“Quando a Terra Voltar a Brilhar Verde para Ti” (When the Green of the Earth Will Glisten for You Anew), an exhibition that “steals” the title of a verse by the German poet Hölderlin, also used by the filmmakers, Jean Marie Straub and Danièle Huillet for their film about the death of the Greek philosopher Empedocles. Here one can admire the famous Júlio Dinis’ Herbarium in dialogue with drawings and sculptures by artists such as Rui Chafes, Ilda David, Teixeira de Pascoaes, Manuel Rosa and Lourdes Castro. There are also mural paintings by José Almeida Pereira, based on works by artists linked to the romantic imaginary, and an original sound composition by Jonathan Uliel Saldanha and Pedro Monteiro.

Modus Operandi took as its starting point a careful reading of the Serralves Collection since its inception, with the set of works acquired by the Secretary of State for Culture even before the Serralves Foundation and the Museum were created, to its most recent additions. From the outset, this Collection has had the ambition of including avant-garde artistic forms, experimentalist in nature and of an international scope, looking at the world from the Portuguese aesthetic and cultural specificity of the years that followed the 1974 Revolution. Also remarkable is the crossing and mixing of artistic disciplines such as plastic arts, music, performance and literature. This exhibition brings together a selection of works that reflect various transdisciplinary, experimental and conceptual approaches that demonstrate the attitudes, contexts and concerns of artistic output from the 1960s to the present day. The title comes from the homonymous work by the North American artist Joseph Kosuth, belonging to the Portuguese State Collection of Contemporary Art (Coleção de Arte Contemporânea do Estado-CACE) in storage in Serralves, which is presented in the exhibition. Modus Operandi points to different ways of doing, of operating, namely of making and thinking art. It is precisely in this sense that the presentation, for the first time, of a portfolio, also belonging to CACE, in which 30 international artists pay homage to Joseph Beuys show the importance of his legacy in the way of making art, of his belief that art can change the world and that everyone can be an “artist”.

Station 1 reveals the history of absence, rather than the history of presence. Fragments and further fragments are used to narrate moments that indicate the existence of the current and previous epochs. Materials from different periods coexist with audiovisual devices and different types of image, to show us how PortuCale - the city that gave Portugal its name - became Porto.

“The hour before sunset has a magic all its own...” Rosa Luxemburg wrote to her friend Hans Diefenbach in a letter sent from Wronke prison, in the summer of 1917. Based on this correspondence, Colombian artist Milena Bonilla invites us to think about the possibilities of building an imaginary universe that navigates between literature, botany, sporadic historical references and collective mythologies. Here, “that hour before sunset” appears as a conception of a magical temporal moment that links past and present through the creation of emotional resonances. For the construction of this exhibition, the artist explores the limits of the archive as a way of connecting collective memory. The project infiltrates itself in the symbolic interstitial spaces between the garden of Palácio de Cristal, the Municipal Library Almeida Garrett and Galeria Municipal do Porto in order to relate different forms of knowledge output to investigate the concept of something that we could call 'suspended historical temporality'.

The fear of failure (simultaneous with the desire for success), boosted by the capitalist economic system (which infects all other social and cultural systems), has become both one of the greatest human driving forces and the value of judgment by which we evaluate ourselves, serving as a measure that establishes social hierarchies. But the concepts of failure and success are never free from prerogatives: the idea of success is intrinsically linked to several determining factors - skin colour, gender, sexuality, etc. - and, above all, to fulfil the expected roles within these categories. Failure, and learning from failure, take on an important role in artistic output - between dissatisfaction, rejection, doubt, error and experience, the idea of successively trying and failing can fuel speculative experimentation and conceptual creation. Assuming the premise of failure as a tool of counter-hegemonic resistance, this exhibition, curated by Marta Espiridião, calls for criticism of the static models of success and failure, and for questioning their role in the construction of personal and ordinary life.

Mark Bradford (Los Angeles, 1961) is currently acknowledged as one of the names that best defined painting of the last two decades, by creating his own pictorial language to talk about universal themes, such as the distribution of power within societal structures and its impact on the individual or the relationship between art and community engagement. In his work, the social element is given through his choice of materials. Using everyday materials and tools found in hardware stores, Bradford created a unique artistic language. Often referred to as “social abstraction”, his work is rooted on the understanding that all materials and techniques are embedded with a meaning that precedes their artistic utility. His signature style developed out of his experimentation with endpapers, the small, translucent papers used in hairdressers, but he has since experimented with other types of paper, including maps, billboards, film posters, comic books and ‘merchant posters’ advertising predatory services in economically distressed neighbourhoods. Through this rigorously physical approach to the material presence of painting, Bradford has been addressing crucial issues of our time, such as the AIDS epidemic; the misrepresentation and fear of queer and homosexual identity; systemic racism in the United States; and more recently, the Covid-19 crisis.

Ever Archive: The Publications and Publication Projects of Hans-Ulrich Obrist. “Ever Archive: The Publications and Publication Projects of Hans Ulrich Obrist” is an exhibition devoted to the Chicago-based publication archive of curator Hans Ulrich Obrist, who is the Artistic Director at Serpentine Galleries in London. The exhibition comprises a series of modules that address the intertwining of documents and their stories: the people, events and institutions that all played a role in bringing them into being. The exhibition also questions, through metaphor and other representations, the different behaviours of an archive: its fragility and instability, its relationship to other archives, as well as its various historical gaps. A central component of the show is a series of vitrine exhibitions that examine not only the historic architecture of the vitrine and its relationship to the “Wunderkammer”, but also the conceptual possibilities that vitrines impose through their physical constraints. “Ever Archive” also includes a history of the archive itself - an archive of the archive - which documents how it has changed over time in relation to the context of technological tools and human knowledge.

This exhibition features works by Pedro Tudela (Viseu, 1962) belonging to the Serralves Collection, spanning nearly 30 years of work, from 1990 to 2019. Pedro Tudela studied Painting at the Faculty of Fine Arts of the University of Porto and started his career in the 1980s. Since then, he has proved to be an eclectic artist, working in different artistic disciplines and fields, such as painting, sculpture, performance, sound, multimedia, as well as set design and experimental electronic music. His earliest works from 1980 were paintings, but already in the early 1990s he introduced sound in his work, which happens for the first time in the exhibition “Mute… life” (Galeria Atlântica, Porto, 1992), from which a work is featured here. In that exhibition, sound was still autonomous from the visual works that made up the exhibition, acting as an enveloping soundtrack and aggregating the various elements on display. From then on, sound became more and more relevant, fully integrating the work, visually and conceptually, in the same way as drawing, painting or sculpture. Tudela works and incorporates the various disciplines without hierarchies or boundaries between them, precisely reflecting the permeability between languages ​​that becomes one of the main characteristics of his work. Sound gains prominence, is treated visually, often materialized in sculptures through the incorporation of the devices that generate it — loudspeakers, magnetic tapes, cables, speakers are plastic material in a dual aspect, visual and acoustic. Tudela's artistic practice is inseparable from human existence and the world, which has manifested itself in different ways throughout its trajectory, represented in this exhibition in a selection of nine works.

Christina Kubisch is one of today's most celebrated sound artists. After studying painting, flute, piano, musical composition and electronic music, she began, in the 1970s, to work with sound sculptures, installations and electroacoustic compositions that would establish her as a trailblazer artist in the field of Sound Art. In the late 1970s, Christina Kubisch began using the technique of electromagnetic induction in her installations, a device that allows the transmission of sounds between electrical cables and headphones with magnetic coils specially designed by the artist. This system, which Kubisch has been constantly improving both technically and artistically, has been the starting point for numerous sound installations carried out around the world since 1980. It brings together and intersects various aspects of Kubisch's work: a revelation and awareness of the flow of energy and sound that, in an age dominated by technology that surrounds us anytime, anywhere; the proposal of an aesthetic dimension to the sounds transported by electricity and electromagnetism, in compositions that are constituted either by the artist's choices or by the movement of the public, conscious and self-determined; the underlining of our condition as beings connected by much more than what is on the surface, namely by what is invisible and silent. The installation THE GREENHOUSE, 2017 (with a new version for Serralves in 2021), is an example of Kubisch's works that use electromagnetic induction. The public, equipped with headphones, is given access to the soundscape that emerges from the approximately 1,500 meters of suspended cables in the Museum's Contemporary Gallery. When moving in the space, the public will be able to mix the series of natural and electromagnetic sounds that circulate in them. Also in BRUNNENLIEDER [FOUNTAIN SONGS], 2009, natural sounds are fused - either from the Serralves Park where it is installed or from recordings - with musical quotations from vinyl records of Schubert's song “Ein Brunnen vor dem Tore”, (based on a traditional song with the same name), gathered under the sign and sound plasticity of water. SILENCE PROJECT, 2011 – ongoing, focuses on a line of research and artistic practice by Kubisch that addresses the material, conceptual and cultural questions of silence. Based on a collection of recordings of the words that mean “silence” in about seventy languages, the project is divided into two works: one made from the images of sonograms of these words (“Analyzing Silence”, 2011 – ongoing), and another (“Silent Exercises”, 2011 - ) includes a silent video projection where these images merge and a sound installation based on the spatialization of a composition of the recordings of words, which will impose itself on the silence in the tower of the Chapel of the Serralves Villa. In 2010, Christina Kubisch presented a version for the centre of Porto of her well-known “Electrical Walks”, as part of the Trama performing arts festival. Now in 2021, Kubisch will have her first exhibition in Portuguese territory, constituting an opportunity for a closer relationship with this fundamental artist and historical figure in contemporary music and art.

The partnership between Manoel de Oliveira and Agustina Bessa-Luís is one of the most intricate chapters in the already tangled history of film adaptations of literary texts. As all the books are a unique case as affinities and dissimilarities between literature and cinema are concerned and having given rise to unusual accomplishments, the intersections between the works of both authors are crucial for understanding the body of work of each one. Having started in 1981, with the adaptation of the novel “Fanny Owen” (1979) into the film “Francisca”, Oliveira's collaboration with Agustina continued until 2005, with “Espelho Mágico” (Magic Mirror), an adaptation of “A Alma dos Ricos” (2002). In between, there are eight other texts by the writer that inhabit the director's oeuvre, which includes three novels, two dialogues, a play, a short story and a speech read by Agustina herself. In order to think about these relations between literature and cinema, it was useful to bring to the exhibition a wide range of scientific and para-scientific, knowledge and other even more obscure ones, because only these can illuminate a field of ​​knowledge essentially made up of intuitions and paradoxes, inversions of meaning and perplexities. The clash between words and images, between novels and films, calls for other confrontations, which we tried to explore in the exhibition, and opens up an interstitial space, a place of the aesthetic and the symbolic, where all this ancient and modern knowledge is brought into play. The terms of this dialogue are probably the most fruitful partnership of Portuguese arts and letters in the last hundred years.

The Miró Collection, owned by the Portuguese State, on loan to the Municipality of Porto and deposited at the Serralves Foundation, comprises 85 artworks and includes paintings, sculptures, collages, drawings and tapestries by the renowned Catalan artist. The Collection spans six decades of Joan Miró's work, from 1924 to 1981, thus being an excellent introduction to his work and his main artistic concerns. The exhibition follows on from the conclusion of the works of the Serralves Villa’s restoration and adaptation project, by the architect Álvaro Siza, who had the support of the Porto City Council, under the terms of the protocol that defines the conditions for depositing the Miró Collection in Serralves. Joan Miró (1893-1983), one of the great “form-givers” of the 20th century, was simultaneously an aesthetic “assassin” who challenged the traditional limits of the medium in which he worked. In his art, the different practices dialogue with each other, crossing the mediums: painting communicates with drawing; sculpture seduces woven objects; and collages, always conjugations of disparate entities, function as a major principle or matrix for exploring the depths of reality. This exhibition does not follow a chronological or linear format: the works are thematically aggregated, trying to give a holistic view of the artist's career. The various rooms address different aspects of his art: the development of a sign language; the artist's encounter with abstract painting that was done in Europe and America; his interest in the process and the expressive gesture; its complex responses to the social drama of the 1930s; the innovative approach to collage; the impact of Southwest Asian aesthetics on his drawing practice; and, above all, his incessant curiosity about the nature of materials.

From Tuesday to Friday, at 12:30PM, the monitors of the Museu da Cidade guide tours lasting 30 minutes, upon purchase of a ticket.

"Porto Legends: The Underground Experience" is an audiovisual event that will introduce ten legends related to the history of Porto. The show will be screened at Furnas (underground) of Alfândega do Porto. The latest creation by the Portuguese studio OCUBO, specialist in video mapping projects, debuts at Furnas of Alfândega do Porto. Through an immersive experience, the show will reveal ten legends related to the history of Porto, inspired by the book of historian Joel Cleto, "As Lendas do Porto". The Porto Legends - The Underground Experience project had 70 actors, 120 costumes and 30 video artists, using 50 high definition video projectors, strategically installed on the walls, floors, ceilings, columns and arches of Furnas of Alfândega do Porto. The ten legends that make up the show are narrated by Pedro Abrunhosa, in the Portuguese version, and the award-winning British actor Jeremy Irons, in the English version. Over 45 minutes, legends will be told such as Pedro Cem, Zé do Telhado, Baron Forrester, the famous Porto-style tripes, the mystery of Serra do Pilar’s Treasure; the violent siege of Porto, the 1755 earthquake and the ghost of São Bento Train Station. The public is invited to move about freely during the show, in an unprecedented 360º worldwide experience. Porto.CARD - NOT TO BE MISSED! Enjoy Porto.CARD and have discounts on tickets: Full ticket: 2€ discount / Pack of Two exhibitions: 3€ discount Reduced ticket: 1€ discount /Pack of Two exhibitions: 1.50€ discount

In this film, blood is the liquid that oozes from the pulsing veins of the oil industry in late 19th century Southern California. Driven by greed, Daniel Plainview is an oil tycoon who stratifies his relationships, instrumentalizing them for his own benefit. Without mercy or remorse, he spreads death as he faces his adversaries. With Daniel Day-Lewis in one of his most acclaimed performances (which won him an Oscar, a Golden Globe and a BAFTA for best actor) and the vibrant strings of Radiohead's Jonny Greenwood on the soundtrack, “There Will Be Blood” examines the limits of a world ruled by hate and greed.

Classes take place every Monday and Thursday, between 5.30pm and 7.30pm, and every Saturday and Sunday, between 10 am and 12 pm, at the Skate Park in Ramalde. Each class brings together two teachers and a maximum of 20 students simultaneously, and each participant should preferably bring their own equipment (board and protective gear). The municipal company Ágora supplies the board and helmet to those who need it, and the sharing of equipment between students is forbidden. Enrolment in classes is mandatory every week, and those interested should send an email to desporto@agoraporto.pt, with their name, age (must be over six and under 60 years old) and the day they intend to take the skateboarding class. Each user can register a maximum of two lessons per week.

Director Bruno Bravo brings to the stage “O Fantasma da ópera” (The Phantom of the Opera), a Gothic novel by Gaston Leroux first published as a serial between 1909 and 1910. The theatrical appropriation of non-dramatic literature is a recurring practice with the Primeiros Sintomas company, as their productions of Mary Shelley's “Frankenstein” (2002) and Carlo Collodi's “Pinocchio” (2016). But the ambition of this gesture is amplified here. Bruno Bravo brings to the house of theatre contributions from various performing disciplines, organising a meeting between live music and movement, between songs and the amazing machinery of a stage, with its pageant of actors and characters. An undisciplined dialogue that echoes the spirit of the Paris Opera, the locus horrendus of “O Fantasma da ópera”, a venue where theatre, dance and music are presented. A phantom haunts its backstage areas, stairs and in the dressing rooms, grid and boxes, disturbing everyone with a series of deaths, accidents, spells. Erik is his nom de guerre, a disfigured flesh and blood phantom who falls in love with the voice of a young singer, Christine Daaé, both are the protagonists of one of the most tragic love stories of all times.

The Porta-Jazz Festival is back to Teatro Rivoli in a much anticipated return. After a year of indecisions and bans, the Porta-Jazz association is able to once again celebrate the Festival indoors and thus return halted and changed processes, during these pandemic years, back to normal. In this 12th Porta-Jazz Festival will feature more than a dozen concerts and will involve several dozen national and international musicians with commissioned works, premieres and new in-residence creations and interactions with other artistic areas such as dance and the visual arts. Three intense days with jazz and the best improvised music made around here. An accurate and genuine mirror of an artistic community that is becoming stronger and well-established. It is thus the largest party and showcase of an association that, over the last decade, has established itself as synonymous with jazz and creative music in the city of Porto and increasingly on the international scene.

I started working on this piece based on my own sadness, trying to touch the sadness of the world in general from there - playing touch and go with me touching - but I went around the world to come back to my personal sadness, in the end. “The more you run from something, the closer it remains.” I'm not just sad, I also get all mixed up and give myself the runaround. Why sad? Why not? How not to be a living thing and not get sad about the state of the world? How can you not be even sadder when you are already sad, by nature, as a result, default or due to genetics? I realised that the discourse of this piece, both in what I wrote to say, is rooted in a concept, or artistic movement (could it be?) which I called: Psycho-Poetics of the Browser (Zizek, eat your heart out). I realised that, over the course of our long investigation, I gathered fragments, sentences, ideas, searches, which pointed to a reflection on the state of the world (the world must end!) and on the state of people, particularly women, regarding the world and Earth, an increasingly less natural planet. My roots are eco-feminist, eco-queer, holistic-philosophical, strange, deep. Those roots unearthed other treasures, rather serious, not so serious, absurd, vulnerable, in a kind of anatomy of sadness, as a generating space, a sharing space, a space that generates pain and hope. Hope in what? I'm not sure, I don’t have answers, but if one were to insist, I would say: in love. Looking at sadness and death in the eye is not easy, but it is necessary. So as to live better, if not peacefully, at least in an interesting way. “Do you want to be a happy or an interesting person?” Between the shock and awe of everyday life. — Sonia Baptista

One of the most iconic fairs in the city, it is exclusively to sell used objects, namely clothes, crockery, furniture and decorative items, records, books, electrical and / or electronic appliances, household items and working tools. Location: Avenida 25 de abril

Whoever visits Praça de Carlos Alberto will find one of the first street markets to appear in the city, with a wide range of items: vinyl records, illustrations, notebooks and books, natural cosmetics, jewellery, honey and fresh pasta, teas and herbs, ceramics, wooden toys or decorative items.  The market, with free access, always has ambient music and even a small comfort space for visitors to relax.  As the event takes place outdoors, it always depends on favourable weather conditions.

Luís Tinoco was inspired by a book by Yvette K. Centeno to write a concert with a silent nature, in which the soloist is challenged to explore a varied palette of timbres and colours in a dialogue with the orchestra. The piece was written for Horácio Ferreira, one of the most awarded and acclaimed clarinetists of the new generation. Ending the programme, a concert by Vasco Mendonça that was highly praised by the critics in its premiere in 2018.

Fábio Porchat - Stand up Comedy. A comedy sensation in Brazil, co-founder of the collective “Porta dos Fundos”, returns to Portugal to premiere his new Stand up Comedy solo. Stories, observational comedy and sharp humour will certainly be the ingredients for a unique night. After the success of the previous solo, Fábio Porchat presents the Portuguese with the premiere in Portugal of his new solo. Not to be missed.

Spontaneous and popular fair where you can buy birds, food and cages. Even if you do not want to buy anything, you can enjoy the singing birds, their colour and the liveliness of the fair. When passing through the fair, one must take a look at the breath-taking view of the Douro River and its bridges.

A gathering place for various collectors, this fair has as purpose the sale and exchange of coins, postcards, stamps and other related collectibles. It takes place under the arcades of the buildings surrounding the square.

With many years of existence, this fair is already a sociocultural tradition. It is very sought-after, both by the residents of Bairro da Pasteleira and by the general population. Various products are sold here, namely food, clothing, footwear and home textiles. Location: Rua Bartolomeu Velho

Few people are as acclaimed worldwide or as “silently” as the Swedish José Gonzalez. “Local Valley”, his long-awaited fourth album, is a soothing reminder that you don't have to scream to be heard. Since his debut single, “Crosses” (2003), both he and his music have remained silent and unpretentious. “Local Valley” shows his unique ability to communicate modestly but powerfully — starting with the sunny “El Invento”, the first song he recorded in Spanish (the native language of his Argentine heritage), and ending with the intimate and rhapsodic “Honey Honey”. Along the way, he engages us in his melodic and metrical hypnotism, influenced by classical folk singers and music from Latin America and Africa.

August Strindberg crosses paths with Público Reservado, a company that specialises in idiosyncratic repertory theatre, with recent visits to the universes of Novarina, Handke, Lagarce or Pirandello. Now, in response to a challenge from the TNSJ, Público Reservado takes on “Menina Júlia” (Miss Julia) (1888), a play written in just two weeks. This urgency may explain why the verb “to love” is conjugated here as “a fever intersected by syncope of hate”, to use the words of the Swedish playwright. “Menina Júlia” tells us of the houses and walls that we still use to confine women, of bodies set loose in the wars of love, of a class struggle that is inseparable from the battle of the sexes. It is like an intimate sonata being performed in a social arena. Renata Portas looks at this turmoil and makes some wishes: “I would like this stage production to resemble an initiation dance: between Schnitzler's “La Ronde” and Larry Clark's “Kids”, an ode to sensuality, to beauty; and to that free fall experienced by Artaud, Rimbaud, Van Gogh and all those who dared to go into the abyss in themselves.”

He has been called the “African Sting”, he's been selected as the reincarnation of Jaco Pastorius, but Richard Bona's unique and electrifying is beyond comparison. An authentic musician, with a captivating voice and a virtuoso bass player, a fabulous creator of songs and always faithful to his roots. Born and raised in Cameroon, Richard Bona arrived in New York in the mid-1990s and wowed crowds with his unusual sound and stage presence. He showed his true personality with an impressive debut in 1999: “Scenes From My Life”. In 2002 he toured the world as a member of the Pat Metheny Group, and more recently created the Mandekan Cubano group, which delves into African, South American and Cuban roots. With seven albums released and multiple awards, he equally captivates jazz, pop, Afro-beat and funk audiences. An excellent start to the Jazz Cycle 2022.

Under the direction of its chief conductor, Stefan Blunier, Orquestra Sinfónica travels across different latitudes that illustrate the love of composers for the places where they were born and raised. Smetana takes us from the source of the Vltava River, in the mountains of Bohemia, to the waters of the Elbe. From Vianna da Motta comes “Sinfonia à Pátria”, one of the most important works in the history of Portuguese music, which is inspired by Luís de Camões and contains quotes from folk songs such as “As Peneiras” from Viseu, and “O Folgadinho” from Figueira da Foz. The programme also includes the orchestral version of a piece “partly serious, part fun” by Charles Ives, an arrangement of the traditional song “America (My Country, Tis of Thee)”.

On February 12th, Praça da República will host another edition of FleaMarket Porto. Sellers and buyers gather around the "finest junk in town." The "flea market" promises another year of editions with all kinds of used items (clothes, records, books, crockery, toys, stamps, coins...) and also other products, such as homemade sweets. The open-air market promises to be a meeting point for second-hand sellers and buyers.

Discovering FC Porto's history is a fascinating journey through the 127 years of the club's life. The blue and white memory has spanned three centuries and is part of the Porto and Portuguese identity, admired and sought-after throughout the world. Knowing and interpreting the entire FC Porto legacy is always a unique and remarkable experience, becoming even more exclusive through this Guided Tour, which has the quality signature of FC Porto Museum’s Educational Service. Participation is free by purchasing a Tour FC Porto ticket. Led by a Museum Guide, the tour is subject to maximum capacity and pre-registration. Please note: event subject to maximum capacity rules, within the scope of compliance with the guidelines by health authorities.

The Black Mamba is currently one of the most energetic, talented, exciting and passionate Portuguese bands that perform live. The band was formed in May 2010, when Pedro Tatanka and Miguel Casais decided to team up to explore the universe of blues, soul and funk, adapting it to their natural habitat. Ten years and three albums later – “The Black Mamba” (2012), “Dirty Little Brother” (2014) and “The Mamba King” (2018) – The Black Mamba have already played at the biggest venues and events in Portugal, and has taken the its “venom” to Spain, Brazil, USA and UK. “It Ain't You”, “Wonder Why”, “Believe” and “Still I Am Alive” are just some of their best-known hits that continue to amaze audiences with each stage appearance. In 2021, they embraced a new challenge by representing Portugal in the Eurovision Song Contest 2021 with the song “LOVE IS ON MY SIDE”. Finally, millions of people had the opportunity to meet this incredible band, having their stage performance impressed not only the competition jury, but also the audience around the world. The Black Mamba, to see live at Coliseu do Porto. ‘Montepio às vezes o amor’ is a party of music and emotions that will spread love throughout the country. Portugal becomes more loving. Beloved artists of Portuguese music make passion the motto for romantic and warm nights. There will be music to fill the hearts that fall in love. Guarantee your ticket now for an unforgettable evening!

One of the most famous orchestral works of the 20th century, Gustav Holst's “The Planets” suite reflects the composer's fascination with astrology. Each movement describes the character associated with each planet. In this film-concert, the interpretation of the work features the projection of images of the stars that surround us. The programme begins with a work by Philippe Manoury that explores the flute's interaction with a real-time digital synthesis system, seeking to make the machine resemble a human being: listening, waiting for an event, reacting when it occurs. The work dates back to 1987 and represented a revolution in composition using electronic means.

“Presente” is the artist's second album and gives the name to this Tour that is preparing to cover Portugal. It will be a memorable and commemorative evening, in which in addition to the songs of “Presente”, which include hits such as “Tal Como Sou”, “Melodia da Saudade” and “Se Eu”, there will be plenty of hits that marked the start of his still short career: “Espera”, “Nada Mais” and “Voltas”, among many other surprises. This special evening will be entitled to a unique scenic, visual and artistic preparation. On stage, Fernando Daniel will be accompanied by Fernando Mendonza on keyboards, Ivo Magalhães on guitars, Tiago Silva on bass and Mike Pestana on drums.

A personal story lies at the root of this production: Pedro Penim is going to become a father through the controversial process of surrogate pregnancy. “Pais & Filhos” is the “vortex” in which this actor and stage director now finds himself, as he continues to develop a body of work that hovers between biographic document and the creation of a fictional universe. The show combines a celebrated Russian novel with the cutting edge of contemporary social debate concerning a subject that has been revived by Queer revolutionary activism: the abolition of the family. Using Ivan Turguéniev’s “Fathers and Sons” (1862), as his starting-point, Pedro Penim lets himself be influenced by the queer Marxist theories of female thinkers such as Sophie Lewis, Jules Joanne Gleeson and Alyson Escalante, who rethink parenthood and childcare beyond the biological family, championing concepts such as “full gestational surrogacy” or “gender abolition”. With this project, Teatro Praga seeks to deepen the debate on parentage and family, expanding “Pais & Filhos” beyond a simple personal story.

With a discography that spans about twenty studio albums and stretching back to 1968, Ian Anderson's Jethro Tull are a true institution of British rock, having played several styles, from blues-rock to fusion jazz, later crossing folk, heavy and even classical music to create their own vision of what became known as progressive rock or symphonic rock, a current of which they are one of the exponents. The group, that currently consists of leader Ian Anderson and musicians such as bassist David Goodier, keyboardist John O'Hara, drummer Scott Hammond and guitarist Joe Parrish, is still active and has even planned to release a new album for 2022, “The Zealot Gene”. A dozen live albums also strengthen the fact that Jethro Tull have always been an acclaimed stage force, a fact that earned them praise of many of their peers, from Bruce Dickinson of Iron Maiden to Eddie Vedder of Pearl Jam or even Nick Cave. With several bestselling albums and critical acclaim, such as the classics Thick as a Brick, A Passion Play, War Child and Songs From The Wood, Jethro Tull forged a unique identity that has marked generations. And now they are preparing to return to Portugal, 20 years after a memorable visit to the then Pavilhão Atlântico.

“Vórtice” is a performance that wanders between musical composition and installation, transforming the conventional concert into a more plastic, immersive and dynamic format. The audience is invited on a journey in which they can interact with three visions of the end of Time, by three composers. These visions are interspersed with sound and light installations, but the opposition is not strict: on the contrary, the show unfolds fluidly between the two realms. More than a concert of erudite, contemporary, classical and electronic music, an aesthetic experience that challenges us to abandon the temporal shackles of clocks, in the search for the centre of the vortex (vórtice), in a meditative search for Time itself.

What is the life expectancy of a plastic bag from crude polyethylene until it is thrown away? For how long is it actually in used? Not long at all, compared to the length of time it will then stray across the planet, blown and buffeted by the wind. It is then that its real life begins, its autonomous life. Little anonymous plastic bag among the countless little plastic bags on its way to a rot-proof eternity. Let's hope there is a strong wind to help it overcome any obstacles, to carry it across oceans and mountains, to find new possibilities and try out different lives. What if we humans were so firmly anchored to the ground, what if we too could escape the pull of gravity and fly with the wind, free at last, carried by the arbitrary waltz of the air? What if we were unconsciously feeding our thirst to discover unknown territories, to fight uncertain battles to make each of our members part of us, autonomous and uncontrollable. Upright or upside down, free up those hands, be the object of all motion and movement. Just a sound and the air’s caress. This performance piece uses a simple turbine in order to create a whirlwind. The little plastic bags’ characters draw trajectories in space, responding to the movement of the air, which, in turn, is controlled by the protagonist. – Phia Menard

Artist and electro-acoustic composer Tarek Atoui works on large-scale compositions that stem from anthropological, ethnological, musicological, and technical research. His exhibitions weave installations, performances, and educations, in processes that move away from the conventional notion of performance, both for the performer and the audience, and that suggest forms of visual, aural, tactile, and somatic experience of sound. This first exhibition in Portugal is part of the project I/E, ongoing since 2015, in which Atoui captures the sounds of port cities — Athens, Abu Dhabi, Singapore, Beirut or Porto - by recording their harbours’ industrial, human, and ecological activities. Together with artist/recordist Eric La Casa, they listen to sound below the surface of the sea or within materials such as metal, stone, and wood. On Waters’ Witness, the audio recordings of the seaports of Athens, Abu Dhabi and Porto are played through materials chosen in every location — marble stones from Athens, steel beams from Abu Dhabi, and wooden structures housing compost, worms and organic material specifically produced for the Serralves presentation. The work with organic decomposing matter takes Waters’ Witness in a new direction: an acoustic ecology that receives and perpetuates residual sounds through the audible frontiers of a world in flux. This unique soundscape extends from the museum’s central room to the park in the shape of sound constellations, platforms and systems activated through the entire period of the exhibition in scheduled performances, collaborative and educational workshops.

So that the Allied partners fighting against the Axis powers could engage their troops on European soil, they employed the defence strategy of carpet bombing. This strategy, used on both sides, turned out to be an unprecedented human tragedy for all Western Europe. Entire cities were wiped out, burying their inhabitants beneath the rubble. My maternal grandfather was one of these victims when Nantes was carpet bombed by the Allies in 1943. During my childhood, the image and consequences of bombs did not seem real to me; bombs were just the stuff of fantasy, as they were for many children. It was much later in my life, when I realized, we were not going to lay flowers at the grave of my grandfather but were instead going to visit a faceless mass grave, that I understood the terrible infamy of bombs. Maybe it was at that moment my mind stumbled across the words “Marshall Plan”, the programme set up to rebuild Europe: organise mass destruction and then manage the reconstruction of war-devastated cities, following the model of a re-fabricated house and a rewritten urban development plan. Build a “Marshall” village out of made-to-measure cardboard, the same way we put up a series of tents for refugees. Just here, beneath a seemingly unthreatening cloud. A simple, repetitive gesture, like a robot. Spread out, trace, cut, assemble, put in place, then start all over again. Everything seems perfect, except for that cloud, which looks like it’s getting bigger, thicker and darker. Maybe a bolt of lightning, a gentle breeze, then eventually a series of heavy raindrops, a shower, maybe even a rainstorm with torrents of water! The Marshall village collapses, despite the energy used up trying to save it. It turns into mush, a sticky mess in which bodies drown… — Phia Ménard

“Manhãs da Comercial” promised and will deliver: the return to concerts will take place in Porto. On February 25th and 26th, in Super Bock Arena – Pavilhão Rosa Mota, Vasco Palmeirim, Vera Fernandes, Nuno Markl and Pedro Ribeiro will perform songs from “Manhãs da Comercial”, the leading radio show in Portugal. And they won’t be alone. With them onstage will be the Lisbon Film Orchestra, besides the usual band that always accompanies the morning radio show. Don’t miss this huge comeback.

The Rapper was born in Barcelona in 1999 and released his first songs in 2019. A few months after the release, he became a phenomenon. Every single the artist releases reaches millions of views, probably becoming the most listened Iberian artist in the last few months. Morad is getting ready for the release of his first album and will perform in Portugal in February 2022.

Carnival takes Sala Suggia by storm with a famous overture by Rossini and dances of various countries, also suggesting many traditional costumes. There are plenty of ideas for the outfits that everyone, musicians and audience, are invited to bring to this Carnival Concert of Orquestra Sinfónica. The programme features some of the most famous pieces of the symphonic repertoire, with contagious rhythms from Romania, Hungary, Russia or Spain. “Midsummer Night's Dream”, inspired by Shakespeare's play, completes our invitation to a magical and fantasy-filled concert.

Ready for the best carnival night of the year? Lust Porto will be transformed into an authentic sambadrome for one night, with an open bar. What does open bar all night long mean? You can order whatever drinks you want, all night long in all the bars. Serving drinks include Moskovskaya, Grants, Gordon's, Captain Morgan, Malibu, Safari, Mysthic Black and Mysthic Strawberry. VIP tickets include drinks such as Absolut, Redlabel, Bombay Sapphire, Gordon's Pink, Malibu, Safari, Mysthic Black and Mysthic Strawberry. Get your best costume ready for the biggest sambadrome in town.