Early Music Day 2026 - Opera Omnia

Opera Omnia is an early music ensemble dedicated to the recovery and performance of Spanish and Spanish American musical heritage from the Baroque and Classical periods. Directed by the violinist Isaac M. Pulet, the ensemble has distinguished itself through a bold and distinctive approach, avoiding the interpretative clichés often associated with German or Italian repertoire and instead highlighting the uniquely Hispanic characteristics of this music. As a result of this work, Opera Omnia was awarded in 2022 by GEMA (Asociación de Grupos Españoles de Música Antigua) with the prize for Best 18th-Century Music Ensemble and the award for Best Production and Management for the SARAO tour. In 2024 the ensemble reaffirmed its excellence by receiving the award for Best 17th-Century Music Ensemble and a nomination for Best Direction. This video brings together a brief selection of moments from several of our concerts, presenting different repertoires and contexts in which we have performed this music. It begins with "Digo que no he de cantarla" by Juan Francés de Iribarren (1699–1767), maestro de capilla of Málaga Cathedral, recorded during a concert at the Estella Early Music Week. This is followed by the beautiful tono "Tanta copia de hermosura", an anonymous work from the Contarini Manuscript (Venice, 17th century). The third excerpt features "Convidando está la noche" by Juan García de Zéspedes (1619–1678), maestro de capilla of Puebla Cathedral (Mexico), performed at the Vélez Blanco Festival of Renaissance and Baroque Music. The following scene presents a moment from "Las Siete Últimas Palabras de Cristo en la Cruz" by Juan Ezequiel Fernández (fl. 1776–1825), maestro de capilla of Santander Cathedral, performed at the Palacio de Festivales de Santander. We then return to Estella with Iribarren’s "Jácara de fandanguillo", before closing with "Salga el torillo hosquillo" by Diego José de Salazar (1659–1709), maestro de capilla of Seville Cathedral, performed at the Utrecht Early Music Festival. These excerpts offer only a small glimpse of the repertoire we regularly explore: the extraordinary richness of the music preserved in cathedral archives and manuscripts from the Hispanic world of the seventeenth and eighteenth centuries.