Jaume Plensa in Montserrat

Jaume Plensa will install a sculpture in the atrium of Montserrat

Jaume Plensa will install a sculpture in the atrium of Montserrat

The sculptor Jaume Plensa will install next May a sculpture in the atrium of the basilica of Santa Maria de Montserrat and, at the same time, will inaugurate an exhibition in the Pere Pruna art space of the Montserrat Museum.

The director of the center, Father Josep de C. Laplana, explained to Efe that the sculpture, which represents the face of the daughter of a friend of his, will be placed when the pavement of the atrium is finished and will remain in that place six months. Subsequently, it will be decided if the work remains or changes its location.

The installation of this piece on the outside of the basilica will culminate the restoration of the atrium, where in recent months sculptured, sgraffito materials have been cleaned and the marble pavement has been repaired. Father Laplana has indicated: “Whether or not the work remains depends, first, on Jaume Plensa, and then on the community. It is a decision that should not be taken hastily. ”

The relationship between the Benedictine community and the sculptor arose as a result of the organization of some conferences, to which, finally, the artist could not attend because he was traveling, and then “there was talk that he could plant one of his sculptures for six months in Montserrat “. Regarding the exhibition, which can be visited until November, he said that he will have a selection of drawings and graphic work.

Born in Barcelona in 1955, Jaume Plensa is today one of the creators of monumental works more recognized in the world, although “before anything” is considered a sculptor. His references include literature, poetry, music or thought and his works have to do with the “physical and spiritual essence, conscience, moral codes or the relationship of being with nature.”

He exhibits regularly in galleries and museums in Europe, the United States and Asia, and a significant part of his work is exhibited in public spaces, with pieces permanently installed in cities in Spain, France, Japan, England, Korea, Germany, Canada, United States United or China.

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The Vienna Philharmonic was in Barcelona

The legendary orchestra and baritone Thomas Hampson shine in the Palau de la Música in a scheduled evening for a luxury cruise

Vienna Philharmonic

A curious and unusual evening. That such a legendary orchestra like the Vienna Philharmonic landed Thursday at the Palau de la Música from the boat ‘Mein Schiff 3’ to act for clients of a luxury cruise it is not something that happens too often. In its 170 years of history this is the fourth time that the components of the mythical formation traveling with some music lovers tourists have paid between 4,682 and 10,361 euros to share music on board activities and enjoy exclusive concerts in the land of such exquisite quality as that of Barcelona.

BRONZED EXPEDITIONARY

Half an hour before the start of the gala entrance to the ‘hall’ modernist building and the bar ‘foyer’ seething with agitation a thousand elegant and tanned expeditionary who had arrived in several buses after landing at seven in the afternoon, the Barcelona port from Toulon. The incessant flashing of flases their mobile phones, with photos to remember and also of the facade and sculptures of Jaume Plensa, denoting clearly that those who entered, admired the concert hall were not the usual fans the different programs of the institution.

Looks skyward enclosure and the muses and figures multiplied stage while the cameras were still operating at full capacity. The Legion of cruise passengers occupied the stalls and first floor of the enclosure. Part of the second was reserved for the Barcelona fans who had purchased tickets at prices between 30 and 60 euros after hearing the web of Palau that this concert was held. Many of them were surprised that it had not been announced because unaware that the purpose of the gala was to serve travelers ‘Mar & Music’ circuit had hired the room.

AMATEUR CLASSIC

Cruise customers of different nationalities, including Spaniards also exhibited their own behavior classical fans, scrupulously respecting pauses and silences. The bravos and applause dedicated to musicians and the great American baritone Thomas Hampson were always selective. some familiarity is appreciated with members of the orchestra, with whom they share life on the boat since May 5, attending rehearsals, chamber concerts and recitals with renowned singers, besides having enjoyed another gala at Florence, May 9, with the orchestra conducted by Zubin Mehta.

BRIGHT CONCERTINO

The training was presented at the Palau with fifty musicians to develop appropriate plans and no master plan. The responsibility for a success of the evening was given by the brilliant concertmaster Rainer Honeck and we must hasten to say that the sound of the majority rope was compact, accurate and deploying the naturalness of who dominates this repertoire, the ‘Symphony, number 5 ‘Schubert. The quality and crisp and noble timbre of Hampson shone in the ‘Gypsy Songs’ Dvorak, although the volume of the orchestra made him raise the vocal tone in a cycle that usually is interpreted with piano accompaniment or a chamber group. A tip with an ‘Lied’ Mahler completed his heroics.

Arrogance was the interpretation of the envelope ‘Transfigured Night’ Schoenberg, who moved us the emotional atmosphere of the moods and feelings of the poem by Richard Dehmel, which is inspired. A bis Mozart capped a great concert prologue of the event in Palau 100, on June 27, with Viennese training, this time directed by Daniele Gatti. Do not miss it.

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Jaume Plensa and the music Palace of Barcelona

‘Carmela’, the structure situated at Sant Pere més Alt, represents the face of a girl in Barcelona

Jaume Plensa Barcelona

The sculptor Jaume Plensa already has one of his large sculptures in Barcelona and outdoors. But it is not his sculpture at sea by the harbor project announced that it has never come to start, but a custom of the Fundació Orfeó Català-Palau de la Música Catalana which actually includes four works three inside the building and a front facade, and all installed by a bounded time.

Plensa has provided two bronze sculptures, two meters high, Sanna’s dream and Rui Rui’s dream, Lluís Millet in the room; Silent music III, stainless steel sculpture painted white with marble stones, installed in the Foyer of the Palau, and already on the outside, on the corner of Sant Pere més Alt and Petit Palau, the part named Carmela, iron cast, and 4.5 meters high. The first three will be until May 16 and the fourth will stay until September 18th.

The sculptor, during the presentation, has expressed gratitude to Palau de la Música by exposure and efforts that had to be done to obtain the necessary permits for installation in the place of choice on the street. And for the opportunity it gave him to exhibit for the first time a work as Carmela that “represents a girl from Barcelona, ​​a Mediterranean beauty, a beauty out of time, archaic and future, which has perhaps not yet discovered that interests the art”. This work is inspired by a teenager from Barcelona, ​​where two years ago, when I was 14, photographed and scanned her face, eyes closed, until a three-dimensional image which is then manipulated to obtain a compressed form. “For me this process is the fusion between photography and sculpture, between the ephemeral and the eternal, and ultimately between the human and the divine,” explains the artist. Regarding the two sculptures located in the Millet room last summer could be seen at the Museum of Ceret, Plensa explains that it is the faces of a girl Sweden (Sanna) and Shanghai (Rui Rui) “to engage in a dialogue in silence and think this is the best tribute to the musicians, who know better than anyone the silence. ” For the author, “the portraits of these girls precisely because of its fleeting, changing beauty, are a metaphor for all of us” .The other sculpture represents the body of a human being constructed with musical notes and scores. “It is a reference to the musicians who have managed to create a common alphabet.” The artist has also very pleased with the fit between the decorative excesses of modernism of Domenech i Muntaner and sobriety and simplicity of their work.

Mariona Carulla, President of the Fundació Orfeó Català-Palau de la Música Catalana, explained that the exhibition is part of the project started five years ago to accommodate in the building other works of art that were not music and is delighted with the Carmela location. Asserting that “the city is indebted to Plensa has said:” Today has been a neighbor and told me where to sign for him to stay forever. ” In the same line he expressed the general director of the Palau de la Música, Victor García de Gomar, for whom Plensa’s work “is a transgression that speaks of beauty and poetry.”

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