Cultura

It took more than two decades to see Eric Clapton again in Barcelona, an eternity for his fans who last night, once again at the Palau Sant Jordi, enjoyed an evening that many no longer expected. Good blues and solos from a legendary guitar that, judging by the quality of what was heard, could well have started with the “as we said yesterday” that El último de la Fila used a few days ago, in their own return from the world of the living. “It seems we’re here for the same thing,” greeted a woman old enough to be a grandmother at the entrance of Sant Jordi to an acquaintance, who responded firmly: “to see the master.”

A research program from French public television revealed this Thursday new footage of the high-profile robbery at the Louvre Museum, which occurred on October 19, 2025, showing four guards powerless against the actions of the two assailants and how one of them drops Eugenia’s crown.

The poet Joseph Brodsky was born in Leningrad in 1940 and was expelled from his country in 1972, after which he settled in the United States. From there he traveled again and again to Venice. He visited it for the first time at the age of 32, and at the time he wrote the wonderful little book Watermark (Siruela/Vienna) he had already stayed in the city 17 times, always in December. For the Nobel, seeing a wave breaking on the shore at midnight was like “seeing time emerging from the water.” Memory, death, love, beauty, dreams are also the materials that, in a subtle and poetic way, the artist Claudia Pagès unfolds in the Cantieri Navali, the usual headquarters of Catalonia at the Venice Art Biennale, where this year she presents Paper tears (Lágrimas de papel), a waltz-paced installation created from 15th-century watermarks found in the Museu Molí Paperer de Capellades, the place where she was born.

El Último de la Fila, a surreal band within anyone’s reach, antiheroes glorified by a legion of followers, has broken their unfulfilled promise of never playing together again, and they did it in front of 56,000 people like any Stones to give themselves the pleasure of playing again, just as a couple of years ago they disobeyed themselves by releasing Desbarajuste piramidal for the mere pleasure of recording again.

The term rock’n’roll is attributed to radio host Alan Freed, who popularized it in association with the musical style that emerged in the mid-50s in the U.S., an accelerated and electrified rhythm & blues that changed popular music forever. Rock suggested the idea of

In January 1937, when he accepts the commission from the Spanish Republic to create a large mural for the International Exhibition in Paris, Picasso is living what he would later recall as “the worst time of my life.” The painter is 54 years old and his previously carefree polygamy is showing its teeth: the divorce from Olga Koklova has become a nightmare; Marie-Thérèse Walter, the lover with whom he had started a relationship when she was still underage, has made him a father again (Maya) and he has fallen in love again with the artist and photographer Dora Maar.

The Rolling Stones have confirmed this Saturday the title of their upcoming record project, Foreign Tongues, after months of clues and enigmatic messages on social media that had fueled speculation about a new album.

Eduardo Casanova wanted to tell the world that it is perfectly possible to live with HIV and nothing happens, that stigmas only feed hatred. This is what the Spanish actor and director explains in Sidosa, the documentary released last week in some cinemas with which he has decided to “break years of silence.” The film, produced and hosted by Jordi Évole and directed by Lluís Galter and Màrius Sánchez, is conceived as a cathartic journey seasoned with humor, emotion, memory, and cinema, which allows understanding the reality of people with HIV today.

Michael, the biopic about Michael Jackson, is making a splash globally: 217 million in its first opening weekend and number one at the worldwide box office. And that despite the bad reviews. The biopic genre has long since made an important place for itself in cinemas. The lives of real people are usually a good draw to attract the viewer’s attention and, in the process, manage to boost box office revenue. The approval of the critics is another matter.

There is no doubt that Who’s Afraid of Virginia Woolf?, by Edward Albee, is one of the most iconic plays of the 20th century. And it talks about nothing more than a marriage: the battle royale starring Martha and George is legendary, with some iconic lines. Like when she, after hearing him say he can’t take it anymore, shoots back: “You can take it! That’s why you married me!”. Ingmar Bergman delved into the subject with the masterful series Scenes from a Marriage, adapted for the stage a thousand times. Right now, at the Maldà, the company El Eje is performing a quite successful version of the classic, Escenes d’una separació, with a script by Eva Pauné Martínez. It turns Marianne and Johan into Alba and Joana, a lesbian couple trying to survive in present-day Barcelona. They love and hate each other at the same time, but they can’t live without being together. Mar Pawlowsky and Patrícia Bargalló know how to take their characters to the limit, with the mirror of the creatures created by the Swedish genius as a reflection. An excellent performance.