Roberto González-Monjas

Conductor, Violin

Music Director – Iberacademy Orchestra
Chief Conductor and Artistic Advisor (Designate) – Dalasinfoniettan
Artist in Residence (Designate) – Orquesta Sinfonica de Castilla y Leon

Biography

Highly sought-after as a conductor and violinist, Roberto González-Monjas is rapidly making a mark on the international scene. A natural musical leader with strong vision and clarity, Roberto possess a unique mixture of remarkable personal charisma, an abundance of energy, enthusiasm and fierce intelligence. Roberto is currently designate Chief Conductor and Artistic Advisor of Dalasinfoniettan where his tenure commences in 19/20 season.

Roberto’s eclectic concert diary includes regular conducting, play-directing and engagements as a soloist with orchestras such as the Musikkollegium Winterthur, Orquesta Sinfónica de Castilla y León, the Verbier Festival Chamber Orchestra, Orchestre de l’Opera National de Bordeaux Aquitaine, New World Symphony in Miami and Medellín Philharmonic Orchestra. Passionate about chamber music collaborations, Roberto is a regular guest at Verbier and Lockenhaus Festivals. He frequently collaborates with singers and instrumentalists including Ian Bostridge, Yuja Wang, Janine Jansen, Alexander Lonquich, Lisa Batiashvili, Fazil Say, Reinhard Goebel, Thomas Quasthoff, András Schiff and Kit Armstrong.

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Reviews

“Roberto González-Monjas did it, because he is in a great moment of artistic maturity that allows him to mold a brutal “physical” part (third movement, for example) that also requires absolute devotion to transmit that urban and street paroxysm. The high technical qualities of González-Monjas and especially his compromised attitude are fundamental in this concert, also regarding the delicacy of the Adieu, the care at the time of sewing harmonics and understanding with an orchestral part that has much to express.”

Samuel González Casado

Mundo Clasico

“In all it’s 64 minutes’ worth of music, saved from outstaying its welcome by Mozart’s ever-questing ear for an effect, among the most piquant perhaps being the pizzicato passage towards the end of the Andante. It’s played admirably here, under the direction of the well-travelled Roberto González-Monjas”

David Threasher

Gramophone

More Reviews

He is the comet at the Winterthur classical sky: Roberto Gonzalez-Monjas…The famous Haffner Serenade KV 250 by Mozart and the Serenade op. 1 by Othmar Schoeck are included, with Gonzalez-Monjas acting as both conductor and solo violinist. It is amazing how easy and accident-proof the orchestra is now able to play… Mozart has composed movements two to four as a veritable violin concerto full of songfulness and virtuosity, a feast  for the violinist Gonzalez-Monjas. With his filigree style and his wonderfully singing violin sound, he dominates the Serenade over long distances…” Schewizer Musikzeitung, Verena Naegele, July 2018 (CD review)

“Under the baton of the first concertmaster Roberto González-Monjas, the orchestra played with a sonorous tone, and the Ensemble Corund sang with naturally simple vocals. In addition, Gonzalez Monjas built the special Requiem form very organic. The dramaturgy was poignant, the short, violent crescendos unfolding with powerful force.” – Der Landbote, Sibylle Ehrismann, March 2018

“González-Monjas was above all a versatile interpreter, capable of making the most of the tensions that occur in the work [Salonen Violin Concerto ] and recreate in moments of calm. …The soloist left an unbeatable tympanic atmosphere in Pulse I, while in Pulse II it seemed to take the spectator…to an atmosphere of great energy. When he arrived at Adieu, González-Monjas, achieved a melancholy air, without missing the powerful contrasts well provided by the orchestra, and let the sound fade from the acute. The violinist was inexhaustible, in a work that gives no respite, when it comes to delving into the resources that he provided to make them patent. “ – Agustín Achúcarro, Codalario.com, 19 February 2018

“At times when the orchestra launches in full sail, knows how to dose more collected, such as the evocation of the hero’s companion, whose typically feminine intemperance, the fickleness (so feared by men in a woman), are represented by a violin solo with a virtuosistically voluble character, beautifully interpreted by Roberto González-Monjas.” –  Stefano Ceccarelli, L’Ape musicale, 25 January 2018

“With verve, verve and enthusiasm as well as excellent technical skills, the instrumentalists present a stringent, sophisticated interpretation of the two works…Roberto Gonzales-Monjas…serves his soli with technically playful lightness and classical interpretation.” –  Pizzicato, October 2017

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