Music

Longum Vitae Suspirium

From the original idea argued by José Saramago and Emilio Aragón, the antithesis between good and evil in the personification of Cain and Abel, both authors derived towards a recreation of the cosmogonies of different cultures, during the process prior to creation. The character of Cain would be at the writer’s mercy, who would make him the protagonist of his last book, while Pilar del Río, now Saramago’s widow, led the dialogue towards a collection of poems from 1975: The Year 1993. Fernando Gómez Aguilera made from it a selection in agreement with the writer. Aragón, always tending to extract musical figures from the ones that his texts provide, has found a great profusion of enormously suggestive images here that emerge from the musical fabric along the nine frag-ments that make up the piece.

José Ramón Encinar.

Tangos, Habaneras y otras Milongas

“Acullá (for string quintet with piano)” in Tangos, Habaneras y Otras Milongas by Rosa Torres-Pardo/Cuarteto Assai

Carlitos y el campo de los sueños

SYNOPSIS

At 12 years old, Carlitos wants two things above all else: a family, and to play football. But he is an orphan, and don Hipólito, the director of the orphanage where he lives, hates sports. His luck will turn when the National Football Federation organizes a competition to create the team that will play in the European Junior Championship. Carlitos, with the help of his friends, will manage to go to the trials and, thanks to his talent, he will be called to play for the national team! At first, what seems like a joy will become an obstacle race: sneaking out of the orphanage without being seen, training secretly, passing exams, etc. But Carlitos has Diego on his side, his coach and friend, who will guide him to make his dreams come true.

DIRECTOR’S REFLECTIONS

Carlitos intends to be a gentle film, an opportunity to go to the cinema with the little ones and enjoy sharing their dreams and understanding their fears. It is a commitment to prove to ourselves that family cinema is necessary, and from there, it will always have a place. It is probably that kind of risk that is worth taking, because no matter when, no matter where, at some point in our lives we all feel the need to become children again. In this gratifying project, it is fair to highlight the professional and human profile of the entire team. The actors, both those who are consecrated and those who make their debut in this profession, as well as those who do it almost in life, have turned the set into a place where they can recover innocence and childish excitement. The director, in his first film, the scriptwriters, the producer, the photography director and every one of the professionals who have worked on Carlitos have left a little piece of their soul as a child in it, and we hope it will be the one that also captures the public.

Pasión Española

Emilio Aragón backs the mix of the whole album of coplas, Pasión Española, interpreted by Plácido Domingo, and he is in charge of the orchestration of the songs: Falsa Moneda, Ojos Verdes and ¡No Me Quieras Tanto!

“The copla tells a three or four-minute story, I call it a mini-opera, which tries to reach people deeply through text and music. That story must be felt with passion and must be sung with temperament, with warmth, with sense. In Mexico, I was able to listen to the best performers, and in this recording, I remember with admiration those great art-ists who inspire passion in people.”
Plácido Domingo

Hace tiempo pasó un forastero OST

A man travels back in time thirty years to the small Castilian village where he was born, to avenge his father. The events are recalled and analyzed by a local and a police sergeant trying to find the answer to something incredible.

El rompecabezotas Main Theme

A contest in which after each correct question, a piece of the puzzle is revealed until the participants guess its content.

Bach to Cuba

SyNOPSIS

Emilio Aragón conducts the Tenerife Symphony Orchestra (performing the classical part) together with three Cuban percussionists and Alain Pérez on the double bass. The challenge is to integrate Afro-Cuban rhythms into a classical context such as the Brandenburg concerts, for which Alain Pérez replaces the Bach basso continuo, typical of the Baroque, with the Cuban tumbao bassoon, giving adequate space for percussion, such as the guaguancó, conga, danzón, contradanza, son, bolero… and which could feel comfortable around violins.

DIRECTOR’S REFLECTIONS

“Musical projects that fuse different styles often respond to different concerns and needs. For me, Bach to Cuba has meant the opportunity to bring my own ambition into play, nourished throughout all these years by the contrast of a classical musical formation of an academic and disciplinary nature, and by my roots of deep Caribbean origins.”

Portrait OST

With the help of his muse, an artist struggles to overcome economic hardship, personal insecurity, addiction and hopelessness…

Los irrepetibles

Television program recorded in theatre, in which four actors and comedians are accompanied by a guest artist. They must carry out various improvisation tests following unknown premises. Inspired by Whose Line Is It Anyway?

Snow White

The Grimm brothers’ popular tale becomes music in the first composition of its kind for the author.