The Barcelona-born siblings Júlia and Pau Serrasolsas have consolidated Ginestà as a unique proposal in the Catalan music ecosystem. A pop music attentive to the present and lyrics about the eternal circumstances of love continue to build a group that has just released its fifth album, Gira tot igual, però diferent (Halley Records, 2026). The presentation tour will begin on May 1st on the steps of Girona Cathedral, as part of the Strenes Festival programming.

The German director Christof Loy closed last season at the Liceu with a brilliant production of Rusalka, by Antonín Dvořák, with Piotr Beczala and Asmik Grigorian in the leading roles, both in a state of grace. Loy had the indispensable accomplice of set designer Johannes Leiacker, another master of clear lines and contained emotion, with whom he also worked on the staging of Jules Massenet's opera Werther, ten performances of which will be given at the Liceu from May 2 to 17, with a double cast. In the first (on the 4th, 7th, 9th, 14th and 17th), two singers debuting in the roles: Basque tenor Xabier Anduaga as Werther and German mezzo-soprano Kristina Stanek as Charlotte; two roles that in the second cast (on the 2nd, 5th, 8th, 11th and 16th) are sung by American Matthew Polenzani and AzerbaijaniElmina Hasan.

The best antidote to the banality of some talk shows is a debate with people who know what they're talking about. For example, four people whom the deputy editor of Culture at ARA, Xavi Serra, invited on Tuesday to the Sala Laya at the Filmoteca to discuss the canon of 21st-century Catalan cinema, the list of 267 films published by the newspaper and which can be consulted in a magnificent and exemplary interactive. "An excellent dossier, an unprecedented initiative with a survey in which 200 experts have participated to make a possible canon," as Pablo La Parra, the director of the Filmoteca (where there will be a meeting with Carla Simón this Wednesday), said. The interactive, by the way, also shows the 200 votes (each of 10 films). "It's a beautiful way to discover films, debate and talk about our cinema," says Serra, who imagined Tuesday's meeting as "an extension of the survey" and an opportunity to specify some of the characteristics of Catalan cinema; such as the naturalism that connects with certain European auteur cinema and the fruitful relationship between the language of documentary and fiction.

The best antidote to the banality of some discussions is a debate with people who know what they are talking about. For example, four people whom the deputy director of Culture at ARA, Xavi Serra, convened on Tuesday in the Sala Laya of the Filmoteca to talk about the canon of 21st-century Catalan cinema, the list of 267 films published by the newspaper and which can be consulted in a magnificent and exemplary interactive. "An excellent dossier, an unprecedented initiative with a survey in which 200 experts have participated to make a possible canon," as Pablo La Parra, the director of the Filmoteca (where this Wednesday there will be a meeting with Carla Simón), said. The interactive, incidentally, also shows the 200 votes (each of 10 films). "It's a nice way to discover films, debate and talk about our cinema," celebrates Serra, who imagined Tuesday's meeting as "an extension of the survey" and an opportunity to specify some of the characteristics of Catalan cinema; such as the naturalism that connects with certain European auteur cinema and the fruitful relationship between the language of documentary and fiction.

Thousands of videos and chronicles shared on social media and in the news have explained in detail the show that Rosalía premiered in Lyon on March 16. There has been an avalanche of aesthetic, scenic, musical, and even psychological interpretations of this show that has the album Lux as its backbone. With all these fragmentary impacts, it is possible to form an opinion about the concert, marvel at, and admire the proposal of the artist from Sant Esteve Sesrovires. However, experiencing the show live is something much more impactful, as she demonstrated in the first of the four concerts at the Palau Sant Jordi, all of them with sold-out tickets.

The Palau Sant Jordi in Barcelona is the next stop for Rosalía's Lux tour on April 13, 15, 17, and 18. On this ambitious tour, a huge leap in scale, the artist from Sant Esteve Sesrovires is not alone. This time she has surrounded herself with trusted artists and new collaborators who add talents in a show that is making history.

The same night he filled the Palau Sant Jordi, Joan Dausà set himself the challenge of filling a similar venue in Madrid or San Sebastián singing in Catalan. In the end it was in Madrid. The Basque group ETS (En Tol Sarmiento) took note of the challenge Dausà set for himself. "That's where the move came from," admits singer Iñigo Etxezarreta from Álava. The idea was to fill the Palau Sant Jordi and the Madrid Movistar Arena singing in Euskera. They perform in Barcelona this Saturday, April 11th, and in Madrid on May 25th. "There are people who believe that language can be a barrier, but what we do shows that it is not so. I believe that singing in Euskera brings its own sensibility, and it is also a cultural differentiation in such a globalized world," says Etxezarreta. Last year it was Fermin Muguruza who mobilized thousands of people to listen to music in Euskera at the Palau Sant Jordi, and now it's the turn of ETS, a band born under the umbrella of Basque punk-rock that gradually incorporated other musical sensibilities, some more pop, others more Latin, like bachata. "The concert will be a Basque cultural festival centered around Euskera, tradition, and oral transmission, but also a show with space for encounters with other cultures," explains the Basque musician.

The same night that he filled the Palau Sant Jordi, Joan Dausà set himself the challenge of filling a similar venue in Madrid or San Sebastián singing in Catalan. It finally happened in Madrid. The Basque group ETS (En Tol Sarmiento) took note of the challenge that Dausà set for himself. "That's where the move came from," admits the Alavese singer Iñigo Etxezarreta. The idea was to fill the Palau Sant Jordi and the Madrid Movistar Arena singing in Basque. They perform in Barcelona this Saturday, April 11, and in Madrid on May 25. "Some people believe that language can be a barrier, but what we do shows that it isn't. I think singing in Basque brings its own sensibility, and it's also a cultural differentiation in such a globalized world," says Etxezarreta. Last year it was Fermin Muguruza who mobilized thousands of people to listen to music in Basque at the Palau Sant Jordi, and now it's the turn of ETS, a band born under the umbrella of Basque punk-rock that gradually incorporated other musical sensibilities, some more pop, others more Latin, like bachata. "The concert will be a Basque cultural festival around the Basque language, tradition, and oral transmission, but also a show with space for encounters with other cultures," explains the Basque musician.

At Can Pastora there is no rush. "After the pandemic we said let's get together for a coffee to talk about making a record," recalls Caïm Riba (Formentera, 1974). "And a year went by before we met up," says Dolo Beltrán (Sant Boi de Llobregat, 1974), who at the time was performing Bonus track at Teatre Lliure. The intention was to celebrate the twentieth anniversary of the release of the album Pastora. And it ended up celebrating "25 years". "We can also say we are celebrating Lola's anniversary," adds Riba, referring to the song that catapulted the group to success and with a verse from which they are now playing to title the album 25 años buscando follón (Halley Records, 2026), which they will present this Friday, April 10th, at the Auditori de Girona as part of the Strenes festival program. "That album changed our lives," admits Beltrán.The new album brings together a dozen songs from Pastora's career, but it is not a conventional compilation. Each song features a special guest: Santi Balmes, Pedro Guerra, Macaco, Roger Padrós, María Peláe, Sommeliers, Delafé & las Flores Azules, Marc Parrot, Ladilla Rusa, and Marina Rossell. Too much time had passed since the previous album, Una altra galàxia

Surprisingly, Australian Kevin Parker turned Tame Impala into a headliner at many festivals. With expansive psychedelia and a talent for immersive melodies, he conquered prime-time slots and built a remarkable discography. To avoid getting stuck in the mire of comfort and repetition, Parker has been opening windows to other sounds, evident in the album Deadbeat (2025) which he is presenting on the tour that passed through Palau Sant Jordi yesterday, with tickets practically sold out. Incidentally, it was the first time he had given a concert in Barcelona outside of Primavera Sound, where he has performed five times. And as on previous visits to the city, he made a stop at the bar La Plata in the Gothic Quarter.

Feliu Ventura (Xàtiva, 1976) published a few months ago Quan el cel es tornà negre, a song against the management of the October 2024 storm in the Valencian Country, and in support of the victims and neighborhood solidarity. He has also included it in Tot el que hem guanyatperdent (Propaganda pel Fet, 2026), an album of domestic anthems, singer-songwriter music with electronic textures and a resilient and, despite everything, hopeful outlook.

Copy until the end, says the devil. Be careful not to be accused of plagiarism, recommends the lawyer. In any case, make a virtue of influence, don't hide it, we will all benefit, because it's about knowledge transfer. After all, music is a combination of familiarity and uniqueness. The avant-garde tightens the string of uniqueness, pursuing the chimera of originality. The mainstream demands familiarity, recognizable things. Between one and the other there is a long way to go, including copying and legitimate inspiration, issues that intellectual property legislation sanctions or protects. Nothing legitimate, however, is extractive plagiarism, such as dispossessing authorship or passing off what belongs to another as one's own.

The challenge was a big one: to put together an exhibition about the filmmaker Jean-Luc Godard (1930-2022), "one of the most relevant visual artists and thinkers about the image of the last hundred years". This is how Manuel Asín describes it, the curator of the exhibition Jean-Luc Godard. The fraternity of images, which can be visited at La Virreina Centre de la Imatge from March 28 to October 4. One of the challenges was to explain Godard in such a way that the exhibition "served as an introduction" to the director of films such as Breathless and Contempt, that it was not just a tour for specialists, that it avoided banal fetishism, and that it allowed for an understanding of the life and work of a mutant and often contradictory thinker. Another challenge has to do with Barcelona, a city where not long ago the CCCB successfully programmed, with public and critical acclaim, an exemplary exhibition about Agnès Varda, another pioneer of the Nouvelle Vague.

The solar eclipse that will occur in August provides the conceptual framework for the sixth edition of the Jordi Savall Festival, which will be held from August 10 to 16 in Santes Creus, Montblanc, Valls, and Alcover. There will even be a special concert to follow the eclipse on August 12 by Josep Maria Marí, which will take place in "a space yet to be revealed." "We will summon spectators to a location and take them where the concert will be held," informs the festival's general director, Martí Sancliment. "The eclipse prevents us from seeing an object because there is another object. The festival's objective is to illuminate what remains hidden, and to talk about what lies beyond eclipses," said Savall at a press conference at the Palau Moja in Barcelona. This is the light that guides the programming of an edition that includes concerts by the Quatuor Mosaïques, French cellist Christophe Coin, pianist Olga Pashtxenko, Belgian violinist Tcha Limberger (with the Budapest Gipsy Ensemble), and Senegalese singer and chorister Momi Maiga, among others, in addition to Jordi Savall's various ensembles.

The Gran Teatre del Liceu already knows which are the five architecture studios finalists of the competition for the construction of the . They are the following: Sanaa, the studio founded by Japanese Kazuyo Sejima and Ryue Nishizawa, Pritzker Prize 2010, with CFA; Batlle i Roig associated with Norwegian Snøhetta, designer of the Oslo Opera House; Barozzi Veiga with Maio and Burgos Garrido; Japanese Sou Fujimoto with Gras and Aldayjover; and b720 with Decas, the studio of British and responsible for the Barcelona City of Justice.In other words, five candidacies with Catalan presence: the Girona-based studio CFA, of and Josep Camps;

"Vinyl record factories are slow," said Silvia Pérez Cruz to explain the unique nature of Wednesday's concert at the Liceu. Indeed, the record Oral_Abyssal (Sony), which has been registered for some time, will be released on May 8th. Therefore, except for the tracks Dark, Captain and Liquid As a preview, the audience that filled the theater was unfamiliar with much of the repertoire he performed. This added a degree of anticipation for the spectators, and surely some unease for the artist from Palafrugell.

"It's been a big surprise," he says. Artur Blasco (Barcelona, ​​1933) before ordering a carajillo (a coffee with anise liqueur) at the Laie bookstore café in Barcelona. The surprise is the Enderrock Honorary Award, which he will receive this Thursday in Girona. "I'm very happy, because an award like this paves the way for those of us with projects," says the founder of the Meeting with the Accordionists of the Pyrenees in Arsèguel (Alt Urgell) in 1976. Because yes, because at 92 years old, Blasco, "the most outstanding researcher and popularizer of the folk music of the Catalan Pyrenees", as the magazine confirms EnderrockThe hero behind the revival of the diatonic accordion still has projects in the works. For example, the twelfth volume ofOn foot along the paths of the songbookwhich is "about to go to print" and a concert with accordionist Cati Plana at the Tradicionàrius Artisan Center on April 17. All the fieldwork for the songbook began in 1965 in the Pyrenees and is "digitized and stored for public consultation" at the Department of Culture of the Generalitat. "There are 1,535 songs, from 417 singers and informants, from 244 villages," he explains while stirring his coffee.

Max Codinach (Barcelona, ​​1999) is a musician and poet of truly exceptional singularity, with very clear ideas about his role in the face of the voraciousness of the music industry. At the helm of Gavina.mp3, he creates pop music using urban music tools and a poetic arsenal that blends surrealism and everyday life. After an album that established him as a breakout artist, Many bones, many stars (2024), closed 2025 with the excellent Always and by instinct, one of the best albums of last year according to the ARALike a kind of Manel for Generation Z, and with a commitment to aesthetics similar to Albert Serra's, Gavina.mp3 is one of the most exciting musical projects in the country, featuring extraordinary songs like City and Balconies, horses.

Six former Ministers of Culture of the Generalitat (Catalan Government) have signed a letter calling for the creation of the Ateneo de la Cançó (Athenaeum of Song) in Barcelona. The signatories are Ferran Mascarell, Juan Manuel Tresserras, Santi Vila, Luis Puig, Laura Borràs, and Àngels Ponsa. They all support a proposal by Pere Camps, the founder of the Barnasants festival, who has long urged institutions to work towards establishing "a leading institution dedicated to preserving, studying, developing, and promoting singer-songwriter music."

A serene emotion, great performances, and the desire to stand firm against cultural destruction and wars characterized the tribute he received. Joan Ramon Bonet Saturday at the Teatro Principal in Inca. "It was very exciting and I had a great time," Bonet said at a brief press conference after the event, seated between Maria del Mar Bonet, his younger sister, and Joan Manuel Serrat, a friend since the days of Setze Jutges.