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Buy tickets for concert André Rieu - 27.01.2026., Jose Maria Martin Carpena Arena, Malaga, Spain Buy tickets for concert André Rieu - 27.01.2026., Jose Maria Martin Carpena Arena, Malaga, Spain

CONCERT

André Rieu

Jose Maria Martin Carpena Arena, Malaga, ES
27. January 2026. 20:00h
2026
27
January
Photo by: Domagoj Skledar/ arhiva (vlastita)
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Tickets for Andre Rieu in Malaga – ticket sales and seating for the Jose Maria Martin Carpena Arena concert

Andre Rieu brings his Johann Strauss Orchestra to Jose Maria Martin Carpena Arena in Malaga for a grand, waltz-filled concert with beloved melodies and big-show atmosphere. This page focuses on tickets and seat options, with ticket sales info for buying tickets for the 27 Jan 2026 show at 20:00; one-day entry, plus practical arrival tips
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A concert that transforms the hall into a waltz ballroom

Málaga will receive a concert at the end of January that is perceived in many cities as more than a classical evening in a hall, because Andre Rieu builds his performances as a large, festive spectacle in which the audience participates just as much as the orchestra. On Tuesday, 27.01.2026 at 20:00, the maestro arrives on the stage of the Jose Maria Martin Carpena Arena hall in Málaga with his Johann Strauss Orchestra, and the ticket is valid for 1 day, which makes this evening a clearly rounded plan for a night out without additional sequels and additional dates. According to published information about the concert, the venue is the Palacio de Deportes José María Martín Carpena, and the address is Calle Miguel de Mérida Nicolich 2, Carretera de Cádiz, 29004 Málaga, Spain, which is important data for everyone coming from the city center, from the coast or from surrounding places of the Costa del Sol. Rieu's audience is generally not narrowly profiled, because lovers of classical music come to his concerts as well as those who encounter orchestral sound through film themes, popular melodies and recognizable waltzes, so a colorful composition of spectators is expected in Málaga as well. Ticket sales are available and interest for such evenings often grows as the date approaches, so it is smart to plan on time and check for tickets while there are still good positions, especially if you are coming as a couple or in a larger group. Secure your tickets for this event immediately!

Andre Rieu and Johann Strauss Orchestra: a recipe for a massive classical sing-along

Andre Rieu has been building a format for decades in which the classical repertoire is not treated as a strict ritual but as a celebration, and precisely that combination of virtuosity and accessibility explains why his halls are regularly filled by thousands of people. On official channels related to his work, it is highlighted that he performs with the 60-member Johann Strauss Orchestra and that it is a concert full of surprises, with soloists and special guests, which is important information for the audience that wants to know if they will get only an orchestral performance or a wider stage experience. The description of the performance also emphasizes the range of the repertoire, from romantic, emotional ballads to the most famous waltzes, and that is typical Rieu dramaturgy in which the mood changes like film scenes, without long pauses that break the rhythm of the evening. His concept does not rest on a cold distance between the stage and the auditorium, but on a sense of a shared event, so the audience often sings, claps in rhythm and experiences the hall as a place of celebration, and not just as a concert space. In media materials, it is stated that Rieu performs with the orchestra before more than half a million people annually and that his performances are also visually lavish, from the entry of musicians through the audience to costumes and scenographic elements that enhance the experience of every composition. Due to such a profile of the evening, tickets for this type of concert are often bought as a gift or as a reason for a trip, so it is not surprising that tickets in Málaga are also viewed as entry into a complete, carefully directed show, and not just as access to a seat.

Stradivarius as a trademark and the sonic center of the evening

In Rieu's case, the violin is not just an instrument but also a symbol of the brand, because concert announcements regularly point out that he performs with his Stradivarius and that precisely with that sound he opens and leads many key moments of the program. Official information about the concert in Málaga emphasizes that the maestro will conduct the orchestra and play his world-famous Stradivarius violin, which is a detail that to many already sounds like a promise of a special tone color and recognizable brilliance in melodic lines. Additional weight is given to that story by the fact that archives dedicated to the history of supreme string instruments record a Stradivarius violin from 1732 named the Rieu, which points to an instrument that has through time become inseparable from his public identity. For the audience, this in practice means that they will not be listening to merely a correct orchestral performance, but a performance in which the solo violin leads the narration, sometimes gently and intimately, and sometimes as the shiny crest of a wave in a full orchestral crescendo. In a hall like Martín Carpena, where music is often performed with a strong production framework, precisely that recognizable tone of the violin serves as an anchor, that which connects all genre jumps of the evening into a unique whole. If you choose tickets according to personal taste, this is a good reminder that Rieu's concert is not conceived as a concert in which the violinist occasionally comes to the forefront, but as an evening in which the violin is constantly present, whether as a leading voice, or as a discreet signature in the background.
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Repertoire: from waltzes to film themes and popular melodies

The announcement of the concert in Málaga emphasizes that the repertoire ranges from romantic, emotional ballads to the most famous and most celebrated waltzes, which is a framework that opens space for a very diverse program without the need for the audience to lock themselves into one aesthetic in advance. Rieu is known for not treating the waltz as a museum exhibit, but as living music that at one moment can sound aristocratic and nostalgic, and at another as a rhythm that almost physically forces you to move your foot and dance in place. In such a program it is common for melodies to follow one another like chapters, so one easily transitions from a classical framework into recognizable motifs from popular culture, into film themes or into songs that the audience remembers from childhood, which is precisely the reason why people who do not otherwise consider themselves a regular audience of symphonic performances come to Rieu's concerts. It is important to understand that this is not about a compromise of quality, but about the direction of the evening, because the orchestra remains disciplined and strong, while the choice of compositions is used to maintain emotional dynamics and the constant attention of the spectator. For a part of the audience, precisely that breadth is the reason why tickets are bought in advance, because they know they will get both music for listening and music for smiling, both moments of nostalgia and moments of euphoria, without the feeling that they have wandered into someone else's world. If you are among those who love surprises, this kind of concert functions as an evening in which you do not come to check one song, but to experience a whole arc of moods, from the first bar to the final applause.

Atmosphere at Rieu's concerts: the audience as part of the show

One of the distinctivenesses of Rieu's performances is the way the line between the stage and the auditorium is erased, because media materials point out that musicians often enter through the audience at the beginning of the concert, turning the first few minutes into a kind of festive procession. That element is not just a trick, but a psychological introduction that immediately makes it known that this is an event in which you, as a spectator, are a participant, and not an observer from the dark, which is especially important in large halls where the sense of intimacy can sometimes be lost. Along with that, lavish costumes and a visual backdrop that accompanies the compositions are emphasized, so the musical experience expands to a scenic one, which explains why the audience often describes Rieu's evening as a combination of a concert, an operetta and a film spectacle. In practice, this means that in the same hour you will experience both moments of silence in which only the violin and the breath of the hall are heard, and moments of collective joy when the whole sector claps in the same rhythm, and the waltz becomes a common anthem. Because of such an atmosphere, tickets are not just a logistical item but also an entry into a specific social event, a place where people dress up, come earlier and want to have time for entry without rushing, a photo in front of the hall and a glass of conversation before the first chord. Tickets for this concert disappear quickly, so buy tickets on time.

Jose Maria Martin Carpena Arena: a large stage in the west of Málaga

The hall in which the concert is held has a reputation as one of the key city infrastructures for large events, and the city company in charge of sports and events in Málaga describes the Palacio de Deportes José María Martín Carpena as an emblematic space that hosts a wide range of programs, from sports competitions to concerts, gala evenings, operas and family shows. In the same description, it is emphasized that the hall is the home of basketball games at the highest level and that events attracting a mass audience have been held in that very arena for years, which is relevant because it shows that the space is accustomed to large productions and complex logistics of the arrival of thousands of people. It is also stated that the hall was the host of important sports events, including the Davis Cup semifinal in 2003, as well as that various large competitions and manifestations are held in it through the years, which further confirms the status of a multifunctional center. For the concert context, it is especially interesting that a capacity of more than 10,000 spectators for large concerts and around 11,300 for sports events is highlighted, which explains why names that seek a hall of wide visibility and a strong technical drive perform here. The address stated for this facility is Cl Miguel Mérida Nicolich, 2, 29004 Málaga, and that is a piece of data that is valuable already in the ticket purchase phase, because part of the audience chooses tickets also according to how the arrival, parking or return after the concert suits them. All of this suggests that Rieu's production in this space will have enough width for a large orchestra, soloists and a scenic framework, and the audience enough comfort to experience the evening without a feeling of confinement.
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Technical details and amenities that change the concert experience

When speaking about large concerts, the difference between a good and an excellent evening often hides in details that the audience does not see, but feels, and precisely that is why it is interesting that official data about the hall list a series of amenities and technical elements intended for large events. In the description, bar zones and commercial spaces, sanitary facilities, VIP boxes are mentioned, as well as production elements like a central video scoreboard and an LED ring, with the addition of an audiovisual production center, which points to the possibility that the visual part of the show is seen clearly even from more distant sectors. It is also stated that WiFi connectivity and an optical network are available in the facility, which is a detail that today is becoming a standard for halls that do serious productions, but also for the audience that wants to share impressions in real time. Data about parking are especially important, because a private parking with a capacity of 175 spaces and additional public parking spaces are mentioned, which is useful for everyone who plans to come by car and does not want to spend the last part of the evening in uncertainty. In the same set of information, a box office for ticket sales within the facility is also mentioned, which is practically relevant as a landmark, because many visitors like to know where key points in the hall are located, even when tickets are already bought in advance. Precisely such amenities raise the expectation that the Andre Rieu concert in Málaga will be technically stable and organizationally fluid, and that is as important for the audience as the music itself.

Wider local framework: sports, the coast and modern Málaga in the same zone

The location of the arena is often equally important as the program, because it determines how relaxed the evening will be for you before and after the concert, and city sources state that the Palacio de Deportes is surrounded by other large sports facilities, such as the Centro Acuático de Málaga and the Estadio de Atletismo Ciudad de Málaga, by which this part of the city is profiled as a zone of large gatherings. In materials about the expansion of the hall's capacity, it is further specified that the facility is located in the western part of Málaga, by the Guadalhorce river and near the mentioned sports facilities, which gives a clear picture of an urban landscape in which wide roads and infrastructure designed for mass arrivals dominate. As an interesting detail from city life, local media reported in 2025 about a new zone for speed skating that was put into function precisely in the immediate vicinity of Martín Carpena, with a note that access is free when there are no restrictions due to events, which further confirms that this is a lively sports and recreational area, and not an isolated facility in the middle of nowhere. For visitors coming earlier, such a context can be an advantage, because one breathes and moves easier in the surroundings than in the densest historical center, and at the same time the feeling of the city is not lost, because Málaga has in recent years invested strongly in public spaces, mobility and cultural offer. In practice, this means that the concert can fit into an evening that starts with a walk along the coast or a short tour of the city, and ends with a return without a long squeeze through the narrow streets of the old core. If you add to that the fact that tickets for such a show are often a reason for travel, Málaga imposes itself as a city in which a concert easily turns into a mini vacation, without the need to give up comfort and the predictability of logistics.

How to get to the hall: public transport, taxi and arrival from the airport

Planning the arrival at a large concert greatly determines the impression of the evening, because no one wants to enter the hall out of breath or nervous, so it is useful to rely on verified information about transport options around Martín Carpena. The local media Málaga Hoy in a text about arriving at Martín Carpena emphasizes that visitors have the possibility of arriving by public transport, including the metro and bus, with taxi as an alternative, which is a good reminder that the zone is covered by several different solutions and that you do not necessarily have to depend on a car. Route planning services state that numerous bus lines and the metro line L2 operate to the location, and precisely the combination of the metro and walking often proves to be the simplest when a larger number of visitors and increased pressure on parking lots are expected. If you are coming from outside Málaga or from other parts of Andalusia, it is important to know also that rome2rio in its comparison of travel options states a very short driving time by taxi or car from Málaga Airport to the hall, which confirms that the arena is transport-wise close to the main entry points of the city. In such a schedule, the recommendation is to come earlier, take into account possible crowds around the entrance and security checks, and leave enough time to find your place in peace, especially if you bought tickets for sectors that require a tour of internal corridors. Buy tickets via the button below and then immediately plan your arrival, because the best combination is the one in which both tickets and logistics are solved before the day of the concert. On the evening of such an event, the smallest detail, like the choice of transport, can make the difference between entering with a smile and entering at the last moment, and Rieu's format especially rewards those who are ready from the first minute.
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Tickets and the rhythm of the evening: what a one-day ticket means in practice

When it is indicated that the ticket is valid for 1 day, that is clear information that it is about one, rounded evening and one entry, without additional days of the program, additional performances or multi-day festival dynamics, which makes the decision on buying tickets easier for many. In practice, a one-day ticket means that the focus completely shifts to the quality of a single performance, so buying tickets often goes hand in hand with choosing a seat and planning the arrival, because you want to get the maximum out of one single evening. Considering that the start of the concert is listed at 20:00, it is reasonable to assume that the largest wave of the audience will arrive in the hour before the beginning, so the recommendation is to come earlier in order to avoid the crowd at the entrances and in the corridors, especially in a hall that accepts more than 10,000 people in a concert setup. An additional advantage of arriving earlier is the possibility to orient yourself calmly in the space, because large arenas are labyrinths of sectors, entrances and levels, and the first impression can be stressful if you enter in the last five minutes. In formats like this, the audience often likes a short stay before the beginning, because the atmosphere builds slowly, and precisely that feeling of anticipation, when the hall fills up and lights change, is part of the experience for which tickets are bought. If you are among those who like to experience everything, from the first entry of the orchestra to the last greeting, then the simple message is clear, tickets are your entry into the entire ritual of the evening, and not just into a two-hour listening of music.

Seating, visibility and the experience of the orchestra in a large arena

In a hall like Jose Maria Martin Carpena Arena, the experience of the concert strongly depends on the position, because different sectors offer a different relationship to the stage, visual elements and sound, so tickets are not just a question of price but also of personal viewing style. Official data about the facility speak of a large capacity and about the fact that the space is configured for different types of events, which is important because a concert setup is not identical to a sports one, and that affects the seating arrangement and how sound spreads through the hall. If you like to observe details, like the work of the conductor, communication with the audience and solo moments, sectors closer to the stage will often suit you, while those who want a broad picture, scenography and a complete visual framework, might enjoy more in elevated sectors that give an overview of the whole scene. Rieu's show often includes elements that are followed by eyes as well, like costumes, entries and the visual backdrop, so it is not unimportant to think about the viewing angle, especially if you are coming with a person who prefers sitting without constant leaning. Due to great interest, buying tickets in advance gives you more space for choice, and that in concerts like this often means better comfort, because you do not choose what is left, but what really suits you. It is also important to realistically set the expectation, in a hall with more than 10,000 visitors, the experience is by definition collective and large, so even when you are further from the stage, you will often get what Rieu is listened to for, and that is the feeling of shared joy and an orchestral wave that carries the audience.

Málaga in concert mode: audience, city and an evening that has its own tempo

The end of January in Málaga often means a more pleasant rhythm of the city than in the peak of the summer season, but still with enough life that the concert can fit into an evening with a clear feeling of going out, a walk and city light, which is especially attractive to visitors coming from other regions. The Martín Carpena hall is, according to city descriptions, one of the most sought after for large concerts and spectacles, which suggests that the local audience is accustomed to big names and that the city infrastructure knows how to respond to events of mass interest. Rieu's format in such an environment gets an additional dimension, because local spectators and guests often mix in the audience, and precisely that mixture of languages and moods knows how to reinforce the impression that you are at an event that transcends one evening and one audience. In Málaga, an identity of the city that connects sports, culture and tourism has been strongly built in recent years, and the fact that contents and infrastructure are continuously developed in the zone around the arena says that long-term thinking is present here, both about citizens and guests. In such a context, tickets for the Andre Rieu concert are not just the purchase of a ticket, but also a decision to afford yourself an evening in which classical music turns into a celebration, and the hall into a place of shared rhythm, smiles and recognizable melodies. Ticket sales are available, so secure your tickets and experience this evening live.
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Sources:
- André Rieu (andrerieu.com) - concert announcement in Málaga with date, time and hall address
- Málaga Deporte y Eventos (malagadeporteyeventos.com) - profile of the hall with description of purpose, capacity, amenities and address
- Málaga Deporte y Eventos (malagadeporteyeventos.com) - text about the capacity expansion project and location of the hall by the Guadalhorce
- André Rieu Press Room (press.andrerieu.com) - data on the performance format, tour size and visual concept of concerts
- Tarisio Cozio Archive (tarisio.com) - record of the Stradivarius violin from 1732 known as the Rieu
- Málaga Hoy (malagahoy.es) - information on arriving at Martín Carpena by public transport
- Moovit (moovitapp.com) and Rome2rio (rome2rio.com) - practical routes and comparisons of arrival options to the hall

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9 hours ago, Author: Culture & events desk

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AFAS Dome, Schijnpoortweg 119

Culture & events desk

The editorial team for arts, music and events brings together journalists and volunteers who have spent years living alongside stages, clubs, festivals and all those spaces where art and audience meet. Our writing comes from long-standing journalistic experience and genuine involvement in cultural life: from endless evenings in concert halls, from conversations with musicians before and after performances, from improvised press corners at festivals, from premieres that end with long discussions in theatre corridors, but also from small, intimate events that attract only a handful of curious people yet remain engraved in their memory for a lifetime.

In our newsroom write people who know what a stage looks like when the lights go out, how the audience breathes while waiting for the first note, and what happens behind the curtain while instruments or microphones are still being adjusted. Many of us have spent years standing on stage ourselves, participating in programme organisation, volunteering at festivals or helping artist friends present their projects. This experience from both sides of the stage gives us the ability to view events not merely as items in a calendar, but as living encounters between creators and audiences.

Our stories do not stop at who performed and how many people attended. We are interested in the processes that precede every appearance before the public: how the idea for a concert or festival is born, what it takes for a comedy to reach its audience, how much time is spent preparing an exhibition or a multimedia project. In our texts we try to convey the atmosphere of the space, the energy of the performers and the mood of the audience, as well as the context in which all this happens – why a certain performance is important, how it fits into the broader music or art scene, and what remains after the venue empties.

The editorial team for arts, music and events builds its credibility on persistence and long-term work. Behind us are decades of writing, editing, talking with artists and observing how scenes change, how some styles come to the forefront while others retreat into the background. This experience helps us distinguish fleeting hype from events that truly push boundaries and leave a mark. When we give something space, we strive to explain why we believe it deserves attention, and when we are critical, we explain our reasons, aware of the effort behind every project.

Our task is simple and demanding at the same time: to be reliable witnesses of cultural and entertainment life, to write honestly toward the audience and honestly toward performers. We do not deal in generic praise; we aim to precisely describe what we see and hear, knowing that every text may be someone’s first encounter with a certain band, festival, comedian or artist. The editorial team for arts, music and events therefore exists as a place where all these encounters are recorded, interpreted and passed on – humanly, clearly and with respect for the very reason it exists at all: the live, real event in front of a real audience.

COPYRIGHT NOTICE
This article is not affiliated with, sponsored by, or approved by any sports, cultural, entertainment, music, or other organization, association, federation, or institution mentioned in the content.
Names of events, organizations, competitions, festivals, concerts, and similar entities are used solely for accurate public information purposes, in accordance with Articles 3 and 5 of the Media Act of the Republic of Croatia, and Article 5 of Directive 2001/29/EC of the European Parliament and of the Council.
The content is informational in nature and does not imply any official affiliation with the mentioned organizations or events.
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