Vivim acostumats a l’«scrolling»

The 2026–2027 season of the National Classical Orchestra of Andorra (ONCA) marks the first programme conceived entirely by Joan Anton Rechi in his role as Artistic Director. Under the motto “Time to Listen”, the new season presents music as a space for reflection, stillness and transformation in a society shaped by immediacy and constant digital connectivity. Each concert revolves around a contemporary theme – light, beauty, perspective, the soul, heritage or solitude, reflecting the orchestra’s ambition to go beyond musical performance and engage audiences in a broader cultural dialogue. The season opens on 19 September with Towards the Light, a concert dedicated to hope, featuring Gabriel Fauré’s Requiem as its central work. The performance will be conducted by Josep Caballé Domènech and performed by the Cor Madrigal de Barcelona, which celebrates its 75th anniversary this year. On 24 October, The Right to Beauty will bring together works by Debussy and Mahler in a programme that argues for culture as a necessity rather than a luxury. On 14 November, Another Perspective, organised in collaboration with the French Embassy, will feature an orchestra made up entirely of women, conducted by a female conductor, with a programme devoted primarily to works by women composers. Following the traditional New Year’s concert, the season continues on 27 February with Mapping the Soul, a reflection on mental health inspired by Dante’s Divine Comedy. To coincide with Andorra’s Constitution Day, the orchestra will present The Heritage We Share, featuring works by Andorran composers. The main season concludes on 24 April with Solitude in the Cities, combining a screening of Charlie Chaplin’s City Lights with a live performance of the film’s original score by the ONCA. We spoke with Joan Anton Rechi about the philosophy behind the new season, changing audience habits, and the enduring value of live classical music. Interview by Irina Rybalchenko This season includes a concert organised in collaboration with the French Embassy. Is there a possibility that the ONCA could also perform in France? Not this season. However, it is certainly our ambition for the orchestra to perform abroad and become an ambassador for Andorran culture. At the moment, we are launching a completely new project, and it was important to establish this first resident season at the National Auditorium in Ordino before taking the next step. Once the programme is firmly established, I believe we should be ambitious enough to think about international tours. What will it take to make that happen? Naturally, financial resources are important, and sponsorship can play a significant role. But it is not only a question of funding. We also need to find the right programme and the right opportunities to present it internationally. Collaborations such as the one we have with the French Embassy can open doors and, in the future, allow the ONCA to perform in France and other countries. During the season presentation, musicians’ fees were also discussed. What is the approximate remuneration per concert? It depends greatly on each musician’s role within the orchestra and on the programme being performed. As a general guideline, fees range from €600 to €1,100 per concert. How have audiences’ tastes in classical music changed over the years? More than people’s tastes, it is the way we consume culture that has changed. We have become accustomed to endless scrolling, constant stimulation and increasingly fragmented attention spans. Classical music demands exactly the opposite: time, calm and attentive listening. That is precisely what we want to reclaim with this season. We want people to walk into the concert hall, put their phones aside, leave their worries behind for an hour and simply allow themselves to be carried away by the music. So, in a way, it is also a call to disconnect? Exactly. I believe we are placing greater value than ever on moments of inner peace. Classical music concerts provide a sense of well-being and serenity that is often missing from our everyday lives. They offer an opportunity to forget about the outside world for a while and reconnect with ourselves. I also speak a great deal about the importance of music education in schools because I believe it is fundamental. I would love every child in Andorra to complete their education having attended at least one ONCA concert. Not only so they understand what an orchestra is, but so they appreciate everything it represents. An orchestra is probably one of the finest examples of teamwork: dozens of people working together towards a single artistic goal. That is a lesson that extends far beyond music itself. Is there enough interest in classical music among younger generations? I am optimistic. It is true that today we compete with an enormous range of entertainment options—streaming platforms, social media, festivals and cinema. But when you visit an music school, you see many young people studying music, and that is extremely encouraging. The real challenge is not sparking interest but ensuring that it lasts: encouraging young people to attend concerts, come back again and make music an integral part of their lives. What does a live concert offer that no digital platform can provide? Music is an incredibly direct language. You cannot explain exactly how it moves through your body, yet it can make you laugh, bring you to tears and awaken your emotions without requiring any intellectual effort. At the theatre, you have to follow a story. With music, all you need to do is let yourself be carried away. It is an immensely rewarding experience because it transports you into a world of emotions that is difficult to find anywhere else. Live music has the power to transform you and make you feel things that words simply cannot express. That is why I would encourage anyone who has never attended a symphonic concert to give it a chance. What would you say to encourage someone who has never been to a symphony concert to attend one? I would tell them they are about to discover a wonderful world. Live music is captivating. Once you have attended a couple of concerts, you find yourself wanting to come back because each performance reveals new emotions and even helps you discover something new about yourself. No recording and no screen can ever replace the unique experience shared between musicians and their audience!The post Vivim acostumats a l’«scrolling» first appeared on All PYRENEES.