The history of the city of Valencia is bloody. I mean, contradictory. Because as early as 1987, the Popular Party, together with Martin Quiros, had to oppose and criticize the “excessive” and hasty construction of the auditorium, which later had to expand its facilities underground. Now, he faces both the glory of reopening and the punishment of repairing a leak on his beautiful green roof…
Here’s how it happened. Although fate dictates long-term caution, the games must count for every moment, while every now and then they absorb the brown ones along the way: Compromís, better still Glòria Tello, due to the three-year draw that ended in demolition; as well as the painful and very expensive reconstruction work.
Do you remember the myth? Palau is said to be a project designed for Finland by architect García de Paredes, who adapted it after Punta Valencia, providing windows for climbers and creating a greenhouse effect… Local The life of the Chafarderias existed long before the arrival of the wasap; no one stopped to check whether the glass rumors were true or not. For when the Palau master’s Burlesque March was played for the first time in the room, the criticism subsided, and the cultivation of custom, the mother of musical culture, began step by step. We soon grew accustomed to the sunsets accompanied by a bronchitis cough during Brahms’ most sublime moments. We soon realized that music was the best antidote to the tensions between Valencians, the frustration of defying the government, and the sense of deprivation that nothing was happening in Valencia.
A lie, a big lie. To be precise, Palau – the music and the Congress – was the first bet made by the old Socialist Workers Party for the great changes in Valencia. There, next to the garden that Bofill was designing. This is what happened, and we must emphasize this; because the city is not so much a whim as a continuity, it is not an event but the needs of people, which are finally solved. Then came Carmen’s IVAM and Blasco’s Metro; Sento and Manolo’s “Gulliver”, and Calatrava’s “City of Science”. There is no longer a political master in a series of changes, because everything is in chaos and young people do not know that behind Ricard Pérez Casado there is Clementina Rodenas, and then Rita Barbera, twenty-four years, spanning two centuries – from Forster to Chipperfield – has made Valencia different and better.
There were no shipwrecks. Three years later, the seats were changed and the family’s subscription was honored. I keep many programs on hand with notes and drawings. Penderecki under Conejero; Kiri te Kanawa under Manolo Muñoz; García Asensio, Baremboim and Myron Caballé… Valencia was disinherited from the stave, having had a band since 1903 and an orchestra since 1943. But finding a rehearsal room suitable for musicians requires what is not documented and an auditorium commensurate with the culture and tradition of the city. When the orchestra turned 80, the city awarded it a medal and we started a new stage in the auditorium that taught us a lot about music, coexistence and pride in being a great city.
Valencia where I lived