Where do I meet for this event?

The meeting point listed is Jardín de los Zuloaga; the concert takes place inside the Catedral de Segovia (C. Marqués del Arco, 1).

How long is the recital?

The program runs approximately 70 minutes.

Are there restrictions on photography?

Yes—flash photography is usually prohibited during the performance; exterior photography before the concert is recommended.

Is the venue accessible?

Accessibility details were not provided in the listing; contact organizers directly if you require special access or seating.

Should I reserve seats?

Yes—seating can be limited for headline recitals, so reserve in advance through the booking link provided.

What language will the program notes or remarks be in?

Language details are not specified; Bernard Foccroulle often provides brief contextual remarks which may be in Spanish or another European language depending on the event.

Segovia Cathedral Organ Recital: Bernard Foccroulle Celebrates Correa and María de Pablos

Under the high Gothic vaults of the Catedral de Segovia, a 22:00 recital becomes less a performance than an architectural conversation. Bernard Foccroulle — one of Europe’s foremost organists and former director of the Festival d’Aix-en-Provence — brings a commemorative program to this stone chamber in Segovia, Castilla y León, Spain (C. Marqués del Arco, 1). The event honors María de Pablos’s 120th anniversary and frames the work of Correa de Arauxo in a broader 17th-century European organ tradition. The concert, staged with the meeting point at Jardín de los Zuloaga and centered on the cathedral’s historic pipe organ, pairs Iberian textures with repertoire from the Spanish Netherlands: Castilla, Canciones, Faunos and Turina’s Dances sit beside Correa’s baroque counterpoint. The building itself is essential to the experience — a late Gothic cathedral often described as Spain’s last Gothic cathedral — where stone vaults and narrow aisles shape reverb and sustain, making every pedal stroke bloom. Attending here feels like stepping into an instrument. The city lights and the silhouette of the Alcázar beyond the cathedral squares set a nighttime scene, while inside the organ’s ranks and carved choir stalls create visual focal points for listeners and photographers. Acoustic clarity and the organ’s historical disposition make this program a rare chance to hear Correa’s textures played on a church instrument tuned to the repertoire’s rhetorical demands. Practical notes matter: the recital runs about 70 minutes; doors and late-evening logistics are city-centered so wear comfortable shoes for cobbles and bring a light layer against the cool cathedral air. Expect a formal, attentive audience and restrictions on flash photography during the performance, but ample pre-show time to photograph the façade from Jardín de los Zuloaga. This concert is a cultural highlight in Segovia’s summer calendar — it links musicology and performance while showcasing a monumental local site. For visitors, it’s an efficient way to combine an evening walk past the Roman aqueduct and Alcázar with a focused, historically informed listening experience. Whether you’re an organ aficionado, a classical-music traveler, or simply curious about how architecture and sound collide, Bernard Foccroulle’s recital in the Catedral de Segovia is an appointment with both craft and place. Local organizers time these late-evening recitals to exploit the cathedral’s acoustics and to offer visitors a cultural outing that’s easy to add onto a day exploring Segovia’s stone streets. The performance serves educational aims: Foccroulle weaves contextual remarks into the program allowing listeners historical perspective on ornamentation, modality and liturgical function. Seats can be limited for headline recitals, so reserve via the booking link. For travelers, pairing the concert with a simple post-show stroll along the illuminated aqueduct creates a memorable nightcap that centers music within the city’s living history.

Segovia Cathedral Organ Recital: Bernard Foccroulle Celebrates Correa and María de Pablos

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