Nunez

In the 16th century, the ‘discovery’ of the Indies finally completed the human universe; it marked the beginning of a meeting between two worlds which, though violent, produced an unprecedented cultural wealth in their merging. However, the numerous historical, musicological and archaeological investigations of the sound cultures from this time have yielded few certainties. We do know, however, that this sound universe was interwoven in the baroque music of various composers, like that of Santiago de Murcia (1673–1739), an iconic figure of the late Spanish Baroque period whose work was the crucible where the sounds of both worlds, the New and the Old, were forged.

Yolanda Sonnabend's Fabergé-inspired designs evoke the world of Imperial Russia in Anthony Dowell's acclaimed production for The Royal Ballet of one of the world's best-loved ballets. Marianela Nuñez as Odette/Odile and Thiago Soares as Prince Siegfried bring new vitality to a compelling story of tragic romance. The Russian conductor Valeriy Ovsyanikov directs the Orchestra of the Royal Opera House in Tchaikovsky's lush romantic score.

When flamenco guitarist Gerardo Nunez puts pen to paper, he usually has only one thing in mind: music. However, when he started working on his newest album “Travesia” (“Crossing”), the long-awaited follow-up to 2004’s “Andando El Tiempo“, he wanted to tell a particular story that had moved him; the story of his friends Ahmed and Khaleb.

Jazzpana II assembles an equally stellar ensemble, with a heavier emphasis on the flamenco contingent. This is led by performer/composers Gerardo Nunez (flamenco guitar) and Chano Dominguez (Grotrian Steinweg piano), and filled out with Esperanza Fernandez (vocals on one track), Jorge Pardo (soprano sax), Carles Benavent (electric bass), Renauld Garcia-Fons (five-string acoustic upright bass), Tino Di Geraldo (drums) and Cepillo (cajon). The Jazz counterpart is headlined by Michael Brecker (tenor sax) and Fareed Haque (electric guitar) and rounded out with Perico Sambeat (alto sax).

Unfamiliar combinations in music can lead to surprising, captivating results. At the “Jazz at Berlin Philharmonic” concert in October 2014, series curator Siggi Loch presented Swedish guitarist Ulf Wakenius in a new and unexpected role: as second guitarist alongside the undisputed master of flamenco nuevo, Gerardo Núñez. The combination of Wakenius and Núñez has succeeded in sending the Jazzpaña project off into a wholly new direction. The Tagesspiegel described the occasion as a “mighty fiesta.” Sparks definitely flew, Núñez had an appetite for more of the same, and he invited his Swedish colleague straight back to Madrid for the re-match.

"Andando el tiempo" - the dynamic title is self-explanatory. As time moves on, so does one’s playing; and that has been an impulse behind the artistic development of Gerardo Núñez. He has always been one step ahead. That has brought him the status as a moderniser of flamenco. Gerardo Núñez is never a follower of trends. His work is defined by a strong personality which seeks its expression in flamenco. Gerardo Núñez goes his own way. He does that with a clear understanding and demonstrates it with his six strings.Already with his first release in 1987 "Flamencos en Nueva York" the world of flamenco resounded with an echo like a drum roll. In both technical and musical respects Gerardo Núñez can be dubbed an "innovator", even if he feels unhappy with such a description. "Talk about fusion, and above al…

Caprichio, part of Channel Classics' ongoing series focusing on the first chair players of the Royal Concertgebouw Orchestra, features Uruguayan bassoonist Gustavo Nunez. Considered one of the finest bassoonists of his generation, Núñez studied at the Musikhochschule Hannover and the Royal College of Music. While still a student in 1987, he was awarded the Prix Suisse at the International Competition in Geneva and the Carl Maria von Weber Prize in Munich. Nunez has held the position of principal bassoonist of the Concertgebouw since 1995. Included here are works for bassoon and string orchestra by Villa-Lobos, Gubaidulina, Dutch composer Kees Olthuis and Ururguayan composer Jaures Lamarque Pons.