{"id":41763,"date":"2026-11-04T12:03:24","date_gmt":"2026-11-04T11:03:24","guid":{"rendered":"https:\/\/tallerdemusics.com\/rosalia-en-la-plaza-del-dubte\/"},"modified":"2026-11-04T13:36:40","modified_gmt":"2026-11-04T12:36:40","slug":"rosalia-in-the-plaza-del-dubte","status":"publish","type":"post","link":"https:\/\/tallerdemusics.com\/en\/rosalia-in-the-plaza-del-dubte\/","title":{"rendered":"Rosal\u00eda in the Pla\u00e7a del Dubte"},"content":{"rendered":"
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RELATED ARTICLES:<\/th>\n<\/tr>\n
Rosal\u00eda and Her Formative Years at Taller de M\u00fasics<\/a><\/td>\n<\/tr>\n
Rosal\u00eda before de ‘Los \u00c1ngeles’: her (real) beginnings at Taller de M\u00fasics<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

 
\nBy Llu\u00eds Cabrera
\n<\/strong>Photo: \u00a9 Berta Pfirsich
\n<\/strong>Published in Barcelona Metr\u00f2polis<\/em> in April 2019<\/p>\n

Rosal\u00eda studied in the classrooms in the Taller de M\u00fasics, as well as on the patio, and in the street, with artists, teachers and students. She was always sure about what she wanted to do there: look and listen.<\/strong><\/p>\n

Rosal\u00eda\u2019s second album, El mal querer<\/em>, was released in November 2018. A whirlwind of great power, it has had a global impact. For this project, Rosal\u00eda has chosen some top-notch collaborators, like C. Tangana and El Guincho, not to mention other young people who worked on the album\u2019s audiovisual production, photographs and selection of art objects like Tom\u00e1s Pe\u00f1a and Tama Rindo.<\/p>\n

Previously, in late May, a song with a premonitory title, \u201cMalamente\u201d, began the international rise to fame of Rosal\u00eda, who had already shone with her first album, Los \u00e1ngeles <\/em>[The angels], which she recorded with Ra\u00fal Fern\u00e1ndez, better known as Ra\u00fal Refree<\/em>.<\/p>\n

Rosal\u00eda must have an angel of her own\u00beone with a few values: musical talent, tenacity, intuition, intention, restlessness and a great eagerness to learn. That means hours and hours of dedication listening, studying and preparing with artistic reeds from different river banks.<\/p>\n

I remember Rosal\u00eda entering and leaving the classrooms of the Taller de M\u00fasics in the Raval district. The special and intricate growth of the school since 1979, which occupied various locations in the untidy area framed by the streets Carrer de Requesens, Carrer del Pr\u00edncep de Viana and Carrer de la Cendra, resulted in a situation that pushed the schoolyard into the street. During the time that Rosal\u00eda studied there, she studied her art on campus, but she also learned by asking questions and chatting in the courtyard with artists, teachers and students. Her participatory attitude pushed her to get involved in other activities alongside the course subjects of her syllabus, such as seminars, workshops, conferences, debates and presentations. At those events she also asked questions, and sometimes very incisive ones.<\/p>\n

I do not know why Rosal\u00eda and her parents decided that a 16-year-old could set out to establish and grow her musical career by enrolling in Taller de M\u00fasics. The school\u2019s background, focused on the spread and promotion of popular music, may justify their decision. It may be found in the name of the school itself, since a taller<\/em> [workshop] defines the particular aspects that have prevailed since it was founded: practicing music in groups (combos), flexibility, mixing musical genres, being aware that we first learn to speak and then to write and creating platforms, series and festivals so that young students may supplement their musical training by performing before audiences. At that time, Rosal\u00eda would stand out for her performances in the JazzS\u00ed Club; in the Teatre Grec as a flamenco singer in a show inspired by Carmen Amaya, with choreography by Mar\u00eda Rovira and music by Chicuelo; in the Palau de la M\u00fasica as one of the stars of Flamenkid, a project designed by Gemma Canadell that tells the story of flamenco so accurately that it is understood by adults, young people and children; and in her performance in the homage to Maruja Garrido as part of Ciutat Flamenco, held in Mercat de les Flors. Through all these fluctuations, Rosal\u00eda, despite her youth, was especially successful.<\/p>\n

Perhaps Rosal\u00eda grasped that if the Taller was established over time and its educational approach was solid, it was because it is still considered an embryonic space that is projected naturally and with effort and because it continues working to welcome artists who aspire to be professionals and others who choose music as that heartbeat that balances the impetus of life. Well, if the Taller de M\u00fasics is a reality today, there may be a reason for it: from the start, its promoters knew to reject the pulpit that is so often used to pontificate.<\/p>\n

Rosal\u00eda gradually generated her artistic ideas by working on the ground with simplicity and no haughty posturing. In Rosal\u00eda\u2019s musical training, what happened inside the classroom was just as important as what happened outside, in the street<\/em> to which I referred earlier. She knew how to look and listen, as demonstrated by her continuous questioning about everything linked to the Taller. I admire Rosal\u00eda because she has known how to learn from perspectives, outside perspectives, ones that appear from the corners, the corners of street intersections. Sometimes it is hard to see such things on an academic campus and it can be difficult to find answers. And it is difficult to convey the importance of listening to others, because listening to oneself can imply arrogance, and this leads to failure. The Taller de M\u00fasics has also learned something in its dealings with Rosal\u00eda. Because, as Enrique Morente said: \u201cThere are no teachers, only students.\u201d And, as a student, Rosal\u00eda was exemplary because her innate restlessness constantly put us in check. We had to respond to her questions, her doubts, her musings and her immense desire to soak up all those connections that exist in music. In the words of Chicuelo, \u201cat the Taller, you learn music in a different way.\u201d<\/p>\n

Did Rosal\u00eda intuitively understand that the Taller could offer her knowledge without limiting her imagination? If we have been able to measure up to this level, I would be extremely happy. What I can assure you is that we have tried to use that motto with her and also with each of the students who have trusted us for 40 years. We are aware that artistic platforms are sustained on a tightrope, to which those who have doubts cling. Doubt is the basis of development and renewal. Without doubt, we would always be threshing the same wheat and going around the same threshing floor.<\/p>\n

Rosal\u00eda knows the codes of flamenco without that meaning that she wants to be a flamenco singer. Rosal\u00eda knows the keys of jazz without that meaning that she wants to be a jazz singer. Since we founded the Taller de M\u00fasics, the founding members\u00bejazz, flamenco, Cuban music and pop-rock musicians\u00bewanted eclecticism to be our motto. We sought a well understood eclecticism and wanted the different musical genres to be a means (the educational method) and not an end.<\/p>\n

I am not in a position to know if Rosal\u00eda clearly knew what kind of art she wanted to champion since she decided to dedicate herself to music, but I can assure you that she was clear about what she did not want to do. And that balancing act, one of discarding, is as accurate as aiming and hitting the nail on the head.<\/p>\n

Last 9 January, in the evening, I had the pleasure of participating a discussion about Rosal\u00eda\u2019s meteoric career. It was on the programme MagaSIN, Radio Primavera Sound, hosted by Alicia \u00c1lvarez, Sergi Cuixart and Juanjo Zambrano. I attended as guest with Ben Carden, Tom\u00e1s Pe\u00f1a and Tama Rindo. Tom\u00e1s and Tama have participated in El mal querer<\/em> from the beginning. Both young people eagerly recognised that all the work done on this album was conceived with total naturalness, without pressure from anyone and always under Rosal\u00eda\u2019s supervision. Tom\u00e1s Pe\u00f1a reported that when he suggested an idea, Rosal\u00eda would say \u201cno\u201d if she did not see it clearly. That is, the act of discarding can appear as a handle that leads one to move forward in the process of creating a work of art. Tama referred to the grace with which Rosal\u00eda raised her arms in consummate flamenco style. And it is true: she shows plenty of grace in those arm raisings. It is no coincidence that Rosal\u00eda studied flamenco dance at the academy run by La Tani, a traditional flamenco dancer and the mother of the guitarist and composer Edu Cort\u00e9s. Once again, we find artistic training to be an important line in Rosal\u00eda\u2019s development.<\/p>\n

Rosal\u00eda enrolled in the Taller de M\u00fasics in the Raval district for the first time in January 2010. She completed her professional training in June 2012, having studied piano, musical language, flamenco singing, jazz singing, vocal technique and guitar. During this period, her teachers included Chiqui, Jaume Gispert, Errol Woiski, Diana Palau, Xevi Garc\u00eda, Joan Marcet, Jos\u00e9 Alberto Medina and Carlos Uguet.<\/p>\n

Once she had completed her studies, Rosal\u00eda went on to study music at our school in Can Fabra, in the Sant Andreu district, at the Taller de M\u00fasics School for Higher Music Education, during the 2012-2013 and 2013-2014 academic years. A wide range of subjects informed her vast preparation: general music history, the history of culture, auditory perception, flamenco harmony, singing as a main instrument, piano as a secondary instrument, instrumental ensemble, transposing and accompaniment, flamenco history, musical thought, applied computer science, forms of flamenco, language and communication, foreign language and fundamentals of composition. During this period, her teachers were Cristina Canet, Ana Rosa Landa, Santi Gal\u00e1n, Chiqui, Juan Carlos G\u00f3mez, Alba Guerrero, Enric Marin, Xavier Casellas and Enric Palomar.<\/p>\n

After finishing her second postgraduate year studying music, Rosal\u00eda asked our education department if she could be reclassified to study a third and fourth year and to carry out a final project for a degree from the Catalonia College of Music (ESMUC). I consented, understanding that she would continue studying with her singing teacher, Chiqui (Jos\u00e9 Miguel Vizcaya S\u00e1nchez), since he teaches at both schools. One day, Chiqui told me: \u201cThis girl is very special. She modulates in such a way that, by recalling the classics so well, her expression is from today. Rosal\u00eda will give us a lot to talk about.\u201d<\/p>\n

Rosal\u00eda dragged a host of young people of her generation who admired, adored and loved her into the Taller, but she needed fresh air and a change of atmosphere. The students at ESMUC already knew her, since they had met in different shared spaces in Barcelona. I thought the change would be good for her, but who could have imagined that the young artist would fly so high to the point of turning her final project into El mal querer<\/em>?<\/p>\n

Rosal\u00eda\u2019s star is shining bright. Maybe she could have done it all on her own. If she had chosen that path, it would probably have taken her more time to reach the same conclusions. And, above all, she would not have had the opportunity to become inspired by such a dense environment of ideas and share them with so many musicians and artists. Rosal\u00eda cemented her career at the Taller, which emerged 40 years ago in the Raval district, tucked between streets bordering a square called Pla\u00e7a del Dubte (literally, \u201cSquare of Doubt\u201d). Rosal\u00eda has continued to ask questions to satisfy her immense curiosity ever since. Because whoever doubts and asks, learns. I hope she keeps asking, so her doubts and decisions to discard enables her to push on ahead and, like now, keep her feet on the ground.<\/p>\n

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RELATED ARTICLES: Rosal\u00eda and Her Formative Years at Taller de M\u00fasics Rosal\u00eda before de ‘Los \u00c1ngeles’: her (real) beginnings at Taller de M\u00fasics   By Llu\u00eds Cabrera Photo: \u00a9 Berta Pfirsich Published in Barcelona Metr\u00f2polis in April 2019 Rosal\u00eda studied in the classrooms in the Taller de M\u00fasics, as well as on the patio, and […]<\/p>\n","protected":false},"author":7,"featured_media":41750,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[216,379,249,380,217],"tags":[],"class_list":["post-41763","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-about-taller","category-bachelor-of-music","category-management-news","category-music-school","category-news"],"acf":[],"yoast_head":"\nRosal\u00eda in the Pla\u00e7a del Dubte<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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