Oriol Ribera

Enjoy the ultimate city break with the most incisive and entertaining guidebook on the market. Whether you plan on exploring the Sagrada Família, hitting the tapas trail in La Ribera or chilling out on one of the city's glorious beaches, this new edition of The Rough Guide to Barcelona will show you the ideal places to sleep, eat, drink, shop and visit along the way.

Immediately after listening to “Tralará”, the first thought that comes to mind is that TRONCO is a like a group from a story. And now you’ll answer that with this kind of title the play on words is too easy. No. We hope nobody stops at the simplest reading. Not even because Conxitais an illustrator and has created such a special packaging for this album, comic included. No. Their songs are a journey to fantasia, with that mix of imagination and ingenuity, unpredictability and craziness, with just the right amount of irreverence and a certain punk spirit. Something like a Spanish YOUNG MARBEL GIANTS. Folk, pop, bedroom techno-pop, psychedelia, and, we already said it, punk. Yeah, you guessed it. They are unclassifiable. But for real.

Insight Guides Explore Barcelona

On their newest recording for Glossa, Graindelavoix and Bjorn Schmelzer present a fascinating array of Renaissance motets based on the theological concept of creatio ex nihilo, creation out of nothing, as exemplifed in the mystery of the Incarnation, the idea of God becoming a man. Well- known pieces like Josquin Desprez's Praeter rerum seriem are combined with less famous works by the same composer, and very fne contributions by Obrecht, Ockeghem, Ribera and Wert. Bjorn Schmelzer bases his intriguing approach to the performance of these pieces on a 1561 quote by the Flemish Protestant pedagogue Johannes Molanus: "[Mensural polyphony] is a singing without sense or content, in which the voices are resounding emptily in so-called proses, motets, and artifcial songs in foreign languages, ornamented for the delectation of the ears, which have no meaning that could be understood even by the singers themselves."

On their newest recording for Glossa, Graindelavoix and Bjorn Schmelzer present a fascinating array of Renaissance motets based on the theological concept of creatio ex nihilo, creation out of nothing, as exemplifed in the mystery of the Incarnation, the idea of God becoming a man. Well- known pieces like Josquin Desprez's Praeter rerum seriem are combined with less famous works by the same composer, and very fne contributions by Obrecht, Ockeghem, Ribera and Wert. Bjorn Schmelzer bases his intriguing approach to the performance of these pieces on a 1561 quote by the Flemish Protestant pedagogue Johannes Molanus: "[Mensural polyphony] is a singing without sense or content, in which the voices are resounding emptily in so-called proses, motets, and artifcial songs in foreign languages, ornamented for the delectation of the ears, which have no meaning that could be understood even by the singers themselves."

Il corposo carteggio bilaterale fra Federico De Roberto e la nobildonna Ernesta Valle Ribera, ribattezzata Renata (perché "rinata" all'amore) o Nuccia (diminutivo di "femminuccia"), copre un lungo arco di tempo in un intricato, pertinace intreccio di temi intimi e letterari. Un'ardente storia d'amore che ci rivela aspetti ignorati dell'austero e schivo autore de "I Viceré" e insieme della vita mondana, sociale, culturale dei due poli fra cui si snoda, Milano e Catania, dalla fine dell'Ottocento ai primi del Novecento…

Antonio Banderas’ Spanish-language production of Stephen Sondheim and George Furth’s Company is as intelligent and as nuanced as it is bright, bold and brassy. A cast of Spain’s finest musical-theatre talents (on and off stage), an orchestra to rival (surpass, even) anything you’ll hear on Broadway, a seemingly bottomless budget and of course a Hollywood-calibre leading man is as close to a sure-thing guarantee that you’ll ever get in musical theatre, and, ¡vaya!, does it deliver!