It is always interesting to have the opportunity to discover new musical talents, a task that the Juan March Foundation has undertaken with excellence. However, when a performance features such an unusual ensemble as a reed quintet, which even includes a semi-staged presentation, the event becomes unmissable.

Dianto Reed Quintet was formed in Amsterdam less than five years ago, though its members are five young musicians raised in Spain—a clear example of exporting talent to Europe. Nevertheless, the five instrumentalists remain deeply connected to their roots, and from the very beginning of their career, Spanish music and culture have played a central role in shaping their proposals, which, as mentioned earlier, combine music with theatrical elements.

In this particular case, the programme revolved around the concept of duende, a phenomenon associated with flamenco and cante jondo that is difficult to define, but which served as the quintet’s inspiration for presenting a repertoire with a distinctly Spanish flavour, brimming with dance, movement, and a touch of sensuality.

The performance begins with the first of the Three Preludes to El Amor Brujo by Primo Ish-Hurwitz, a 23-year-old Dutch composer. In these fantasies based on Falla’s work, we are treated to the rich sound of the bass clarinet, with its powerful, growling low register, superbly showcased by Erick Rojas. The bass clarinet soon blends with the sound of the bassoon and the other instruments, creating mixed tones reminiscent of the organ’s stop registers. Hugo Bouma’s arrangements brilliantly highlight this blend of sounds, and the quintet executed them flawlessly, demonstrating impeccable precision in sound production. Likewise, Arjan Linker’s arrangement of Oriental by Enrique Granados is outstanding, with the clarinet and saxophone achieving a duet sound that was nothing short of idyllic.

In addition to their brilliant tonal capacity, Dianto stood out for their highly appropriate phrasing. For instance, in Albéniz’s Granada, they showcased daring yet fitting rubatos, though their interpretation of Castilla—omitted from the main programme and performed as an encore on Monday—was somewhat over-exaggerated.

Individually, there were many highlights that undoubtedly reflect the immense talent emanating from our homeland. María Losada achieved a wonderfully rounded and balanced tone on the bassoon, with seamless transitions between the lower and upper registers. Ovidi Martí’s phrasing was excellent, and I have already mentioned the impressive power of Erick Rojas’s lower register. María Luisa Olmos’s clarinet exhibited a sound quality on par with top professionals across all registers, with her solos in Falla’s Ritual Fire Dance being particularly magnificent, delivering recording-level sound quality. María González Bullón brought out a sweet and delicate tone from the cor anglais, though I would have liked to hear more assertiveness in her solos. That said, in Bouma’s arrangement of the Fandango from Doña Francisquita, the oboe parts left much to be desired, making it the weakest piece of the programme. Fortunately, it was strategically placed mid-concert, allowing it to pass largely unnoticed.

The staging, which saw the musicians moving in rhythm around a set reminiscent of a café cantante or a casual dinner setting, worked remarkably well and captivated the audience. This is understandable, as the concept, though simple, was refreshingly innovative. However, caution is advised, as some might feel that adding such elements detracts from the music’s value or professionalism. For such presentations, care should be taken to avoid overly breaking the fourth wall—for example, by introducing the musicians. While common in jazz concerts, this feels unnecessary in the Fundación Juan March, where the ushers already distribute a leaflet with the performers’ names.

Overall, these are minor issues that I am certain will be swiftly addressed by this ensemble, for whom I predict and sincerely hope a long and prosperous future.