Fimucité 10 – Festival summary

UPDATE 10/24/16: An extensive interview conducted during Fimucité 10 with Diego Navarro, director of the festival, can be found in the next link: interview.


With the echoes of the great festival Fimucité settled, and with the remembrances and experiences fixed in my memory, it is time to start writing and preparing this article with the summary / recap of the festival.


It has been four days of events and five days on the island of Tenerife, that give for much writing, so I want to point out: this article is long to read, but I think it will be interesting.



Traveling from a rainy Bilbao to a sunny and almost tropical Tenerife, my first day in Fimucité started after a few hours off the plane with the tribute concert to Shirley Walker.


The concert was at a good time, 8 pm, and some time earlier there were already people queuing at the entrance of Teatro Guimerá (Guimerá Theater). Once inside and before moving on to the main hall, a stand with t-shirts, mugs and CDs with merchandising of the festival welcomed us, and people from StreamingSoundtracks, Ad de Nijs and Anton Smit, were also there, and had a big sign promoting their sensational website, that features free streaming soundtracks in a radio station style, and that I highly recommend visiting (


In the hall I began to see the first familiar faces like Robert TownsonVarèse Sarabande and James FitzpatrickTadlow Music, both promoters and patrons of several of the concerts and events of the festival, and also Pedro Mérida was there, Fimucité festival producer, who was always near all the events, ensuring their proper development.

Fimucité 10 - Starting

The Teatro Guimerá (Guimerá Theater) has a capacity for approximately 800 people, and even if it didn’t have full house, there was an occupation higher than 3/4 of the room.


The evening began with a presentation by Larry Rench, principal orchestrator of Shirley Walker, thanking the organization as this was the first monographic concert dedicated to the music of Shirley Walker, and explaining that despite having a symphonic conservatory band, and despite the pieces were arranged to suit the instruments available, they had not been lowered in difficulty, as the band was at the level of many orchestras with whom he had worked before.

Fimucité 10 - Shirley Walker - 1

The concert, lasting approximately 1h40m including a pause, was directed by José Toledo and had the Banda Sinfónica del Conservatorio de Santa Cruz de Tenerife (Symphonic Band of Santa Cruz de Tenerife Conservatory), where we were able to see on stage both teachers and students the same time, resulting in an interesting and well-balanced mix. In fact, the youth and vigor of the students with the experience of the teachers, resulted in very interesting moments like when they played Chase Me, which was also offered as an encore at the end of the concert. There, an unleashed and rhythmic marimba, playing merrily with the base of the percussion provided by the drums and supplemented by the guitar, invited us to move in our seats (it was a pity that the voice of the soloist was covered by the strength of the instruments, due to the equalization and the mixing).


Throughout the concert, comprised mostly of short pieces and not suites that would lead to a more complete musical development (something that was missed sometimes, because of the cuts and changes that it implied), we could see guest directors going on stage to conduct their pieces: Larry Rench, Lolita Ritmanis, Kristopher Carter and Michael McCuistion. Two curiosities here: on the one hand, Lolita Ritmanis, was the first woman that conducted a concert in Fimucité (something that surely will increase in future editions) and on the other hand, Kristopher Carter, addressed and surprised the audience with a good level of Spanish in the presentation of the second half.

Fimucité 10 - Shirley Walker - 2

Over the stage there was a screen that showed images (and sometimes some videos) continuously, related to the music that we were listening, resulting in a very well prepared and very consistent visual montage that was perfectly synchronized.


I would like to highlight the spectacular orchestration job that Larry Rench did, getting to replace the sound of the strings section in the original pieces with clarinets, oboes and flutes (among others), that had to work hard to offer the register some parts of the music required. Talking with Larry Rench that day before the concert, he told me it had been more than 3 months of work, collecting printed scores, original manuscripts, and orchestrations were expressly made for that night’s concert with the symphonic band of the conservatory.  It was a monumental work, which resulted in an exquisite, fresh, lively and highly enjoyable concert.


And it all ended with a final gift, because when the night was over and people were leaving, the young musicians took up the encore that had just finished, so drums, percussion, guitar and marimba, were still playing with music from Chase me as the audience was leaving the room, saying goodbye to the people, with a superhero music background. But one thing was clear for me; the young musicians were the real superheroes of the evening.

Fimucité 10 - Audience


This was the full program (unfold pressing “+”)

“A Tribute to Shirley Walker”

28 of SEPTEMBER 2016 – WEDNESDAY – 8pm – Teatro Guimerá

Performer: Banda Sinfónica del Conservatorio Profesional de Santa Cruz de Tenerife

Conductor: José Toledo



The Music of Shirley Walker

“Batman: Mask of the Phantasm”- Main Title

“Final Destination” – Suite WORLD PREMIERE!

“Willard” – Suite – Guest Conductor: Larry Rench WORLD PREMIERE!

“Memoirs of an Invisible Man” – Suite WORLD PREMIERE!

“Batman: The Animated Series” – On Leather Wings WORLD PREMIERE!


“Thank you Shirley!”

The Music of Lolita Ritmanis, Michael McCuistion and Kristopher Carter

(Portégés of Shirley Walker)

Ben 10 In Concert (Lolita Ritmanis, Michael McCuistion and Kristopher Carter)

“Batman: The Animated Series” – I Am The Greatest Clown (Michael McCuistion) WORLD PREMIERE!

“Chase Me” – (Lolita Ritmanis) WORLD PREMIERE!

“Justice League” – Viking Funeral (Kristopher Carter) – Guest conductor: Kristopher Carter WORLD PREMIERE!

“Superman: The Animated Series” – Mr. Mxyzptlk Mambo (Kristopher Carter) – WORLD PREMIERE!

“Starcrossed: Farewell, Hawkgirl” – Rhapsody on a Theme from Justice League (Lolita Ritmanis) – Guest conductor: Lolita Ritmanis WORLD PREMIERE!

“Teen Titans” – Cyborg the Barbarian (Michael McCuistion) WORLD PREMIERE!


“Batman: Mask of the Phantasm” – The Promise and First Love (Shirley Walker) WORLD PREMIERE!



The day began with the official press conference at 12:30pm in the Chamber Hall of the Auditorio de Tenerife, where I arrived with little time, due to a communication error of the press conference, but that did not stop me to take a moment to observe the area. It was the first time I saw the building of the Auditorium in person, and the truth is that as I approached the place, I was more and more surprised by the structure.

Fimucité 10 - Auditorium (Outside)

Compared with a spaceship, a gladiator helmet, or “just” a building with a futuristic cut, the architecture of the auditorium leaves no one indifferent, as it presents different shapes depending on the angle of observance, and the scene is fantastically completed by the sea tucking the auditorium, in the style of a postcard.


But going back to the press conference, once in the room I saw the sponsoring authorities of the festival (Cabildo Insular de Tenerife, Canary Islands Government and the Municipalities of Santa Cruz and Arona), festival director Diego Navarro, orchestra conductor Christian Schumann, as well as most of the composers invited to the festival; Howard Shore, Lolita Ritmanis, Kristopher Carter, Michael McCuistion and Larry Rench.

Fimucité 10 - Press Conference

Despite having requested an interview with Howard Shore for SoundTrackFest during the festival, due to his tight schedule it was not possible, so I used the press conference to ask a question about was his work in the film Ed Wood, how did he arrive to the project and how was his collaboration with Tim Burton (since it is one of only three films in which Burton has not had Danny Elfman as a composer).


His answer was the following: “It is a movie that I really like, set in the 50’s, very vibrant, for which I used jazz and Afro-Cuban music to cover the thematic of old monster and horror movies, which was very interesting when working on the project. I also used the Theremin, played by specialist Lydia Kavina, which we will have the opportunity to hear live here in Tenerife, providing special musical textures. The Theremin is an instrument that was created for classical music in concert halls, but in the 50’s it began to be used in science fiction movies, and its sound was associated with the genre, so I used it for the world of Ed Wood in natural way.

Fimucité 10 - Howard Shore

I would have liked to delve a little deeper into his collaboration with Tim Burton and his arrival to the project, as my question was not entirely answered, but time was short and questions did not stop arriving, so I had to leave it there.


After the press conference was finished and after the official group photos, the day was free of events until the night, with no musical acts scheduled at the festival (excluding the activities and projections of Fimucinema, where every day short films, documentaries and films presented at the festival, were projected during the evenings).


At 8 pm, and once more in Teatro Guimerá (Guimerá Theater), tonight’s concert started, and this time it was dedicated to Animated Warner Heroes.


The evening began with an introduction by Robert Piaskowski, director of the Krakow Film Music Festival (Krakow FMF), explaining how this concert was a joint production between the two festivals, and how such collaborations propitiated spreading film music.


With just under 2 hours, break included, the concert featured the Joven Orquesta Sinfónica FIMUCITÉ

(Young Symphony Orchestra FIMUCITÉ) directed by José A. Cubas, who boosted the musical intensity of the day before, by adding the string section to the function. But this does not devaluate the music heard yesterday, which was fabulously orchestrated and adapted by virtuoso Larry Rench, although it is true that today’s music incorporated touches that only the strings can bring.

Fimucité 10 - Animated Warner Heroes - 1

The concert offered a musical tour of all main DC’s heroes, and the first part had a couple of suites of 2 and 3 movements for Superman and Batman; something great as it contributed to the development in a narrative level. Brilliantly directed by José A. Cubas, during the first part, intensity, color and darkness at times was provided, according to various themes and passages were interpreted, ending with the music of Teen Titans to rhythmic jazzy music, offering some joy and vigor to the public before the break.

Fimucité 10 - Animated Warner Heroes - 2

In the second part, where the orchestra was conducted mostly by Lolita Ritmanis, Kristopher Carter and Michael McCuistion, each in charge of their own pieces, themes a bit more complex were played but very enjoyable to listen, ending the concert with the optimism and playfulness of Scooby Doo, which was also the encore of the night.


In summary, the evening included various pieces featuring different musical brushstrokes of superheroes, both epic and lugubrious, showing the triumphalist side but without forgetting the vulnerable side, in a balanced and well executed selection, which the public enjoyed very much.

Fimucité 10 - Animated Warner Heroes - 3

This was the full program (unfold pressing “+”)

“Concert Animated Warner Heroes”

29th of SEPTEMBER 2016 – THURSDAY – 8pm – Teatro Guimerá

Performer: Joven Orquesta Sinfónica FIMUCITÉ

Conductor: José A. Cubas.



Superman: The Animated Series

I. “The Journey” (Lolita Ritmanis)

II. “Apokolips Now” (Kristopher Carter / Orchestrated by Kristopher Carter & Larry Rench)

III. “The Hero Within” (Michael McCuistion / Orchestrated by Michael McCuistion & Larry Rench)

Batman: The Brave and the Bold

I. “Silhouettes” (Lolita Ritmanis)

II. “Capers. Crimes and Crusaders” (Michael McCuistion / Orchestrated by Michael McCuistion and Larry Rench)

Teen Titans (Suite) WORLD PREMIERE!

I. “Things Change” (Michael McCuistion, Orchestrated by Michael McCuistion and Larry Rench)

II. “Trouble In Tokyo” (Lolita Ritmanis, Orchestrated by Lolita Ritmanis and Larry Rench)


“Batman from the Future: Return of the Joker”

(Kristopher Carter / Orchestrated by Kristopher Carter and Larry Rench) Conducted by Kristopher Carter

“Heroes, Heroines & Music Meisters”

(Lolita Ritmanis / Orchestrated by Lolita Ritmanis and Larry Rench) Conducted by Lolita Ritmanis

“Unlimited Universe”

(Michael McCuistion / Orchestrated by Michael McCuistion and Larry Rench) Conducted by Michael McCuistion

“Scooby Doo: Mask of the Blue Falcon”

(Lolita Ritmanis, Kristopher Carter and Michael McCuistion – Orchestrated by Larry Rench)



The Conservatorio Profesional de Música de Santa Cruz de Tenerife (Professional Conservatory of Music of Santa Cruz de Tenerife) was the place for the day’s first activity, a two-part workshop which started at 11:30 am under the title ASCAP Presents: Masters Sessions with Richard Bellis (I) and that was oriented as an audiovisual seminar for composers and composition students.


Lectured by the great communicator and experienced composer Richard Bellis, the first day was divided into two blocks, the first presented by Shawn LeMone – ASCAP, that under the name Creativity on a Deadline, explored the concepts of art, artist and craftsman, giving hints on how to combine all the factors in the equation, to create music when deadlines are tight.

Fimucité 10 - Richard Bellis - Conference - 1

The second block, which began at 1pm and ended at 2pm, was presented by Agata Grabowiecka, programming responsible for Krakow FMF festival, and under the title Skill Sets: Not Available from Any Software Manufacturer, Richard explained how an important part of what must be taken into account when composing, are not only technical tools, but personal skills to manage conflicts that arise during the process.


The public attending the conference, mostly young people (students of the conservatory), listened with great interest the wise words of Richard Bellis, more focused on what cannot be learned in traditional classes of music, harmony and composition, and is more learnt from experience and from the famous and painful trial / error.


After a shared afternoon with friends, talking about films and music, it was time for one of the most anticipated concerts of the festival, the Space Opera concert, whose tickets were sold out more than a week ago, in an auditorium that according to official information from the website features over 1,600 seats.


Although I had been into the facilities of the auditorium at the press conference, this was the first day I was to enter the great Symphony Hall, and the surprise once inside was huge as I found a place with a modern and practical concave-starry shape, that facilitated and naturally amplified the acoustics of the orchestra, besides making easier the vision of the stage, as the seats were optimally organized in staggered heights.


Sitting in a row at half height, and on the left side looking to the stage (recommended to buy tickets on intermediate-high rows on the left side, to prevent being disturbed by the television crane during the show) I prepared myself to enjoy the concert, that lasted just over 3 hours counting the intermission (probably excessive for some people, but perfect or even short for me as I will relate below).

Fimucité 10 - Space Opera - 1

The evening began with a brief presentation of the Fimucinema awards to Ivan Ruiz Serrano, Daniel Chamorro, Mathieu Alvado, Lamberto Guerra and Jonay Armas, winners in various categories of the competition, being only Ivan Ruiz Serrano and Lamberto Guerra present to collect the awards at the stage.


The concert began with a suite from Sueños de Sal (Salt Dreams), presenting a cheerful, optimistic and fresh music, conducted by its composer Oscar Navarro, and that included the participation of the orchestra and choir. At the same time, fragments of the film and still images appeared on the big screen, which were interspersed with close-ups or long shots of the musicians and the chorus, as the concert was being recorded by Spanish national TV (RTVE) for later broadcast on television. In this way, the public could be aware of the orchestra section that was playing the main part on each moment, helping them to become more integrated into the concert.


After the performance, and after the effusive applause, Oscar Navarro received the award for Best Spanish Soundtrack with Sueños de Sal (Salt Dreams) given by critics of Scoremagacine. Then he gave way to Federico Jusid, who conducted suites of Isabel / Carlos / Misconduct, tense and powerful, while seeking the complicity of the choir with energy, and joining them at times in their chants while moving the baton (as we saw on his face on the screen). After a thunderous applause, Federico received the award to the Best Spanish Composer, and was unable to hide his emotion when he said that we feels especially welcomed and tucked in Spain


Then came the moment when director Christian Schumann took over the Orquesta Sinfónica de Tenerife (Tenerife Symphony Orchestra) together with the Tenerife Film Choir (choir master: Cristina Farrais) and the Coro de Voces Blancas del CPM de Santa Cruz de Tenerife (Choir of White Voices of PCM Santa Cruz de Tenerife) (choir master: Juan Ramon Vinagre) that were the protagonists of the rest of the evening.


To highlight some moments of the extensive but great concert, first I think it would be the outstanding start, when the sound of the violins lead us to the world of Dune, while we have the introduction of the film on the screen, and light effects in the auditorium complement the sense of immersion but without distracting from stage. The orchestra subliminally accompanied the beginning, and then moved to a full and vigorous suite (though unfortunately did not start with the central theme as it does in the film, leaving us with the desire of that peak moment for later, which eventually arrived).


In this first part I should also highlight the fabulous interpretation of the soprano Carmen Acosta in the complex and well adapted piece The Diva Dance from The Fifth Element (Eric Serra), the musical memories of childhood sensationally rescued with scores from Battlestar Galactica (Stu Phillips) and The Last Starfighter (Craig Safan), the never before played in concert Space 1999 (Barry Gray) with a guitar fighting for the attention with the orchestra, or the ending of the first part in a Crescendo with Children of Dune with pieces Summon the Worms and Inama Nushif, which included the splendid voice of Cristina Ramos.

Fimucité 10 - Space Opera - 2

In the second half, and after presentation of Anton Garcia Abril posthumous award to Shirley Walker, collected by his disciples; Lolita, Kristopher, Michael and Larry, I’d like to highlight Diego Navarro’s conducting on two pieces: Interstellar (Hans Zimmer) where the hits in strings of the cellos marked an oppressive rhythm at the beginning of the theme and then left us in the hands of the organ of the Auditorio de Tenerife, that completely wrapped us with its presence and got us involved in the story, and Star Wars – The Force Awakens (John Williams), with a committed orchestra that delivered a delicious Rey’s Theme or a wonderful Jedi Steps and Finale.


Another highlight were the great arrangements of the complex music of Gravity (Steven Price), with drums marking a rhythmic base for noise and restlessness, accompanied by lots of percussion along the score, filling thus the auditorium’s hall with asphyxiating sounds, that were resolved with a solo at the end to release tension.

Fimucité 10 - Space Opera - 3

When we were approaching the 3 hours of concert, the night ended with a couple of encores of Star Wars (Yoda’s Theme from Episode V and the Throne Room and Final from Episode IV), while Stormtroopers, Darth Vader and Kylo Ren, burst into the room through the side doors to close the function.


A wonderful evening, that I wouldn’t mind if it would have lasted longer, as this chronological tour for most of the music of science fiction – space opera genre, has been of the best concerts I’ve seen in a long time, both in programming, in its production and in the performance.


This was the full program (unfold pressing “+”)

“Space Opera Concert”

30th of SEPTEMBER 2016 – FRIDAY – 8pm – Teatro Guimerá

Performer: Orquesta Sinfónica de Tenerife

Conductor: Christian Schumann




Oscar Navarro – Best Spanish Soundtrack

Sueños de Sal – Suite WORLD PREMIERE!

Federico Jusid – Best Spanish Composer

Isabel/Carlos – Suite

Misconduct – Suite


Dune (TOTO) WORLD PREMIERE! – Prologue / Suite

Lost in Space (John Williams) – Main Theme

The Fifth Element (Eric Serra) – (featuring Carmen Acosta)

Lucia di Lammenrmoor: Act I “Ah! Veranna a te sull’are””” / The Diva Dance

Battlestar Galactica (Stu Phillips) – Main Title

The Last Starfighter (Craig Safan) – Overture

Space 1999 (Barry Gray) WORLD PREMIERE! – Theme

Battle Beyond the Stars (James Horner) WORLD PREMIERE! – Main Theme

Thunderbirds (Barry Gray) – Countdown and March

Children of Dune (Brian Tyler) – (featuring Cristina Ramos) – Summon The Worms / Inama Nushif



Space: Above and Beyond (Shirley Walker) Guest Conductor: Lolita Ritmanis WORLD PREMIERE! – Main Theme

Interstellar (Hans Zimmer) Guest Conductor: Diego Navarro – No Time For Caution

Star Wars: El Despertar de la Fuerza (John Williams) Guest Conductor: Diego Navarro

March of the Resistance/Rey’s Theme/Scherzo for X-Wings/The Jedi Steps and Finale

Flash Gordon (Queen) – (featuring Cristina Ramos) – Flash Theme

Dr. Who (Ron Grainier/Murray Gold) – Suite

Gravity (Steven Price) – Suite

Star Trek (Courage/Goldsmith/Rosenman/Eidelman/Giacchino) – Medley



The last day of festival took us back to the Conservatorio Profesional de Música de Santa Cruz de Tenerife (Professional Conservatory of Music of Santa Cruz de Tenerife), located at the top of the city in Tenerife mountains’ slopes, for the last activity of Fimucité Film Scoring Academy, the second part of the workshop ASCAP Presents: Masters Sessions with Richard Bellis (II) entitled The Director/Composer Relationship, which started at 12: 30 pm with a presentation from Michael Todd – ASCAP.


Richard Bellis focused on those aspects he considered key when managing and composing for a project, talking about how to seek agreements that allow the composer’s work to reach a successful conclusion, with the minimum suffering possible, and reaching the complicity of the director.

Fimucité 10 - Richard Bellis - Conference - 2

Once the event was finished, and after a group meal with people participating in the workshop, guests and organization of the festival, it was time for the evening concert, the concert dedicated to The Music of Howard Shore, starting at 7:30 pm at Adán Martín Auditorium of Tenerife that lasted 2h30m approximately (slightly less than the previous day).


After some pre-concert talks with friends and composers and some photos (since we knew this was our last night together and had to get all the juice possible out of it), it was time to move to the auditorium where we would have an evening with the Orquesta Sinfónica de Tenerife (Tenerife Symphony Orchestra) together with the Tenerife Film Choir (choir master: Cristina Farrais) the Coro de Voces Blancas del CPM de Santa Cruz de Tenerife (Choir of White Voices of PCM Santa Cruz de Tenerife) (choir master: Juan Ramon Vinagre) the Coro Polifónico Universitario (University Polyphonic Choir) and the Coral Universitaria (University Choir).


The first part of the concert began with the Tenerife Symphony Orchestra (no choirs here), conducted by Diego Navarro, in a four-movement suite dedicated to the music of The Hobbit, that turned out to be a review of well-known and adapted The Hobbit pieces. Without falling into the heroic or grandiose music, this suite gave brushstrokes to the main themes of this trilogy, from the dark moments of the happiest moments, but without projecting triumphalism or get carried away by the grandeur, with music different from what we usually listen in concert. A brave and determined bet, which led to the ending of a first part that lasted less than one hour, very surprising, pleasant and different.

Fimucité 10 - The Music of Howard Shore - 1

The second part, which began with Diego Navarro conducting The Fly – Finale, gave way to Howard Shore who went into the stage to receive the Anton Garcia Abril award for his career, and then stayed to conduct the orchestra directing two of his pieces: Dead Ringers and Naked Lunch. Curious the way Howard Shore conducted the orchestra, without baton but with very expressive movements.

Fimucité 10 - The Music of Howard Shore - 2

The rest of the second half, conducted again by Diego Navarro, had featured moments as Ed Wood with expert and virtuoso Lydia Kavina playing the Theremin (which also had a brief appearance last night at the Doctor Who Suite), the vivacious suite of The Aviator, the tension of Silence of the Lambs or Se7en, or the end of the concert with various themes from the trilogy of The Lord of the Rings that got an standing ovation from the public. A comprehensive review to the music of Howard Shore with 15 pieces, varied and interesting, although perhaps some pieces were somewhat complex to assimilate and out of a regular program, but what we had just witnessed, was also not an usual concert.

Fimucité 10 - The Music of Howard Shore - 3

At the end, after a huge and intense ovation from the public, grateful for the concert lived, there was a signing session in the Press Room of the Auditorium by Howard Shore. This resulted in a huge queue, since many of the people leaving the concert, seeing the opportunity to receive a signature of the composer, queued with their tickets or program brochures.


After more than 1h30m of signing session!!, and after finishing the whole queue, not leaving a single person without an autograph, the composer left the venue. I think I have not seen anything like this in all my years going to film music concerts, where on one hand Howard Shore showed the love and affection he has for people who appreciate his music, and on the other hand the organization was incredibly empathic to modify and delay their planning, to allow the composer to fulfill his purpose. ¡Outstanding!


And with this last concert I will end the summary of the festival. The official program was over, and the rest of the night was for celebrations among friends, that knew that the next day had say goodbye, keeping fabulous memories of lived experiences.



“The Music of Howard Shore Concert”

1st of OCTOBER 2016 – SATURDAY – 7:30pm – Auditorio de Tenerife

Performer: Orquesta Sinfónica de Tenerife

Conductor: Diego Navarro



El Hobbit – European Premiere!

Four Movements for Symphony Orchestra


The Fly – Finale

Dead Ringers – Main Title

Naked Lunch – Main Title

Eastern Promises – Main Title

Ed Wood – Main Title

Big – Goodbye

The Silence of the Lambs – Main Title

Se7en – Portrait of John Doe

Gangs of New York – Brooklyn Heights 1

Hugo – The Magician – European Premiere!

The Aviator – Suite

The Two Towers – Rohan

The Two Towers – Last March of the Ents

Return of The King – Mount Doom

The Fellowship of the Ring – Suite




I think if you read between lines throughout this article, you can deduce that Fimucité 10 has put all the best efforts on its tenth anniversary and has been in my opinion a great success.


With a wonderful program and a great organization, travelling to Tenerife has been a very good decision and worth remembering for a long time.


I’ll try anyway to make a brief balance of strong points and areas for improvement:

  • Changing the festival dates from July to September has led to an easier attendance, without the usual crowding of plans everyone has during the summer months. In fact, the public response has been great, resulting in a sold out of the two main events and very high levels of occupancy in the other concerts. The organization should take note and keep September 2017 for Fimucité 11.


  • Not saturating the festival with activities has been a wise choice, because apart from the evening concerts and optional workshops early in the morning, the day was quite clear (unless you also wanted to go to Fimucinema). But, and there’s always a but, I missed having a conference with all or part of the guests composers, where they could tell us more about their work and their daily schedule and projects, having some time for a round of Q&A with followers and fans.


  • The production of the concerts is impeccable, and audiovisuals in the 4 concerts that I attended are of high quality and very well chosen, prepared and synchronized. The light effects during the Space Opera concert on Friday were great, adding value to the great program of the night and giving more depth and immersion to what could be seen on the screens, without distracting from the main subject of the evening, music


  • The human team of the festival is fantastic. Very well prepared and very well synchronized, you can see that there are 10 editions of the festival on their backs, and they have been improving and polishing many aspects. The sense of coordination and complicity between members of the organization was complete.


  • Having TV cameras from Spanish main national channel (RTVE) recording the concert is something great, and not only because it helps the public to follow the show better, with on-screen close-ups of the instruments that carry the performance, but because it will allow to have a complete special program of the concerts broadcasted later. In addition, the fact that RTVE Canary Islands devote a brief daily special program for Fimucité (already available in RTVE On Demand), helps spreading film music, which is highly appreciated.


  • Fimucité Film Scoring Academy initiative has opened its door this year, a fabulous idea that helps bringing film music closer to film students and young composers (including diplomas at the end of the workshops). This has been supplemented with concerts for young audiences during the mornings, which have proved to be a success, and have allowed to sow the seeds in future fans of film music (or perhaps composers … who knows).


And after all this, I think there is little more to point out, except to say that Fimucité 11 and has become a priority in my calendar for 2017, and if it maintains the dates and program and organizational level of this edition (which I have no doubt it will), it is a must for next year.


 Gorka Oteiza wants to thank:


Diego Navarro and Pedro Mérida, for inviting me to discover Fimucité this year for the first time, and for their closeness and availability throughout the festival


Vanesa Bocanegra and Ylka Tapia,  for managing and coordinating all aspects related to media and social networks, before and during the festival


Ana Molowny, Sagri Hernández, Manuel Díaz … and in general  to all the people in the organization, who treat us, who come from outside the island, as if we were from home, because with your hard work and dedication, our stay on the island and on the festival is a true musical holiday (#FilmMusicIslandHolidays)