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· INTERVIEWS WITH THE DIRECTOR

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· MENTIONS

·Programme  SARAO

    

  concert at the FESTIVAL MÚSICA ANTIGUA MADRID. April 21, 2022

Full review of the concert

 

  · "Before the insistent applause and cheers of the public, the interpreters gave another jovial jácara as a tip, [...], to the delight of an amusing and devoted public."

concert on september 8, 2021 - SEMANA DE MÚSICA ANTIGUA DE LOGROÑO -  
 

·  Full concert review

 

     ·“In summary: an excellent concert, of extraordinary musical quality, one of those that animate the public and leave a formidable aftertaste. The final cheers were awesome."

· ProgramME AMOR, NO TE LLAME AMOR"

Concert on July 23, 2021 - Huesca EnClaves Festival

· Full concert review

· [...These songs, sometimes mischievous and others emotional, have been performed by one of the leading ensembles of early music in Spain, the Opera Omnia ensemble directed by violinist Isaac M. Pulet and which, once again, has shown the quality that its members treasure and the correct selection of the program that they present in their shows...]

Concert on August 8, 2020 - Festival CLÁSICOS EN VERANO
· Full concert review
· " What is clear is that, with groups like Opera Omnia, we are finally on the right track for the Spanish 17th century to come out of the obscurantism".

· "Chauvin's prosody is admirable. There is not a single word that is not understood. In his case, this has enormous merit, because Chauvin is French, although many Spaniards would like to speak Castilian with the perfection with which he speaks it she."

Making of Abril Floreçiente and ¡Ay, que me río de amor!
· Article of the "Making of Abril Floreçiente and Ay, que me río de amor"

· " The restless brain of the group's director, violinist Isaac M. Pulet, then had the idea of taking advantage of the audition images to put together this hilarious video, in the best style of world cinema of the 1920s ."

· Programme "Requiem for a dynasty"

· "[... The performance was brilliant vocally and instrumentally...]"

· "[...The voices were buoyant, especially in the miserere, highlighting with exquisite neatness each one of the polyphonic nuances of the work...]"