Miracle! An opera of two halves
Writing for a chamber ensemble, Marcos [...] introduced crystalline colors and textures [...] that built a contrasting effect of growth and decay between the choir and the crowd. He had a huge influence on the city.
OPERA MAGAZINE – Martin Dreyer
"From the beginning, we admire the imagination to portray nocturnal atmospheres, to combine tones." […] It is music that we could describe as eclectic and that reveals a very skillful ability to link and relate melodic cells and phrases, which make up Barrero's language, which, as Eva Sandoval says in her notes, "shows a kaleidoscope of technical and aesthetic influences that converge timbral experimentation with minimalism, folklore, flamenco, and jazz."»
LA RAZÓN – Arturo Reverter
‘America, Homenatge a Bernstein’
"Marcos Fernández joins the compositional style prevailing worldwide at the moment: the most radical eclecticism. It essentially consists of a solid and well-constructed piece for a large orchestra."
REVISTA MUSICAL CATALANA – Xavier Pujol
"[...] musical innovation in relation to textures to explore what can be done with an orchestra, on a path of idiomatic inquiry [...]"
RITMO – Ramón García
"The initial Eclipse of Marcos Fernández had the precise character and dimension to serve as a magnificent and refreshing overture to the evening, where the relative tendency to a minimalistic base, well managed, resulted in a just balance and a juicy appearance. Delicious beginning."
REVISTA RITMO – Luis Mazorra Incera
‘Resonancias para Orquesta’
It is a very avant-garde work, lacking a connected melodic structure, but supported by fleeting motifs and orchestral resonances, as indicated by its title. But we liked it, it is a bold and suggestive piece. The author, present in the room, received a lot of applause.
LA NUEVA ESPAÑA – Cuca Alonso
"I loved the innovations presented in the performance [...] they made the orchestra illustrate moments of bright colors contrasted with more subtle and intimate moments. This was a contemporary composition, however, its melodic line was clearly identifiable. The audience must have enjoyed it as well, since the applause the piece received was genuine."
TIMES OF MALTA – Joyce Guillaumier