The Festival de Peralada, one of Spain’s leading summer music events, is making a major shift in its 40th edition. With construction underway on the new Nou Auditori, the festival has adjusted its programming and venues to meet logistical challenges and reflect a broader change in its vision. Director Oriol Aguilà, who has led the festival since 2010, says flexibility is necessary while the permanent 1,500-seat auditorium remains unfinished. Some headline performances have had to relocate, including the anticipated visit of the Orquesta del Festival de Bayreuth, now set for the Palau de la Música Catalana in Barcelona. The Palau is among Barcelona’s active concert venues in 2026, alongside L’Auditori, Apolo, Jamboree and Park Güell, which also feature in the city’s cultural calendar.
Aguilà, who first experienced Peralada in 1984 before the festival’s official launch, recalls how early successes quickly established its reputation on the European stage. One was Josep Carreras’s return after his illness, attended by Queen Sofía and Lady Di. The festival has built lasting relationships with leading artists across genres, from Alfredo Kraus to La Fura dels Baus, while pursuing artistic excellence. Aguilà says the third generation of the Suqué Mateu family is carrying this legacy forward and remains committed to the founders’ vision despite construction setbacks.
This year’s program opened in the Iglesia del Carmen with a recital by Benjamin Bernheim and Ermonela Jaho, and will close with a tribute to Italian baroque music led by Jordi Savall, Núria Rial and Les Musiciennes du Concert des Nations. The festival also marks the tenth anniversary of Trío Fortuny, the centenary of organist Montserrat Torrent, and the artistic rise of soprano Sara Blanch. Space limitations have called for creative solutions: some events have moved to alternative venues, while others have been adapted for smaller audiences. The 40th-anniversary programme also extends beyond the stage, with two commemorative exhibitions listed in Peralada. One runs from 1 July 2026 to 28 February 2027; the other, from 5 July 2026 to 31 January 2027.
Beyond logistics, Aguilà describes a strategic rethink of the festival’s identity. Drawing on lessons from the pandemic, Peralada is strengthening ties with local artisans and prioritizing sustainability across production. The Festival de Pascua, launched in 2023 with a focus on sacred music and heritage restoration, is one example. The recent revival of Antonio Caldara’s Il Cristo condannato, performed by Vespres d’Arnadí under Dani Espasa, highlighted the festival’s commitment to rediscovering forgotten repertoire and reaching new audiences. As Aguilà puts it, there is as much music as there is public yet to discover.
Generational renewal is also basic to the festival. Campus Peralada supports young talent, and choreographer Aleix Martínez created his new work Niu for student dancers. Aguilà says the hope is that future stars will remember their beginnings at Peralada. The festival’s balance of continuity and innovation reflects wider debates in Spanish cultural life, where institutions are weighing tradition against the need for renewal. Similar questions about legacy and change have surfaced in other sectors, as seen when controversy erupted in Ripoll over a mayor’s appointment decision.
Founded in 1987, the Festival de Peralada is a fixture of Catalonia’s summer cultural calendar, attracting international artists and audiences. Its mix of opera and classical music, alongside dance and cross-disciplinary projects, has made it a reference point for innovation among Spanish festivals. Construction of the Nou Auditori is expected to further improve its standing, though no firm completion date has been set. As the festival adjusts to current constraints, its leadership remains focused on sustainability and artistic discovery, while nurturing the next generation of performers, priorities increasingly shaping the future of cultural events across Spain.
