He arrives at the end of the year performing his own productions at Festivals such as Es Migjorn Gran's Ancient Music and the Maò Music Festival, with his A Thousand Ways with music by Purcell and Il Gesto Armonico and with Songs for Eliza, his Tribute to John Dowland with the laudist Maike Burgdorf at the Lyrique des Pays Catalans Festival. In October he is hired as a resident musician of the 8th Season of Residències Musicals of the Fundació Catalunya - La Pedrera in Barcelona, premiering with Nocturne his particular tribute to Mélodie Française with works by Ravel, Fauré, Debussy and Hahn next to the harpist José Antonio Domené. A program widely celebrated by critics where we have been reading affirmations like these of La Vanguardia: "with a remarkable interpretative maturity, the voice of Jiménez, of great timbral homogeneity, of incisive and metallic top, clear center and theatrical lows, added to a worked technical control, demonstrated good articulation, diction and control of regulators stunnishing the audience. "
In 2020, he opens the season as a prominent resident on La Pedrera and next to pianist Berta Brull premiered Musica Viva, an entirely contemporary composers from Barcelona program with Mariona Vila, Alberto Garcia-Demestres, Albert Guinovart, Miquel Ortega and Raquel Garcia-Tomàs, from who they offered the world premiere of My Old Gramophone, written specifically for the occasion and his voice. In his generous review, Alba Nogueras wrote "We are used to listening to countertenors in baroque, with a background harpsichord and historically informed sonorities, but after this concert, it is fully demonstrated that there is no period that can limit good musicians. Jiménez with a more than evident scenic domain, get the audience from the first moment, with a transparent expressiveness and without excuses he was presenting different interpretative registers throughout the concert, all passed through a personal filter, with a confident character and an unquestionable presence. With bright highs, resonant in the mask and with a very natural sound, nothing manufactured, standing all the pieces with elegance, having the composers in the front row. Undoubtedly, a challenge that he highly pass."
Víctor Jiménez Díaz, was born in Barcelona in 1988 and studied at the Conservatori Superior de Música del Liceu with Ingrid Ustrell, Sílvia Rovira, Anna M. Ollet and Josep Ruíz, and then with the mezzo-soprano Francesca Roig and the pianist David Mason. In addition, he received masterclasses from bass-baritone Carlos Chausson, countertenors Jordi Doménech and Carlos Mena, pianist and composer Miquel Ortega or soprano Motserrat Caballé, who wanted to guide his approach to the Belcanto's repertoire. He debuted in 2010 in small national productions until in 2012, participating in the 1st Week of Ancient Music in Ávila, he debuted in the Membra Jesu Nostri by Buxtehude under the direction of Daniel de la Puente, in the Auditorium of San Francisco. In this way he begins a specialization, the interpretation of historical music under philological criteria, which will mark the rest of his career.