"The direct language, perhaps hypnotic, although complex in its articulation, is approached in the recording with rigor and brilliance by the Sax-Ensemble, under the decisive and careful direction of maestro Santiago Serrate." Juan Manuel Ruiz, Ritmo Magazine, November 2023
" This concert brought together well-known and contrasted works by Reich such as the famous Clapping Music with two musicians who only clap (preferably amplified) and organize an interesting polymetric game. The apparent simplicity of the piece develops an interesting structural mathematical game with the series of Fibonacci and the Golden Section. In this case, Manuel Jesús Corbacho and Santiago Serrate collaborated in the execution, who were not blameless but did it with the conviction that a work of this nature needs."
Tomás Marco for Scherzo Magazine https://scherzo.es/madrid-steve-reich-minimalismo-y-realidad/
"Conducting everyone very well, Santiago Serrate, who has become not only a very reliable conductor in all genres but also a conductor of great technique and stupendous expressive capacity. With all of them, the concert was very remarkable and It was a great success."
Tomás Marco for Scherzo Magazine
- "The Modus Novus Group, made up of excellent members from orchestras such as RTVE's, reached good interpretive levels, much higher than those that until not long ago escaped the resources or desire of groups derived from orchestras. The string quintet stood out, very attentive to the violinist David Mata. But, in general, everything was very well coordinated by the baton, the hand, rather, of the eager conductor Santiago Serrate."
Jorge Fernández Guerra for El País Newspaper https://elpais.com/cultura/2023-01-24/benet-casablancas-muestra-credenciales-con-un-concierto-convincente.html
- "Serrate is an enormously skilled conductor when it comes to dealing with today's creative music. And if he took Gubaidulina to an extreme of careful seclusion, Casablancas' works were exhibited with great rhythmic vigor and instrumental muscle of considerable power ."
Ismael G. Cabral for Scherzo Magazine https://scherzo.es/madrid-casablancas-el-peso-y-la-virtud-de-la-tradicion
- “Maestro Santiago Serrate conducted the entire cast, the choir and the Tenerife Symphony Orchestra very good , an orcehstra that perfectly adapted to the different rhythms and styles of the score.”
Estrella Ortega for Ópera Actual https://www.operaactual.com/critica/arriesgada-e-interesante-inauguracion-tinerfena/
- “The choice of Santiago Serrate for the musical direction was, without a doubt, very right. Attentive to all the details and with an admirable rhythmic and sonorous flexibility, he achieved the variety and clarity of a Tenerife Symphony that knew how to adapt to all the demands of the score.”
Francisco Martínez Ramos for Bachtrack https://bachtrack.com/es_ES/critica-tenerife-opera-auditorio-orquesta-sinfonica-tenerife-muniz-serrate-arco-azorin-miro-gandia
- “Homage, directed by maestro Santiago Serrate (Sabadell, 1975), considered a director specializing in contemporary music due to his links with the groups Modus Novus and Sax Ensemble, with a very outstanding and active direction, as well as technical, has programmed a succulent synthesis of the extensive symphonic production of Tomás Marco. “
Óscar del Saz for Codalario https://www.codalario.com/santiago-serrate/criticas/critica-la-sinfonica-de-rtve-rinde-homenaje-a-tomas-marco_11660_5_36961_0_1_in.html?fbclid=IwAR1zyycEcCgUqt44BZcBsNQIh-XnWe-rw5gQoBifW7Ko9BifW4FX25KUAcQD4FX25KUAcQD4FX25
- "Fortunately for everyone, last night the ORTVE, with Santiago Serrate at the podium and in the company of a series of soloists who went up to the stage of the Monumental Theater, 'played' the Madrilenian on the occasion of his 80th birthday, in a generous monographic concert that brought together several symphonic and concertante works of his production; works, precisely, closely linked to memory (and also, of course, to the festivity).”
Jesús Castañer for Scherzo Magazine https://scherzo.es/madrid-el-eterno-retorno-de-tomas-marco/?fbclid=IwAR0Rx83iSszpf3DcT_FPXdyXPsHtk2NOQf65LPSRtro5A0qpnoLlKg37N-8
- "Serrate's version of Arriaga's Symphony in D was very careful in the phrasing and contrapuntal dialogues between woodwinds and strings...in Pergolesi's Stabat Mater, there were very subtle dynamics and careful phrasing for an orchestra with modern instruments" .
- "The OSPA adopted the sonority of Arriaga's classical orchestra: very uniform and with a certain dose of solemnity, it convinced the public. Special mention goes to the director Santiago Serrate, who showed great confidence in the Arriaga Symphony. the public applauded with emphasis also in Pergolesi".
Andrea G. Torres, for New Spain, Oviedo edition https://www.elcomercio.es/culturas/musica/vidas-breves-arte-20220121001647-ntvo.html?ref=https%3A%2F%2Fwww.google. com%2F
- "In Arriaga's Symphony for large orchestra, the Catalan maestro performed it with scrupulous, clean sonority, precise rhythm, tempi adjusted to the indications of the score, as well as a velvety and elegant sonority.
In Pergolesi's Stabat Mater there were contained sonorities always emphasizing the voices. Serrate, a good condcutor of voices and understanding the ductility of the Asturian orchestra and who knew how to communicate.
Pablo Siana for https://pablosiana.wordpress.com/tag/santiago-serrate/
- "In Arriaga, the OSPA worked as a compact group and Serrate was diligent at the helm, precisely marking the dialogues between sections and some compromised transitions.
In Pergolesi's Stabat Mater, the voices emerged delicately from the strings...in all the numbers, the orchestra knew how to accompany to reinforce the emotional impact of this work, in a performance that opted for the lightness of the perpetuum mobile to avoid fall into the romantic air that characterizes some interpretations. A success. The audience applauded enthusiastically."
Eduardo Viñuela, musicologist for La Nueva España, Guijón edition
- "During the interpretation of the Arriaga Symphony, an orchestra with a homogeneous string section could be perceived. The Andante, full of lyricism, and the Minuetto, were intelligently approached by the OSPA. The allegro con moto final, the orchestra was temperamental and energetic. Santiago Serrate, easy to follow, took care to correctly contrast each one of the themes, achieving a neat execution.
In Pergolesi's Stabat Mater, the orchestra with dynamics and regulators that enriched the interpretation and the careful invocations of the fugato themes".
Jonathan Mallada, musicologist for the New Spain Oviedo edition www.lne.es
Our first program of the second season will take place on Saturday, October 2, 2021 at 12.00 hours under the title of "Post Pandemic Scenario" and on this occasion we have the stage director and culture manager Guillermo Heras, the director orchestral Santiago Serrate, and the composer Mauricio Sotelo. Ruth Prieto, director of El Compositor Habla, will act as moderator.
Enclave Contemporáneo is an initiative of talks, debates and streaming interviews by El Compositor Habla. A space for meeting, dialogue, reflection and confrontation of ideas with the protagonists of current music.
It must be said that interpretively the concert had a great height both for the quality of the members of the Sax-Ensemble and for the important directorial work of Santiago Serrate, capable of giving each work the just measure of what it requires and of defending them with great category technical and musical. Serrate is a guarantee of security and artistic ability for any composer and he led this varied program with absolute mastery.
Tomás Marco, Scherzo Magazine, September 2021
Our twenty-fifth program will take place next Saturday, July 10 at 12.00 hours under the title of "Music and Culture" and this time we have the music journalist Ismael G. Cabral, the stage director and cultural manager Guillermo Heras, the violinist and violist Emilio Moreno, the cultural manager Raquel Rivera, the conductor Santiago Serrate, and Ruth Prieto, director of El Compositor Habla, who will act as moderator.
Enclave Contemporáneo is an initiative of talks, debates and streaming interviews by El Compositor Habla. A space for meeting, dialogue, reflection and confrontation of ideas with the protagonists of current music
Under the title of Contemporary Direction and in this eighth we have Asier Puga, Santiago Serrate, Juan García and Ismael G. Cabral, collaborator of El Compositor Habla, as moderator.
El Compositor Habla launches a music dissemination project with streaming events that include colloquia, debates and interviews about current music.
In Benet Casablancas: “The Modus Novus Group, on the other hand, exhibited a great filling in all the previous instrumental sections and was fully complicit with its director, Santiago Serrate. The teacher, owner of this group since 2004, was determined to be very confident, precise, clear and brief in gestures, managing to bring out the multiple riches of this complex partition in a clairvoyant reading for the performers themselves and the audience, completely attentive to sound " .
In Paul Hindemith's Herodias:
“Again, the Serrate version (both rigorous and flexible) suited to the right profile for the job, convincingly hooking each of its sections, without ever losing the overall view of its structure. Everything was fluid and balanced, without ever losing tension and pulse between movements. Modus Novus reiterated his great professionalism and internal cohesion, responding, with absolute precision and empathy, to the multiple rhythmic, dynamic and character indications set by his director. "
In short, a brilliant concert (for the CNDM) with a wide variety of aesthetics, which were naturally shaped by its interpreters, highly experienced in the contemporary repertoire.
Juan Manuel Ruiz, for RITMO Magazine, April 2020
- The Robert Schumann Philharmonic Orchestra was inspired, fresh and solemnly conducted by Santiago Serrate.
- The Philharmonic Robert Schumann performed with an audible bright joy under Santiago Serrate, from the stuffed tuba to the Celesta for the enchanting sugar fairy or the great orchestra for the march of the lead soldiers.
- The ballet and the Philharmonic with a wondrerful performance under the direction of Santiago Serrate should not fail to be mentioned.
- Many applause also for the Robert Schumann Philharmonic, directed by Santiago Serrate.
- the "Petite Mort" on Mozart live music with the accurate Santiago Serrate to the baton.
Felix de la Fuente for https://www.operaworld.es/wings-of-wax-y-otras-dos-piezas-de-jiri-kylian-en-el-liceu-por-el-ballet-de-lopera-de-lyon/?fbclid=IwAR2LPx7Py28NQpKIuDqQ2X_cKghFmckd56ANIMAEY8dqwKXh09jphw7tsYY
- and the "Petite Mort" with the Symphony Orchestra of the Gran Teatre del Liceu conducted pleasantly by Santiago Serrate.
- The conductor Santiago Serrate and the Orquestra de la Comunitat Valencia were first-rate, moving adeptly from the tensions of the melodrama to the relaxed, pointed rhythms and light melodic flourishes of the choral scenes.
- Well, the result could not be more satisfactory, both in the musical with the direction of Santiago Serrate, and in the direction of scene by the Valencian Emilio López.
The Generalitat Valenciana Choir sang as we are accustomed, that is, very well and the Orchestra of the Generalitat Valenciana was attentive at all times to the direction of Santiago Serrate.
Pablo Font de Mora, for https://amicsoperaartscv.blogspot.com/2019/04/elpasado-jueves-11-de-abril-se-estreno.html
- The orchestra was concerted with passion by Santiago Serrate.
Roberto Díaz Gómez , for https://www.mundoclasico.com/articulo/32170/La-malafoll%C3%A1
- Conduct with the soul
I have always said that watching the maestro SANTIAGO SERRATE lead is a real luxury. First because he knows how to get the best out of OSV and never falls into the error of abusing volume. But it is also because he is a dedicated director, who breathes with the singer, and who sings with the singer as well.
The direction seemed good and adequate, marking the sector of the rope a lot, which sounded excellent.
His address "hooks" and allows me to enjoy his work at the same time as the singers. How is delivered in each note, in each measure. It's impressive, as well as a gift, to see him work.
Teresa Roca for https://ecosidolceilsuondellasuavoce.blogspot.com/2019/02/un-fresco-elisir-damore-en-sabadell.html?m=1&fbclid=IwAR3rnHvOr4r9CL_MjbKgg1n0DEpj58ZKjVAWtPi6ObvcT49gIONY_X0e-Is
- The direction of Santiago Serrate was correct with regard to the choice of tempi, both in arias and duos as in a well-built Finale Primo.
Antoni Colomer for www.plateamagazine.com
- Santiago Serrate signed a successful opening night, in which he was careful not to cover the singers.
Albert Ferrer Flamarich, for Diari de Sabadell journal
- On this occasion the director of the orchestra was Santiago Serrate and the experience in opera direction was noticed. The orchestra sounded more harmonic, more jointly. The accompaniment of the voices was very effective, and we must emphasize it: it accompanied them and strengthened them; I did not cover them.
Anna Mestre for collserolabcn.wordpress.com
- The El Vallès Symphony Orchestra sounded under the attentive direction of Santiago Serrate, controlling the volumes at all times and unraveling the score in transparent textures.
Dani Cortés Gil, for http://www.elpuntavui.cat/cultura/article/19-cultura/1565106-caro-elisir.html
- For his part, Santiago Serrate gave new samples of his talent to the head of the Vallès Oriental orchestra, offering us a fluent reading, rich in nuances and dynamics, that made the delights of the public faithful manresa.
Ovidi de Cardona for https://www.naciodigital.cat/manresa/noticia/82021/manresa/viu/elisir/amore/amb/important/imprompta/sabadellenca?fbclid=IwAR0OSxFiLFvvbFOHFf0xxtMdZnciIh3cBX5BW6veDcUbtRpCKy6FKhYJQrM
- The Simfònica del Vallès Orchestra was cohesive and with good sound, under the muiscal direction of Santiago Serrate.
Albert Vilardell for Ritmo Magazine, april 2019
- Very remarkable the collaboration of the Liceu orchestra, conducted with elegance and efficiency by the young director Santiago Serrate.
Roger Alier for La Vanguardia newspaper, January 2019
- The winners of the Contest were covered by the Symphony Orchestra of the Gran Teatro del Liceo, under the flexible and flexible direction of Santiago Serrate, in one of the best concerts of the Viñas of recent years.
Javier Pérez Senz for El País newspaper, January 2019
- An awards gala that featured the Liceu Symphony in which he highlighted the careful work of Santiago Serrate despite the tightness of the trials.
Fernando Sans Rivière, for www.operaactual.com
e directed the Orchestra of the Liceu Santiago Serrate, who did it in an appropriate way.
José María Irurzun, for www.operaworld.es
- The director of the theater orchestra was also someone new this time. There is not much more time in the preparation than for a good reading, but the orchestra sounded appropriate and the tempis correct.
Jorge Binhagi for wwww.mundoclasico.com
- Tenorio has been a project carried out with a Leonardo grant from the BBVA Foundation. There is an impeccable record version by the Modus Novus Choir and Group, directed by Santiago Serrate. The Don Juan version imagined and shaped by Tomás Marco can be described as a "small masterpiece".
Álvaro del Amo, for the Ritmo Magazine, December 2018
- The interpretation of TENORIO by Tomás Marco ... with the Modus Novus Choir and Group directed by Santiago Serrate, who have done a commendable job.
**** José Prieto Marugán for Melómano Magazine, December 2018
- In this record highlights the careful work of Santiago Serrate at the head of the Modus Novus Group and Choir.
Fernando Sans Rivière, for Opera Actual, January 2019
- The interpretation of TENORIO by Tomás Marco reveals a conscientious study and adequate use of all the concurrent elements, which governs with a sure hand not exempt from inspiration Santiago Serrate.
Arturo Reverter, for the Scherzo Magazine, January 2019
- The score, very rhythmic, demanding and full of images, was one of the great attractions of the function, in the opinion of the public. It is worthwhile to emphasize the uniformity of the musical part even more if one considers the fusion of styles that Muñiz includes in her
The OSPA and its director, Santiago Serrate, very aware of the rhythmic changes, carried out accompaniment to what happened on the scene. In short, a historic day in which "Fuenteovejuna" convinced, to a large extent, the public
- Muñiz is a composer of solid symphonic training and this is made clear in a score that is rich in color, descriptive and which gives the opera an extraordinary fluidity and unity through the different scenic paintings.
Santiago Serrate, at the head of the Symphony Orchestra of the Principality of Asturias (OSPA), also transmitted an image of coherence and solidity in this first hearing of the work.
- Muñiz uses a modern and direct language that he builds from the tradition, with harmonic complexity, rhythmic power and a song with a variety of expressive resources. Fuenteovejuna was revealed as a dense and intense work, which Santiago Serrate defended with solidity from the musical direction and at the head of the Symphonic Orchestra of the Principality of Asturias (OSPA).
- The choral nature of the work reinforced the cast and the heart of the theater, sensational in its transcendent role, and well supported by the work of master Santiago Serrate from the pit.
- This choral approach was taken care of, especially from the pit, by the maestro Santiago Serrate, careful and impeccable in the adjustment with the scene, at the head of the Symphony Orchestra of the Principality of Asturias. It was his best contribution to make a clean and contained reading of the score, taking care of the voices and being at the service of the work on a day in which their authors obtained a warm and excited ovation by the public .
Cosme Marina, for La Nueva España newspaper in Oviedo
- The difficult task of orchestration exercised by the Master Santiago Serrate at the head of the Symphony Orchestra of the Principality of Asturias was able to take this historic night for good at the Opera of Oviedo. Fuenteovejuna is the poetry of Javier Almuzara, the emotion of the music of Jorge Muñiz and the tear of the theater of Miguel del Arco. It's Lope It's life It's opera.
- From the pit, the work of the Symphony Orchestra of the Principality of Asturias, under the direction of Santiago Serrate, was diligent in the first performance and memorable in the second, where the group offered a sound, to me understand, more compact and protagonist. With great efficacy, this second representation, both of the metal wind sections -template and comfortably- as the bass and bass, who seduced interpreting these lines below that we mentioned earlier.
- Excellent choir and orchestra under the dynamic baton of Santiago Serrate.
- The OSPA, under the baton of Santiago Serrate, was at the level that has us accustomed and the director must recognize that he left the skin to lead to the highest level and "with passione disperata" the work entrusted.
- From the pit Santiago Serrate managed to fit the musical and vocal discourse with absolute precision, taking care of the voices, without detracting from the rich orchestral palette of the score. He found an appropriate accomplice in the Symphony of the Principality of Asturias and in a cast dump in a representation, in which each role has great demand and requires a well-defined joint work.
- Apart from the authors, success must also fall on the interpreters. To begin with the work of Serrate, at the service of the work, and of the OSPA, and continuing with the enormous response of the Choir, demanded as rarely as being such a global work.
- Façade (by William Walton) continues to enthuse the Western public. This happened in La Magdalena, where the repeated applause led Santiago Serrate to raise the score of Façade as the highest expression of homage.
Some enthusiastic instrumentalists who achieved abundant moments of excellence (the timbre fusions between saxophone and trumpet or the subtleties of attack in the small percussions) and an intelligent and sensitive direction and concertación of Santiago Serrate. Master Chapeau!
Xoán M. Carreira for Mundoclasico
- The second piece, better known, Luis de Pablo on a text by José Miguel Ullán, "Pocket Zarzuela". Surprising that final verse: "if dawn we leave", so disturbing and that characterizes his sordid and magical realism at the same time. Something that the master of Bilbao knows how to treat better than anyone else in his compositions of effective and iron structure: soprano-recited, flutes, clarinet, violin, cello and piano. A great interpretation
After a brief rest we are offered the composition of William Walton, "Façade", about the poetic work - of 1920 - of the British Edith Sitwell, author of a rhythmic, vibrant, bucolic, festive poetry, that WW takes it to the musical terrain and reciting with an "orchestra" of popular music from the era whose sonority sometimes referred us to the most optimistic works of Kurt Weill, perhaps because of the impressive recitation of Anthony Madigan.
A great success and a great structuring work by Santiago Serrate, director of the Sax Ensemble. Work that was rewarded with a great ovation from the audience that almost filled the room.
Miguel Ángel Pérez Martín for docenotas.com
- Conducting ... and something more
As always, a real luxury and pleasure to watch the sabadellense SANTIAGO SERRATE. Delivery and passion, always encouraging the interpreters. We did not leave any of the entrances for the soloists, but neither for the Choir.
The orchestral volume right in Cavalleria and perhaps a little too much in Pagliacci, does not spoil an interpretation, to my excellent taste, to which the pulse of passion was put right in passages in which I would have preferred a little more, especially in the "Intermezzo "Of the Cavalleria. Even so, I got emotional right now and cried. My thoughts moved to another moment in my life that makes me unable to hear this inspired fragment without tears in my eyes.
Seeing how a director becomes the shadow, the protector, the friend and the accomplice of the interpreter is extraordinary. It was one more in the pit, but, it was also one more on stage. And the public perceived this as being worthy of great applause at the end of the performance. The two representations, it is worth saying.
Teresa Roca for
- Cathedrals of Verismo
In Pagliacci, in which Santiago Serrate brought out the best of the Vallès Symphony Orchestra, with a sure and precise gesture, the results were better, partly because the work is also much better, although it is less popular than Cavalleria.
Dr. Roger Alier
- A big Spetaccolo
Fortunately the Orchestra and Santiago Serrate were much more precise and fine in the work of Leoncavallo, which seemed more worked in the trials, maintaining, in addition, the good narrative pulse already shown in Cavalleria Rusticana. Altogether, and as Canio says, a great spettacolo! the one seen in Sabadell. A production that represents a milestone in the trajectory of the AAOS and that deserves to be seen. A ventitre ore, or whatever!
Antoni Colomer for https://www.plateamagazine.com
- Opera in Sabadell: a very commendable effort
The last great success that I want to highlight was the musical direction of Santiago Serrate, who always maintained a very good balance between the voices and the orchestra, his work never lacked strength and expressiveness, an achievement that was not easy with two well known and demanding scores.
Enid Negrete for www.recomana.cat
- A real Versimo visits the Reus Fortuny's Theatre
Santiago Serrate was solid at the head of the Vallès Symphony Orchestra. He achieved a very homogeneous color and he knew how to draw the different protagonists that occurred throughout the two works, especially, the magnificent cello. The OSV sounded elegant, precise, expressive and balanced. The sound was very well controlled, at no time did the singers cover, but, at the same time, he knew how to remove genius at the time of fitting. In "Intermezzo" he demonstrated great sensitivity and harmony between the families of instruments, and did not save on emotion when the time required. The sound that emitted was round, without cracks or stridences and it was felt that the score was very shot, after all the performances throughout Catalonia.
Aina Vega for www.nuvol.com
- Cavalleria rusticana and Pagliacci in Girona's Principal Theatre
Choir and orchestra were at the same level as other performances, but in this case they were favored by the attentive baton of Santiago Serrate, who made a vibrant and poetic reading of both scores.
Dani Cortés for El Punt-Avui Newspaper
- Cavalleria and Pagliacci in Sabadell
Santiago Serrate, for his part, obtained an exceptional performance from the Simfònica del Vallès and his agogic was perfect.
Marcelo Cervelló, for the Actual Opera Magazine, June 2018
- Verism in two
Santiago Serrate directed the Vallès Symphony Orchestra in a version that enhanced the characteristics of the scores, generating dramatism and tension, with cohesion and contrasts.
Albert Vilardell, for the Ritmo Magazine, June 2018
To the vitality and optimism of the assembly was seconded the baton of Santiago Serrate. From the overture a transparent and colorful conception of the orchestral fabric was appreciated, giving the brilliance to the instrumental timbres necessary in each passage without forcing the phrasing, always fluid and full of verve and rhythm in the animated passages. The balance between pit and scene was always perfect. Great soloist interventions of the English horn and the cello in the most melancholic passages of the score, as well as the trumpets were right.
Andrés Moreno Mengíbar, for the Diario de Sevilla newspaper, November 2017
Serrate drew a lot from the orchestra, from a sometimes Mozart cleanness to a colorful color both in the subtlety of the string, metal or conduction of the solos (horn, english horn or cello).
Carlos Tarín, for the ABC of Seville newspaper, November 2017
In the pit, Santiago Serrate directed the Seville Symphony with full knowledge of the style, respecting the balance between voices and orchestra, being brilliant without needing to exceed the underlines; moved the score with agility, in full harmony with the stage direction.
Ismael G. Cabral, for the El Correo de Andalucía newspaper , November 2017
This fact was accentuated by the temperament and tension that the maestro Santiago Serrate radiated from the pit with an orchestra of clear sound, manifested musicality and decisive rhythmic impulse. Thus, from the podium, the humorous was balanced with the sentimental, and the Italian flavor with the French style, trying that the anecdotal argument was acquiring an interest beyond its limited dramatic consistency.
Orchestra and chorus were a solid musical support for this performance, in which both the maestro Serrate and Íñigo Sampil, combined criteria to highlight the most relevant aspects of this work ... an operatic show very successful both in the stage and in the pit .
José Antonio Catón, for El Mundo Andalucía newspaper, November 2017
I was pleasantly surprised by Santiago Serrate's baton. In Donizetti he has shown not only the ability for the Seville Symphony to sound round and well adjusted, but also great attention to the singers and, above all, good sensitivity for the melodic delight.
Fernando López Vargas-Machuca, for ya nos queda un día menos blogspot
As for the direction of Santiago Serrate, he defended the score with abundant joviality, succeeding in the tone sometimes martial, other lyrical and even pastoral music, enriching the contributions of the vocal cast and enhancing the skills of the orchestra, in which soloists and metals shone with great intensity.
Juan José Roldán, for Pantalla Sonora Blog
The insistence of applause and ovations throughout the performance expressed an infrequent enthusiasm that makes this Fille -excellently conducted from the pit by Santiago Serrate- one of the most important operatic spectacles offered lately in the Maestranza.
Manuel Fernández de los Ríos for www.informaria.com
The ROSS also signed another great night, by the hand of Santiago Serrate, who led with grace and ease, achieving perfect conjunction with the voices and extracting a beautiful sound to the orchestra. In short, a truly satisfying evening, in which the audience came out almost singing, as it comes out "bullfighting" from the neighboring bullring in the afternoons of glory.
Salvador Navarro, for salvadornavarroamaro.blogspot
Santiago Serrate confronted with freshness a score that knew how to dominate always with a good dynamic contrast, at the head of a brilliant Sevilla Symphony very involved and always flexible.
Pedro Coco, for wwww.mundoclasico.com
For its part, the Royal Symphony Orchestra of Seville, directed by Santiago Serrate, revived vividly Donizetti's score, whose weight falls almost equally on strings and winds. This last section was very timely, from the initial horn solo to the horn military touches, through the rich motivic play of the woodwinds throughout the work. The orchestra had several moments of splendor, such as the overture itself or the ballet with which the second act begins. The direction of Santiago Serrate was very successful, always offering the perfect sound framework of vocal interventions.
Gonzalo Roldán Herencia, for www.operaworld.es
On the podium, Santiago Serrate directed the Seville Symphony with well-learned duties, respecting style, balancing voices and orchestra, resulting brilliantly without the need for decibel excesses, moving the score with agility, as underlining the Rossini lights that gleam in.
Ismael G. CABRAL, for Opera Actual magazine, january 2018
And very sure of himself Santiago Serrate, with a good understanding between pit and singers
Jacobo Cortines, for Scherzo Magazine, january 2018
Santiago Serrate, submerged the pit in the action, in the plot, with clear, vivid and transparent colors, with impetuous impulse and enchanting elegance.
Carlos Tarín for Ritmo Magazine, february 2019
There remains to be said of the direction of Serrate, an authentic creator whose work has been interpreted, it was he who presented it with the help of BBVA. He has done a great job of analysis, lace, assembly and "staging". His baton is clear and safe and he knew to almost always unravel the lines on complex occasions of the score.
Arturo Reverter by Scherzo, July 2017
Serrate and the participants achieved a commendable performance and, in the end, the applause of the public in the small room (of the Teatro-Auditorio de San Lorenzo de El Escorial) was warm.
Gonzalo Alonso for La Razón, August 2017
The Orchestra Simfònica del Vallès was directed by Santiago Serrate, who gave a coherent and cohesive version, reflecting the different scenes with contrast.
Albert Vilardell for Ritmo Magazine, june 2017
The Vallès Symphony Orchestra, conducted by Santiago Serrate, made a very clear and bright music.
El 9nou newspaper, Osona edition, may 2017
Santiago Serrate saw Carmen and made her see and hear the audience present in the room to a greater extent than the one achieved by the stage. The orchestra sounds with a thousand colours.
Marcelo Cervelló, for Opera Actual Magazine, may 2017
I want to make a special mention for the orchestra conductor who on this occasion was in charge of the SIMFÒNICA ORCHESTRA DEL VALLÈS. For me, one of the great protagonists of the afternoon. By pulse, by attention, by breathing with the singers and by singing with the singers, it is worth the redundancy. A difficult work and of which he is a good connoisseur.
A teacher with a high degree of empathy with the Orchestra, with its musicians. His "bravo orchestra" in each of his entrances to the pit flooded with a strange chemistry that at times is difficult to perceive. Someone with a high degree of involvement that achieves, the irrevocable in Sabadell, and is that the orchestra never sounds above the singer. Difficult, yes. A lot. But Santiago Serrate got it. Indications that the orchestra would lower volume when required. On the contrary, if it was so. But above all, to emphasize his impetus and his passion and a score full of annotations - I looked in one of the entreactos to see it - and of which I could not guess what was hidden behind that escaped pentagram flooded with notes stamped in its white and unpolluted paper. On some occasions a tempo perhaps a little slower than we are accustomed, especially in the overture, but otherwise, a real luxury the baton of the master Serrate. Bravo master.
Teresa Roca for Http://ecosidolceilsuondellasuavoce.blogspot.com.es/
...participants in the quintet of the second act very well rhythmically performed by Santiago Serrate. Serrate, in addition, left, among other details, an accentuated forte-piano in the reprise of the choir of the habanera and a general direction with conceptual order in front of the Orchestra Simfònica del Vallès and a Choir of AAOS cohesive and sonorous in the concertante and ensemble numbers.
Albert Ferrer Flamarich, for the Diario de Sabadell, May 2017
A Carmen that was very satisfactory for all the cast, as was the clean work of Santiago Serrate to the front of the Orchestra Symphony Orchestra del Vallès. The audience, who filled the room, applauded the performance for a long time.
Dr. Roger Alier for Platea Magazine, may 2017
Under the direction of Serrate, the soloists of the OSV offered four works that formed a contrasting and attractive perspective of their recent music. Undoubtedly a concert well thought out, with a high degree of complexity, technical demand in the concertation and timbre purification that exemplified their compositional tendencies.
Albert Ferrer Flamarich for the Diari of Sabadell, February 2017
The soprano Berna Perles and the Philharmonic Orchestra of Malaga, who did a good job, under the batoon of Santiago Serrate, obtained great applause from the audience.
Fernando Anaya, for Ópera Actual Magazine, December 2016
The direction of Santiago Serrate offered a first part of Verdi very detailed and elegant with the strings section , from which it obtained a remarkable filling and a winds that fulfilled with excellence its functions. In the second part, with our Zarzuela, he maintained the sonorous brilliance of the Philharmonic Orchestra of Malaga, which exhibited a great instrumental packaging.
Francisco Mesa for the DIARIO Bahía de Cádiz
On the other hand, La Filarmónica de Málaga gave testimony in this first orchestral concert at the Gran Teatro Falla on Saturday, November 12 and within the 14th Spanish Music Festival of Cadiz to enjoy good musical health, having been able to accompany the soprano correctly Soloist, in spite of the change of program, and showing great versatility when approaching in a same concert from the symphony Luisa Miller de Verdi to zarzuela passages like the drum of granaderos or the intermediate one of the Legend of the kiss, pieces that executed brilliantly .
It is to emphasize the stupendous string that the orchestra has at present Málaga, and that under the baton of the enthusiastic director Santiago Serrate.
Excellent work of the OFM already in the first part, all verdian, great the clarinet in the 'Luisa Miller' as in the second, giving the numbers only instrumental quality, Spanishism and art that have preludes and intermediates of works of our Lyrical genre signed by Chapí, Chueca, Alonso, Luna, Soutullo and Vert, giving the tip of 'The batting' of Chueca.
Undoubtedly, the director of the day that we discussed, Santiago Serrate, moves very at ease in the musical theater, led the Philharmonic Orchestra of Malaga with excellent criteria, firmness and clarity of gestures always having the determined collaboration of the teachers of the OFM , Without hesitation and good taste, rounding an evening of height being also very applauded Orchestra and director. In short, the lyric day of Friday November 11 at the Edgar Neville Auditorium in Malaga, left us very satisfied.
Manuel del Campo
The famous contemporary music ensemble Sax Ensemble delighted us last Saturday October 8, 2016 at the International Contemporary Music Festival Tres Cantos. The group led by Santiago Serrate began his concert with the work of Fernando Nocturnal Buide, a subtle and mysterious piece inspired by the secret of the night, Sax Ensemble performed with great skill and an invoice cuidadísima. As usual the festival, the Buide himself said a word about it before interpretation.
The following intepretada work was Quartet opus 22 by Anton Webern, an essential piece in the repertoire of Sax Ensemble and one of the most original and known works of serialista music, for which disappeared cello Irina Comesaña and percussion Jaime Seves with a Pilar Montejano delivered to the saxophone. The third piece was played Benet Casablancas Pastoral, in the same stresses mastery of the technical and expressive saxophone resources on other instruments and again showed the great talent of Francisco Martinez. After Jacobo Durán-Loriga presented its harmonic Jabardillo, a piece that creates a great concern in the viewer and Duran-Loriga made up from the Christmas motet Mirabile mysterium Gallus.
To the surprise of everyone attending the program I replace Sonia Triskel Megías by excellent work of Jesus Villa-Rojo that pays tribute to Sebastian Duron in the tercentenary of his death with a classic gestures and even romantic. Finally, there was the premiere of the great request of the festival, Jesus Rueda Persiles undoubtedly the highlight of the night in a premiere liked and dazzled all the spectators for their taste. Persiles is like the wheel itself, also a teacher of composition course of the festival, was responsible for defining, a tribute to the last work, unfinished, of Miguel de Cervantes. In it, Cervantes crosses a young doctor warns the poor state of his health and dismisses perhaps knowing he will die.
With the orchestration of songs by Jose Colome and stage lighting Juan Manuel Guerra, the Royal Seville Symphony Orchestra, conducted by an expert on the subject, the young director Santiago Serrate, recalled the great master Solano along a wide repertoire played by the prestigious 'cantaora' Erika Leiva and the -encores included- paraded the most famous pages of Andalusian couplet, which could not also missing letters of famous masters as Ochaíta, Valerio, Rafael de León ... in a bunch enjoying the feeling of 'premiere' permanent under its unfading fragrance over time. Success therefore predictable as overwhelming as an art that, as the poet, "never dies".
Manuel Fernandez de los Ronderos
G. Garcia Alcalde 24/03/2016 for La Provincia newspaper (www.laprovincia.es)
A program dedicated to Classicism is unusual in the Philharmonic Orchestra of Gran Canaria, but offered in the auditorium of the University was very satisfactory. With a young director to the front, Santiago Serrate, who introduced the two symphonies of Haydn and Mozart with individual comments, listen solvents versions, conceived and well executed by a small and new faces on the lecterns template.
The two works sounded very fitting stylistic canon expert teacher. No. 88 in G major Haydn, located between two large blocks of Paris and London, is a model of vitality and optimism (...) But the creativity of the composer always presents new facets, and has based these parameters Serrate version, painstakingly built in the times and, above all, the emphases of phrasing, plural and differentiated. The result is exhilarating to make recognizable in every impulse inspiration of the author in model terms.
Mozart's Linz, No. 36 in C major symphony precedes the genius of the final block and announces with a language close to that of Haydn. (...) Pure Mozart, read by Serrate and orchestra with precision and detail, above all routine.
Good concert, held long and warmly by the public
"The musical direction of Santiago Serrate, polished in Pergolesi was fundamental in the delightful piece of Wolf-Ferrari, where the Vallés Symphony signed an impeccable performance"
Marcelo Cervelló for the Ópera Actual Magazine, January 2016
-"The dual program has been enhanced by the magnificent work of the Valles Symphony Orchestra, ably led by Santiago Serrate Sabadell, a director who certainly deserved aspires to be a prophet in his own land, he knew the nuances of the two works draw especially in Wolf-Ferrari, full of instrumental subtleties. A show that qualify for honors. "
Roger Alier, La Vanguardia, December 2015
- "While the musical part of Pergolesi was a bit monotonous, quite the opposite happened with the liveliness and richness of hues that print to the orchestra Santiago Serrate, from of the overture to the opera Wolf-Ferrari."
Roberto Benito for the Catalan Musical Magazine, December 2015
- "Santiago Serrate, who returned to Sabadell, doing a very commendable job with the Orchestra Sinfonica del Valles, especially in Il Segreto di Susanna".
Esteban Rey for the Diari de Sabadell, December 2015
- "The musical direction of Santiago Serrate gives a very good transparency in the two scores andobtained a remarkable performance from Vallès Symphony Orchestra".
Jaume Radrigales for Nuvol Magazine, December 2015
It was a delight to listen to symphonies 1, 2, 4 and 8 of Beethoven, beautifully directed and presented by the young director Santiago Serrate who made a historical and musical very timely of each of the works at the begining. The Philharmonic Orchestra of Gran Canaria gave herself his best and each of them and played with his usual quality that made me enjoy these fine works by Santiago Serrate who emphasized and very well, the cantabile elements of each of them.
José Sampedro Pérez for La Provincia newspaper of las Palmas de Gran Canaria, June 2015
The Rossini's Italiana in Algeri was conducted by Santiago Serrate, in fornt of the Vallès Symphony Orchestra, which was able to give a coherent, fluid and cohesive version
Albert Vilardell for Ritmo Music magazine, May 2015
The young and experienced director Santiago Serrate, a man of the house, lively and engaged, gave shine and luster to these pages with the ROSS orchestra that occupy an irreplaceable position in the evolution of Spanish popular music.
Miguel Fernández de los Ronderos for the www.mujeremprendedora.net, April 2015
Santiago Serrate led with a firm hand to the Symphonic del Vallès, marking the crescendos well and keeping good control in the wild finale primo.
Marcelo Cervelló for Ópera Actual Magazine, April 2015
The Symphonic del Vallès sounded great under the direction of Santiago Serrate, highlighting and helping the singers without covering them in no time.
collserolabcn.wordpress.com, April 2015
Very good Orchestra (OSV) led by Santiago Serrate Sabadell, a valuable local discovery gave a display of authority and lyrical impulse
Roger Alier for La Vanguardia newspaper, February 2015
He also Sabadell Santiago Serrate conducts to the AAOS for the first time. Attentive to the voices, extracted an orchestral sound of agile OSV, delineated and neat. Tempi successful without forcing singers, good work of the first violins, wood present in the tutti and some explicit and audible dynamics measures. a successful musical work and production. Worth unmissable, the undersigned repeated.
Esteban Rey for Diari de Sabadell, February 2015
Santiago Serrate printed to the orchestra and to set an enthusiasm which was a very bright sound and stage, never forgetting the right shade for the most lyrical parts of the work.
Pere Bujosa for Ópera Actual magazine, September 2014
The great performers that make it up (ROSS) offered last Thursday a Gala Lírica in homage to all of their sponsors: companies, entities, large and small donors." It was an extraordinary concert that was directed by master Santiago Serrate. A man who kisses the hand to women with the same finesse as if opening a fragile shell box... What we enjoyed. It was a program of selected compositions that began with the overture from the marriage of Figaro by Mozart and ended with two glorious tips... The men and women of La ROSS played precious and exquisite mezzo Alexandra Rivas was showcased in scene with excerpts from the operas of Tchaikovsky, Gounod, Saint-Saens, the habanera and the Carmen of Bizet seguidillas. Thank you put the backdrop, in giant letters, at the end of the concert... Thank you, thank you for so much beauty.
Lola Rodríguez Cortés, for Montequinto newspaper, July 2014.
Serrate exemplary second onboard wore enthusiasm in delicious Polonaise of Eugenio Onieguin and, above all in the bacchanale from Samson and Delilah, as well as fragments of zarzuela elected as interludes, including the prelude to the grenadiers drum offered also like tip within a grateful program.
JJ Roldán for El Correo de Andalucía, July 2014
One also starred element present at all times in the operas of Puccini, without exception, is the Orchestra. To the writer of Lucca symphonic element is never troupe is always essential. And Turandot built for the musician as a great symphony orchestra in three movements unfinished.
And here we do need to praise the role of our Symphony. With Santiago Serrate front, the ensemble sounded flawless. As the choir, a magical element in this title, which also proved very efficient in all its transcendent interventions, which are numerous.
After that show, one thinks of the difficult, the impossible, that would mount opera in Mallorca without professional Orchestra and choir attached to Teatre. And it is forever.
Pere Estelrich, for Diario de Mallorca. July 2014
Also stress the Symphony Orchestra of the Balearic Islands under the baton of Santiago Serrate, who worked hard to be at the service of the singers.
JA Mendiola for Diario Ara Balears, July 2014
... there was this show, rich and excellent, high level in all sections. Santiago Serrate, was reserved for the end of the fourth symphony of Johannes Brahms, which he took good game, showing the excellent quality of these young Andalusian musicians.
Carlos Tarín for Ritmo magazine, July-August 2014
You need only listen OJA string section , that round , compact and flexible sound , a while ago nobody would have thought possible in a no longer Andalusian Spanish but overall , much less young . In the Fourth Symphony of Johannes Brahms breath and vibrated the whole with admirable inner harmony.
Pablo J. Vayón for Diario de Sevilla, April 2014
The responsibility , effort, teamwork and enthusiasm exhibited on easels show that if we focus on the culture our civilization is doomed to be slain.
In Liszt 's Concerto , rhapsodic style of piano recital between the symphonic poem and cultivated by its author, Oscar Martin shone again as a soloist , with a strong and thoughtful lyricism, calm and balanced force involved in a careful orchestra their continuous rhythmic and harmonic changes , highlighting the silky , supple and emotive sound of the first cellist . Serrate squeezed the expressive possibilities of the last symphony of Brahms, bursting with passion and epic romantic tragedy. Brass sounded compelling , looking resplendent in all gratuities , Hungarian Dance No. 5 by Brahms and impeccable and vigorous Prelude to Act III of Wagner's Lohengrin .
J.J. Roldán for Correo de Andalucía, April 2014
The Modus Novus Group, under the direction of Santiago Serrate, knew how to draw in the Octet George Benjamin, mellifluous ethereal and neo-impressionists of a score that manteniene doses of complexity and seductive colors. In Leo Robert Gerhard, had a magnificent performance as the Chamber Symphony of Thomas Adès..
L.M.I. for Ritmo magazine, May 2014.
A great success on the Teatro de la Maestranza programming with two concerts to brighten these summer heat , under the name Summer Nights with the Orchestra .
Several of our colleagues , even leaving for a short -term rental from nearby places, met last night to attend a great concert, with music by Mozart , Brahms , Beethoven, Tchaikovsky, Wagner etc . As popular as the overture to The Marriage of Figaro, Eslava Dance , Waltz of the Flowers , La Forza del Destino Works , to cite just one example sounded masterfully under the direction of Santiago Serrate , who already had occasion to transmit sensations magnificent your operas as committed as Sarka and Cavalleria Rusticana , and we confirmed yesterday If all else assumed the delight of the spectators, the true apogee came with the second of the tips, the always rewarding Weddings Luis Alonso. Repeat, a succes concert programming.
Refinement and sophistication are my words sum to conceptualize a concert that sought-and succeeded-serving Prime scent of a fair on the eve. Santiago Serrate leads the Symphony in the blood undisguised. I like that. Marks the rhythm with his arms around compass . Maybe I'm looking at no more than a routine of someone who runs, but I appreciate those who enjoy the privilege of living in music. Music! ventilator That life. chose a song repertoire matrix who knew how to run along the backdrop of the most immortal evocations. Rojo for Queen Juana cloak, or green eyes The Piquer sung. Which category to run instrumental passages better memory!'s nice muted sounds from shadows hidden alleys and small squares with rumor of water from the wells of Seville!
José María Fuertes for www.sevillapress.com, April 2013.
The Royal Symphonic Orchestra of Seville turned red passion, pace and Havana pasodobles and gave us one of those emotional and nostalgic concert full of color and passion that the leadership of Santiago Serrate conducted with attention to detail and sense of proportion .'s versatility allowed him to deal with this repertoire solvency and naturally so. while Ay, Maricruz or not you look in the river flooded us contagious joy, the piece I found most sensational was with scarlet and gold currency, for their stimulating orchestral, full of dissonance and impressionist colors. Quite a surprise!.
JJ Roldán for pantallasonora.blogspot.es, April 2013.
Serrate made a personal reading scores, sometimes changing tempi, but nothing altered the essence of music. Was made with the musicians and melody ran through a room easily released without conditions. The compositions took on a different dimension, in the absence of the voice, and adopted a more serious, more symphonic, but less intimate. The utterance was taken primarily by winds, trumpets, flutes and oboes Tattoo-except where alternated role violin and cello, giving the piece a particularly sensual and intimate moments. The Lily, I bewitched, Green Eyes and Triniá completed the ROSS program, which acknowledged the applause with the gift of The Verses of Luis Candelas. Again ROSS shows his good work, regardless of the chosen program, and demonstrates its flexibility when the conductor knows what to and how to do the job.
JJ Ponce for www.codalario.com, April 2013.
Stefano Ranzani was originally due to conduct, but he canceled and was replaced by Santiago Serrate, whose work has been promising, with good control of stage and pit.
J.M Iruzun in www.operaworld.es, febrero de 2013.
With a broad curriculum in his career, Santiago Serrate is perhaps one of the most complete batons national scene. Serrate showed great confidence in Schnittke's page, which emphasize an interpretation caba outstanding care and work with the pathetic, effort widely recognized by the public that filled the Cervantes. Tchaikovsky Sixth Symphony and occupied the second part of this comprehensive program. Following the introduction of the bassoon disturbing the beginning of the first movement comes the powerful personality of Russian musician. In the second and third movement Serrate Tchaikovsky showed more sparkling, sparking wood and metal and giving flight to the ropes. Finally, the unexpected calmed the symphony fourth movement toward a more calm, intimate and resigned to fate.
Alejandro Fernández, for La Opinión de Málaga, October 2012.
The poliedric and almost chamber music of the work of Schnittke, with ongoing dialogues between instruments, led to the showcasing of most soloists in a brilliant performance. How brilliant was the second part of the evening in a sensational Symphony No. 6 - Tchaikovsky's pathetic that excelled in a strong third-awakening movement and a few unfortunate untimely applause, almost inevitable in this work before unusual Adagio-end provided with a huge dramatic, from which participants were musicians and audience, who wanted to extend the final after beating silence become extinct in as introspective "requiem". Sensational ropes, highlighting the bass-eight, nearly doubling its usual configuration starving in our orchestra-making in the room endowing more body and warmth to the music. the direction of the Catalan Santiago Serrate, wanted to emphasize the parallels of both scores emphasizing tempos and silences over the chords and the evening.
Alfonso Urdiarin, for ww.aforolibre.com, October 2012.
Santiago Serrate, directed the opera Carnicer, gustándose itself, as would the bullfighters. Orchestra soloists offered passages indeed anthology. Regarding the voices, all young and Spanish, homogeneity of note.
Jacobo Corines, for Scherzo magazine, September 2012.
Serrate, which is a good musician, made with safety. Everything flowed neatly
Arturo Reverter, for La Razón, September 2012.
The teacher Serrate, author of a revision of the score cut, cared compass and slowed the effort forcing voices lengthen your breath. Sevilla's audience applauded enthusiastically Carnicer score.
Alberto González Lapuente, for ABC, September 2012.
Nearly 3 hours of music with full conviction upheld by Master Santiago Serrate, which printed a successful tone lightness, very theatrical in the use of forte, and with a good balance between soloists and a small ROSS.
Ismael G. Cabral, for EL CORREO DE ANDALUCÍA, September 2012.
Yolanda Auyanet and Joan Martin-Royo were well accompanied by Santiago Serrate and ROSS
Pablo J. Vayón, for DIARIO DE SEVILLA, July 2012.
The concert was opened splendidly with a sensational opening of Donizetti's Don Pasquale with Ross and James Serrate
elpatiodebutacas.blogspot.com.es, , September 2012.
With just a few days the young teacher margin Serrate Santiago took over the concert last night offered the Youth Orchestra of Andalucía (OJA) in the Maestranza and who was to have directed José Ramón Encinar. We know this competition, but certainly not its solvent baton had dazzled us with the surprise that supposed to hear the version that was prepared Serrate n.1 Symphony 'Titan' of Mahler. Brilliant, thorough, dramatic and extroverted. We do not mind it less mystical and dramatic of the ordinary. One has to think Norrington-Nott and two modern-Mahler symphonies referents to understand the magnificent recreation of Serrate. YOA musicians, of course, gave almost every instant response of an expansive and gigantista version that empowered the wind and brass sections, sounding dry and sometimes sour demand for the baton.
Ismael G. Cabral for www.elcorreoweb.es/Sevilla, April 2012
The Spanish master Santiago Serrate, our chief guest symphony (Yucatan), drums beating began the evening with a brilliant overture by Gioacchino Rossini (William Tell) ... Serrate is a man who thoroughly knows the orchestra and gave us with a rich appetizer. Were concluded to wonder virtuoso clarinetist Fernando Dominguez and our guest conductor, giving a colloquium of fresh hues and pleasant sensations in the works of Rossini and Weber. The audience rewarded them with abundant palms clarinetist and teacher Serrate, accurate orchestral captain of the ship.
Roldán Peniche for www.poresto.net, March 2012.
As visitors impeccable artistic training, the Spanish director Santiago Serrate and clarinetist Mexican Fernando Dominguez became known among fans of our city (Merida, Yucatan). The overture from "William Tell" by Rossini, scored a careful treatment by Mr. Serrate very happy in time and contrasts, especially in the famous "ride". The evening started well and showed the audience clapping. In the suite of Mendelssohn wrote incidental music for Shakespeare "Dream of a Summer Night" was perhaps the most polished performance of the night. Spanish director that environment protected mischievous magic and excitement of life is perceived in the English comedy in the score of Don Felix. The public, as is almost always satisfied.
Jorge H. Álvarez Rendón for www.yucatan.com.mx, March 2012.
The Royal Philharmonic Orchestra of Galicia, directed by Santiago Serrate, shared the success of the premiere of the composer's work Galician Octavio Vazquez, "Tropos. Violin Concerto, with soloist Amaury Coeytaux. The audience acclaimed after the stage version of Poulenc's opera "La Voix Humaine".
El Correo de Galícia, March 2012.
Bernaola and Barce were completed and tributes to his own works, sometimes it can be quite a novelty onomastic if posthumously, in the context of programming Dissemination Center for Contemporary Music in Auditorium 400. Santiago Serrate, leading Modus Novus, together with the soprano Dinah Tiegs, presented with solvent and preciously performances: Constantes and Galatea, Rocinante and Preciosa and instrumental interlude, A mi Aire, of Bernaola, and Soledad Primera and Canciones de la Ciudad, and Funeral Music of Barce. Unamuno, Cervantes, Gongora and signed Andres Elena Glass, the Issues, Loneliness ... that inspired the literary aura of the evening.
Luis Mazorra for Ritmo magazine, September 2010
Dallapiccola, Santiago Serrate succeeded in defining the edges, outbursts and subtleties of contemporary score. With the help of the excellent Orchestra of Cordoba, Serrate got a great definition between the different sound levels and a commendable precision, which adds further merit to his work.
Carlos Tarín for Ritmo magazine, April 2010.
Santiago Serrate made a profound and sober reading of The Prisoner of Dallapiccola, maintaining a tension in this opera really serious. A big hit its premiere in Spain by the Teatro de la Maestranza.
Jacobo Cortines for Scherzo magazine, March 2010.
In Mozart's Singspiel Der Schauspieldirektor whose musical numbers are preserved seamlessly executed, the young director Santiago Serrate understood that his task was to accompany the soloists with care, being able to look with complete comfort these (...). And After the intermission, an intense performance and high level discussion of perhaps the most contemporary Italian opera. The Prisoner demands a total commitment of each and every one of the cast and orchestra and choir, and in this case, the Serrate careful not address let loose for the public to vibrate in their seats. Cordoba Orchestra got brilliant moments, especially those of restrained emotion, whose depth is recreated in no hurry. Also the choir, here with a difficult task , fell short.
Pedro Coco, for www.mundoclasico.com, February 2010.
Mozart's employer Serrate was right with the Orchestra of Cordoba, which is the best thing you can say that a director deals with a repertoire so diverse, a challenge that often loses classicism. But Dallapiccola, appeared the edges , the outbursts, extreme violence of the drama and thinking more deeply human. Alfredo Garcia was left to spread by the steely leadership of Serrate ... Go the orchestra level Cordoba with Serrate guide developed any of the timbral richness impressive score of Dallapiccola. And also the Choir surprising ...
Carlos Tarín, for ABC de Sevilla, February 2010.
Good orchestral Mozart and great job especially in the many chamber music passages, taut and chiseled precise direction of the contrasts in Dallapiccola.
Pablo Vayón for Diario de Sevilla, February 2010.
In the Congress acted on Friday afternoon the Orchestra Sinfonica del Conservatorio de Badajoz, with Santiago Serrate as guest. Firstly, premiered the work of Valentin Ruiz 'Si us plau', involving the soprano Margarida Espiritosanto. The composer waved from the stage to applause. The following is played the Concert for Piano and Orchestra No. 4 by Beethoven, the young pianist Jose Avila Beltran, who showed great poise and serenity, showing a high level technical and interpretative taste. Very well directed by Serrate, the orchestra gave the 2nd part in the Symphony No. 1 by Brahms.
Emilio G. Barroso, for Hoy de Extremadura newspaper, December 2009.
Good taste Santiago Serrate left us by his good manners and directorial achievement of a cohesive phrasing and sound with greater transparency. (...) In the second part, the Symphony No. 90 in C Major by Haydn, careful, streamlined, well zaragatera phrased and in the finale, because even Zaragata clappers increased by the intervention in these false public final ritornello motivated by the author who submits.
José A. García y García for Scherzo magazine, April 2009.
A small Royal Seville Symphony Orchestra took the pulse of the play through a version vitalistic Casicas lines and very in style, a success story of Santiago Serrate, teacher who made his directorial debut pit.
Ismael G. Cabral for Ópera Actual, March 2009.
Musically, Santiago Serrate was able to struggle against the OBS fond memories of getting the format of the chamber music sound ROSS nítico and clear, sharp phrasing and remarkable transparency.
Pablo Vayón for Scherzo magazine, January 2009.
The Works of Jacobo Duran-Loriga were directed by the very attentive Santiago Serrate. The Modus Novus Group and its director left an impression very commendable
Juan Krakenberger for www.mundoclasico.com, diciembre de 2008.
We were surprised by the result obtained Santiago Serrate of the GSN, lively, bound and articulated for a romantic training. Retailer and respectful of the voices, won round one function, which became more intense by removing the unnecessary break.
Carlos Tarín, ABC de Sevilla, December 2008.
The music was provided by a safe and accurate Santiago Serrate which controlled the situation at all times and the Orchestra dell'Accademia del Liceu responded with great propriety.
Ofélia Roca, for www.laportaclassica.com, December 2008.
All this material was interpreted by the Orchestra of the Academy of the Gran Teatre del Liceu led by an inspired Santiago Serrate
Marcelo Cervelló for Ópera Actual, , December 2008.
Catalan Benet Casablancas was fortunate to see four of his works led by the young, energetic and very accurate Santiago Serrate.
Scherzo musical magazine, May 2006.
The interpretations as diaphanous as well communicated by the director Santiago Serrate, were responsible for the Group as a vehicle Modus Novus.
Antonio Iglesias, for ABC, November 2005
The string section of the ORCAM, met with no less height in the second violin concerto, taken with both general and expressive sense difícl attention to balance solo-set by the young Catalan diector Santiago Serrate.
Leopoldo Hontañón for Scherzo magazine, May 2005.
The performance of Modus Novus and Santiago Serrate was decisive: it is specified in detail and careful assembly timbre, achieving moments of great refinement.
Alberto G. Lapuente for ABC, September 2004