the words of the maestro, García Abril:

“The Malaga pianist, Paula Coronas, is the performer of Nocturnos de la Antequeruela. On this performer fell the weight of this difficult and complex piece, which presents a challenge. For this, an extraordinary insight into the music, a particular sensitivity, and much hard work are required. Paula Coronas has mustered all these exigencies in order to attain a very high standard.”

OPUSMUSICA

Review in Opusmusica.com on the book El universo pianístico de Joaquín Rodrigo, by Paula Coronas.
See review


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