New schedule
Tickets already purchased for the show will be used for the new schedule.
Spectators who do not wish to attend this show must send an email to
jguzman@malagaprocultura.com requesting a refund, which will be processed automatically as soon as service conditions make this possible.
Tickets purchased at the box offices can be returned there from the March 9.

Notice for Season Ticket holders
Current health regulations do not allow us to have the necessary seating capacity to attend to all season ticket holders. In consequence, we are obliged  to refund the amount corresponding to programmes 9 and 10, as we did for programme 8.
As for the remaining programmes until the end of the season, we will proceed in accordance with current regulations until the situation returns to normal and we are able to have sufficient seating capacity to maintain all season ticket holder seats.
Tickets may be purchased starting on the 16th of February, from 11:00 am to 2:00 pm and from 3:30 pm to 5:30 pm at the box office with the same discount for season tickets or by Internet if the purchase is without a discount and with the possibility of choosing.


Eugene Onegin, Op.24: Polonaise, P.I. Tchaikovsky
Piano Concerto No.1 in B-flat minor, Op.23, P.I. Tchaikovsky 
Josu de Solaun piano 
Symphony No. 5 in E minor, Op.64, P.I. Tchaikovsky

1.30 h (w/out intermission)

Program notes Jose Antonio Canton

Eugenio Onegin, which brings together all the most relevant European lyrical influences, is Tchaikovsky’s most famous opera. Based on a play by Alexander Pushkin, it was officially performed for the first time with noteworthy success at the Bolshoi Theatre in Moscow on the 23rd of April, 1881.
One of Pyotr I. Tchaikovsky’s most representative compositions is his Piano Concerto No. 1, Op.23, which occupies a prominent position in the romantic concertante repertoire. It encompasses all of the essential virtues of this great pro-western musician, in contrast with his national contemporary colleagues considered the heirs of Mikhail Glinka’s so-called Russian musical essentialism.  
The confirmation that Tchaikovsky had started to work on what would be his Symphony No. 5, Op. 64 is found in a letter he wrote to his very wealthy friend and protector Nadezhda von Meck in the spring of 1888: “Do you know that I am trying to write a symphony? The beginning has been difficult, but now, however, it seems that inspiration has arrived, let’s see!” The symphony was finished by the 26th of August that same year.

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