Name: The Consul
Start: 2024-08-06T00:00:00.000Z
End: 2024-08-13T00:00:00.000Z
Location: Teatro Colón

Organization

Admin

Teatro Colón

Conductor

Marcelo Ayub

Stage director

Rubén Szuchmacher

Set designer

Jorge Ferrari

Costume designer

Lighting designer

Gonzalo Córdova

Choreographer

Marina Svartzman

Dramaturge

Lautaro Vilo

Singer

Baritone

Sebastián Angulegui

John

Soprano

Carla Filipcic

Magda

Mezzo-soprano

Adriana Mastrangelo

Secretary

Contralto

Virginia Correa Dupuy

The Mother

Bass

Hector Guedes

Police Agent

Tenor

Pablo Urban

The Magician

Bass-baritone

Alejandro Spies

Mr Kofner

Marina Silva

Anna Gómez

Rocío Arbizu

Vera

Sebastián Sorarrain

Assan

Marisú Pavón

The Foreign Woman

Orchestra

Orquesta Estable del Teatro Colón

The Consul

Buenos Aires

Argentina

The Consul Menotti

Public

Sharan Allad

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Chorus Director

Chorus master

Composer

Dancer

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Alto

Child vocalist

Continuo

Silent

Spoken

La ópera del siglo XX mantuvo una relación conflictiva con uno de sus principios esenciales: el espectáculo. Puede pensarse que Mauricio Kagel, Karlheinz Stockhausen o John Cage diseñaron lenguajes que tuvieron la escena en una alta consideración pero, claramente, era una escena opuesta a la tradición. Shostakovich o Britten, en cambio, jugaron a favor del aprovechamiento contemporáneo de las convenciones consagradas, Uno de quienes  mejor ha encarnado esa tendencia es Gian Carlo Menotti. Nacido en Italia pero afincado en los Estados Unidos, sus óperas funcionan como explicitación de una manera muy norteamericana del arte: eclecticismo, un sentido dramático à la Arthur Miller y la licitud de los golpes de efecto. Y si los espectáculos escénicos de John Cage pueden asimilarse con el Village, los de Menotti se corresponden con la avenida Broadway. El Cónsul, estrenada en 1950 en Filadelfia y con una prolongada segunda vida, precisamente, en Broadway, derivó en un Premio Pullitzer y en la tapa de la revista Time. El libreto, escrito por el propio Menotti (como en todas sus obras para la escena), refería directamente a una temática que la Segunda Guerra Mundial y la Guerra Fría pusieron en el primer plano. La mujer de un líder de la oposición, perseguido por la policía secreta de un país innombrado, trata de conseguir en un consulado la visa para poder salir al extranjero. El cónsul del título jamás aparece pero, en cambio, una secretaria pide una y otra vez papeles distintos, cuestionarios y trámites a la desventurada Magda Sorel y a una suerte de corte de los milagros que acude cada día a las oficinas. Con un lenguaje situado entre Kafka, el expresionismo y algún toque de surrealismo, El Cónsul excede ampliamente la referencia a los regímenes de la égida soviética en los años cincuenta y se erige  en una reflexión humanista acerca de cualquier clase de totalitarismo.

español

The opera of the 20th century maintained a conflictive relationship with one of its essential principles: the spectacle. It may be thought that Mauricio Kagel, Karlheinz Stockhausen or John Cage designed languages ​​that held the scene in high regard, but, clearly, it was a scene opposed to tradition. Shostakovich or Britten, on the other hand, played in favor of the contemporary use of consecrated conventions. One of those who has best embodied this trend is Gian Carlo Menotti. Born in Italy but settled in the United States, his operas function as an explanation of a very North American way of art: eclecticism, a dramatic sense à la Arthur Miller and the legality of coups d'effect. And if John Cage's stage shows can be assimilated with the Village, Menotti's correspond with Broadway Avenue. The Consul, premiered in 1950 in Philadelphia and had a long second life, precisely on Broadway, led to a Pulitzer Prize and the cover of Time magazine. The libretto, written by Menotti himself (as in all of his works for the stage), referred directly to a theme that the Second World War and the Cold War brought to the fore. The wife of an opposition leader, pursued by the secret police of an unnamed country, tries to obtain a visa from a consulate to be able to go abroad. The consul of the title never appears but, instead, a secretary asks again and again for different papers, questionnaires and procedures from the unfortunate Magda Sorel and from a sort of court of miracles that comes to the offices every day. With a language located between Kafka, expressionism and a touch of surrealism, The Consul greatly exceeds the reference to the regimes of the Soviet aegis in the fifties and stands as a humanist reflection on any kind of totalitarianism.

English

The Consul by Menotti, Od (2024/2024), Režija: Rubén Szuchmacher,, Dirigent Marcelo Ayub, Teatro Colón, Buenos Aires, Argentina

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