Judith Jáuregui has a good “touch”, that is, how far you have to press each key, with what strength, with what tension… all of that controls it completely. As a result, he takes a beautiful, round sound out of the piano, the sound he wants. And not only that, Jáuregui has a thousand virtues in front of the piano. But maybe the beauty of sound can drown the musical discourse. In the piano world, there's a kind of sound mytification. In fact, the hammer of each key emits a dry sound (there are differences between the pianos, of course, is not the same a Bösendorfer as a Yamaha), so the pianist’s ability to somehow soften that dryness, through an effective pulsation, is a skill. This has been very well assimilated by Judith Jauregui. In return, that constant attention to sound sometimes weakens the musical tension. And this happened at the last concert he offered next to the Bilbao Orkestra Sinfonikoa. 24 by Mozart. We heard a nice, flawless concert, but to some extent boring. All very nice, very thin, well done, but without tension. Do not understand, please, that it was a bad session. No doubt a delicate and elegant version was heard. However, it is not the version I like the most. Maybe I'd prefer a more masculine touch. As tip, a new whim, as delicate as the first one: A small part of the Scènes d’enfants de Mompou, bright, thin, full of nuances. Jáuregui is one of the best pianists in the Basque Country and this is demonstrated in each recital.

In the second part of the program, the environment changed radically. 3º Bruckne. We hear Symphony in re minor, a gigantic one, influenced by Wagner. Erik Nielsen, the new head of the BOS, made a fresh interpretation. The interior drama of the work was softened so that in some way the Viennese radiance came to light. Very elegant.