The highly sensitive work was musically supported by José Antonio Domené playing the harp, who simulated the sound of an alarm clock or the passing of time by tapping on the wood of the instrument, or by dialoguing with the voice of the veteran soprano Dolors Aldea. Sections of vocalization alternated with phrasing that was initially ironic and then more forceful and transcendent, in a work which is a faithful reflection of the fertile combination of eclecticism and exquisite sensitivity of Raquel García Tomás.
The excellent harpist José Antonio Domené, [...] offers an outstanding performance [...] with a great ability to create different atmospheres required by the monologue brought to life by the outstanding score by Raquel García-Tomás.
Those attending the eleventh concert of the season of the Oviedo Philharmonic Society were not disappointed by the quality exhibited by the musicians José Antonio Domené (harp) and Mercedes Schmidt (flute).
In the first half of the programme, the tandem faced Saint-Saëns' "Romanza op. 37", with elegant phrasing and careful delivery on the parts. To commemorate the centenary of the death of Gabriel Fauré, the musicians performed some of his pieces, such as the "Morceau de concours" for flute or the "Sicilienne" by Pelléas et Mélisande. Always focused, the artists showed great harmony, adjusting their articulation correctly and displaying a captivating lyricism in some moments. Solo, Domené would execute the Fauré "Impromptu, op. 86", with a particularly polished technique and an attractive musicality.
The second part would give the spotlight to Domené. The principal harpist from Oviedo Filarmonía Orchestra , who stopped to briefly explain the pieces, faced the three movements of Hindemith's "Harp Sonata", where he exploited each register of his instrument with great skill, in the same way as what happened in the "Variations on an anonymous theme", by Montsalvatge, with some hits on the soundbox and very expressive glissandi.
However, the audience – with some young faces, more numerous than usual – would especially enjoy Guridi's "Viejo zortzico" and Gerardo Gombau's "Apunte bético".
Finally, after an hour and a half of a pleasant recital, Schmidt would return to the stages of the Philharmonic Theater to perform, alongside Domené, Ibert's "Entr'acte", as an encore, in response to the applause from the public.
Jonathan Mallada Álvarez, La Nueva España, 29 de mayo, 2024
The harpist José Antonio Domené excelled. The elegance in the phrasing, the clarity in the articulation, the precision and the musicality of the soloists gave letters of nobility to a Mozart of melodic flight and rhythmic play who had his best achievements in a charming Andantino. Eschenbach, who conducted the Mozart score for the first time, accompanied them with artisanal skill; After the applause, he enjoyed from the side of the stage the encore they offered, an extraordinary version of Jacques Ibert's Entr'acte.
Youth came to shine at the hands of a living legend such as the legendary Christoph Eschenbach. Domené's harp was convincing, as well as beautiful in clarity and expressiveness, felt even in its slowest and quietest passages.
Once again Oviedo Filarmonía (OFIL) demonstrated its good moment, especially in the popular Intermedio of “La Leyenda del beso”, where we could see the excellent dynamic range of the orchestra, with impeccable sonorities and a mature string (with the harp, again , by Domené, always appreciated).
Pablo Álvarez Siana, Opera World, 24 de enero, 2024
Equally noteworthy is the always beautiful Intermezzo from Cavalleria by Mascagni, to taste a chord that is now homogeneous, vigorous, warm, with the harp of José Antonio Domené, which would be impeccable throughout the entire evening.
Pablo Álvarez Siana, Opera World, 13 de enero, 2024
Oviedo Filarmonía exhibited the great moment of form in which it is found in the beautiful instrumental interludes such as the famous "Intermezzo" from Mascagni's Cavalleria Rusticana, with its beautiful unison in the strings over the delicate accompaniment of José Antonio Domené's harp, always precise in his numerous interventions throughout the concert.
The Ménage Trio, formed by Pepe Sotorres, flute; Alicia Salas, viola, and José Antonio Domené, harp, offered a delightful concert not exempt from relative modernity and its premieres, in the Satélites cycle sponsored by the OCNE.
The viola and harp version of Elegie by Gabriel Fauré, returned some of these aesthetic proposals to their most genuine origins, although in careful arrangement (by Domené). A work that converged on the brilliance of the zenith in a way balanced in its origin.
The flute and harp version of Piazzolla's Histoire du tango distilled technical savoir-faire on the weathered boards of this chamber room. There, mellowness (also, ad infinitum...), agility and risk were happily combined on a musical framework of clear and determined harmonic progressions, often of virtuoso adaptation to the harp.
The Trio Sonata for flute, viola and harp by Claude Debussy, brought to the program a good dose of that spirit of mystery and, in its days, brave aesthetic avant-garde. If the Pastoral movement was already rightly applauded, despite the interruption it entails, the Interludio was no less applauded to converge into a celebrated Finale. An original and outstanding work from this select repertoire as the final touch for an enthusiastic audience.
José Antonio Domené filled the chamber music hall with an audience devoted to an afternoon of French music. Domené knew how to choose the repertoire to make us enjoy of his wonderful technique and sound.
Pablo Álvarez Siana, La Nueva España, 18 de noviembre, 2022
José Antonio Domené showed in a space where great harpists have performed that he is another name to add to the list: the discretion of his first accompaniments was blown away in a very intense and warm Fantasy by Saint-Saëns, meticulously nuanced, both in its dynamics and in its tempo contrasts.
Pablo J. Bayón, Diario de Sevilla, 20 de Agosto, 2022
The harpist José Antonio Domené is confirmed as one of the strongest performers today; relying on the creativity of García-Tomás, he turns his harp into an authentic orchestra, with a chromatic palette of overwhelming amplitude.
From a proven artistic and professional aptitude, one would have to understand the attitude of the protagonists of the fifth concert of the ÖSRM regular season: on the one hand, the vital interpretative conjunction of the soloists and, on the other, the expert mastery of the conductor. Juan Antonio Nicolás, principal flute of the OSRM since its foundation, together with the harpist José Antonio Domené, for his unequivocal recreation of Mozart's Concerto in C K 299, and the Austrian maestro Georg Mark for the lesson that his performance meant.
José Antonio Domené demonstrated his virtues as a harp player not only in accompaniment to the singer, but also in Rossini's short but virtuoso Harp Sonata, in which the performer deployed the suggestive sonorous and expressive resources of Orfeo's instrument.
Carmen Conde, Revista Musical Catalana, Noviembre, 2018
The mezzo-soprano from Valencia focused her performance on the bel canto repertoire, always accompanied by an expert Domené on the harp. Going from Manuel García to his daughter, Maria Malibran, she also reviewed works by Rossini and Bellini, impressing with her great vocal power, her flowery singing and his ability to take advantage of his extraordinary low register. Her mastery of her agility shone, for example, in 'Yo que soy contrabandista' by García and in Desdemona's aria from Rossini's Otello, in which she also applied all her dramatic sense, controlling the projection and time changes.
Pablo Meléndez-Haddad, El Periódico, Noviembre, 2018
As for José Antonio Domené on the harp, he performed the Danses sacrée et profane, by Claude Debussy, a groundbreaking work, much more innovative, which he sought in the instrument, despite being a commission for a new model of harp, a compilation of ineloquent and very experimental profiles, as beautiful as they are difficult. Two pieces that contrast but at the same time form a solid ensemble, which the soloist developed by exhibiting all his chromaticism. The soloist's second piece was the Concertino for harp and orchestra, by Mario Castelnuovo-Tedesco, with similar characteristics as the previous one and with which he signed a more than interesting interpretation.
The Hospital of Sant Pau once again welcomes the Life Victoria lieder festival, in its third edition, a unique opportunity to see some of the world’s greatest specialists in this repertoire, which was the case of this weekend’s concert featuring soprano Isabel Monar and harpist Jose Antonio Domené. The Domènech i Montaner hall at Sant Pau, full to the brim, witnessed a programme of song cycles by Franz Schubert, Robert Schumann, Reinaldo Hahn and Manuel de Falla.
Well-known soprano Isabel Monar showed great affection and sensitivity in facing this repertoire. In the German section, with the sweetness of Schubert’s cycle Gesänge des Harfners and the heroism of Schumann’s Three songs on Hebrew melodies of Lord Byron, the Valencian-born singer showed a strong knowledge of both language and music. Likewise, José Antonio Domené was an ideal accompanist, especially in the Schumann cycle. Originally written for harp, and rarely programmed, the piece is very demanding both technically and musically, making the rapport and bond between the two soloists a pleasure to see.
As an interlude to the next block, Domené performed the Impromptu, op. 86 by Gabriel Fauré, one of the major works of the harp repertoire, and a showcase of the instrument’s many and varied possibilities, which left no doubt as to the musician’s outstanding talent. The evening continued with the songs L’énamourée, L'heure exquise, Infidélité and Si mes vers avaient des ailes by Reinaldo Hahn. Exquisite melodies that filled the modernist hall with the spirit of the French Romantic composer.
Finally, Manuel de Falla’s Seven Popular Spanish Songs broke the intimacy with folk rhythms in a brilliant arrangement for harp by Domené himself.
As an encore for this extraordinary concert, an emotional Isabel Monar sang Strauss’ Morgen!, a call for world peace in difficult times.
Harpist Jose Antonio Domené played highly demanding pieces by Britten (Nocturne from the Suite for Harp), Fuentes (Sombras espesas), Montsalvatge (Variations on an anonymous theme) and Quetglàs (Chaconne).
El país, August, 2014
VIOLIN AND HARP CONCERT (Sa Nostra, Mahón)
Last Saturday brought a repeat in Mahon of the previous day’s success in Ciutadella. Violinist Francina Moll, alongside harpist Jose Antonio Domené, presented a concert in the Esglesia de Sant Josep of a kind rarely seen in Menorca and left one wanting more. Violin and harp rarely share the stage, and when the opportunity occurs, it is a true must-see.
José Antonio Domené, one of the most celebrated of Spanish harpists, surprised with his mastery of such a particular instrument.
They both delighted the audience with the beautiful Sonata for Harp by Donizetti, who opened the concert, a sonata in a belcanto form aria-cabaletta. It was followed by the Spanish Popular Suite by Falla which Francina Moll understands perfectly, giving warmth and affectivity and exceedingly well supported by Domené, who made the transcription from the piano part. But the solo virtuosity was yet to come with the Yasaie Sonata for solo violin and the harp Fantasy Op. 95 by Saint-Saëns. The first piece, devilishly difficult; the second, highly delicate.
Followed by the rarely played Sonata Concertante by Spohr, a technical feat of the repertoire, the concert ended with a grand finale: the Fantasy Op.125 by Saint-Saëns for violin and harp.
The applause arrived only to break the spell cast over us: applause most well-deserved, leading to an encore of the Meditation from Massenet’s opera Thaïs, a gem of the repertoire that left us wondering when such a marvelous concert might take place in Menorca again. Hopefully, soon.
Harpist Jose Antonio Domené has been awarded the Promúsica Association Award for his 'brilliant solo career' and his work as a chamber music and orchestral player, collaborating with international renowned orchestras.
La verdad, April, 2013
HANDEL AND MOZART CONCERTOS (Auditorio y Centro de Congresos, Murcia)
With Handel Concerto José Antonio Domené demonstrated a clear example of talent and expressivity, with clear and transparent sonority and a great technique in it’s permanent concertante, but it was with the fascinating Mozart Concerto for flute and harp where he really showed his potential. The sonority was awesome, clear and notably expressive.
Excellent concert by José Antonio Domené. The harpist gave the best of himself in his recital at the Casa de las Artes y de la Música, ending with a standing ovation. The repertoire, a selection of pieces from the 20th century, highlighted the mastery of the soloist. The public, totally devoted, cheered and acclaimed the performance of the musician.
A few seconds after he began playing, no one could possibly see the instrument, trying to follow the movement of his rapid fingers between the strings. The public, enchanted with the continued development of his exhibition wanted more. There were times when I saw us levitating and flying over the roof of the Moneo’s building.
Scheherazade by Rimsky came after the interval, raising the roof in its power and intensity. The full orchestra reveled in this marvelous score, enjoying the virtuoso scoring and vivid and brilliant writing for the instruments. Leader was ably aided by harpist Jose Antonio Domené.
Bob Briggs, www.musicweb-international.com, December, 2008
Yesterday afternoon at the Bilbao Society, nearly one hundred people attended the recital given by the great harpist José Antonio Domené. The soloist made himself with the harp and performed with his ‘hands of snow’.
Txema Soria, El correo digital, May, 2008
MOZART CONCERTO (Auditorio Nacional de Música, Madrid)
José Antonio Domené triumphed at the Madrid Auditorium with the double Mozart Concerto for flute and harp, alongside the Royal Conservatory of Music Symphony Orchestra, conducted by Antonio Moya.
Melómano, January, 2007
CONCURSO UFAM (Courveboi, Francia)
The harpist José Antonio Domené has been awarded the first prize at the UFAM International Competition. For the musician this was an important victory. Pannel members included Jean-Michelle Damase, Dominique Bouchaud and Iris Torossian . They were impressed with the performance of Domené.
Front page, La Opinión, March, 2006
1st INTERCENTROS COMPETITION (Auditorium Manuel de Falla, RCSMM)
Jose Antonio Domené received the Honorable Mention Prize from the hands of Miguel del Barco for his elegant and serene version of Dittersdorf Concerto for harp.
Álvaro Zaldívar, Melómano, February, 2003
THEY LEAD
The unusual world of the harp has in Jose Antonio Domené a promise of an unexpected future.