On the nights of February 19 and 20, a large audience gathered at the Teatro Colón in Buenos Aires. The composer Rufus Wainwright presented Prima Donna there , in a so-called visual-symphonic concert. The orchestra led by Bernardo Teruggi took place on the huge stage with their curtains drawn up. The three solo singers were also placed there. In the background, a giant screen announ...
The production was very much a ‘period’ one, dark reflecting the night time, with an airfield like building on one side and a three storey ‘operations centre’ on the other, and with a fence between separating the officials from the public. Projections added to the stormy mood. Il prigioniero (The prisoner), on the other hand, was given a more modern production, even though the settin...
The main ideas of the Chamber Opera are to reach the public in other areas and promote young artists. The key to the cast is their homogeneity, their youth and their scenic availability. In turn, the passage through various fields, not necessarily linked to opera, generates a welcome renewal of the public. For this version he or n of or pear Salieri, Diego Cosin in the stage directio...
Musically the production was in the hands of Alejo Pérez, who brought a correct reading of the colourful and melodic score. The cast, like the production, was a local one, apart from the role of the Composer, which was well sung by America mezzo Jennifer Holloway and that of Zerbinetta. Russian soprano Ekaterina Lekhina gave a brilliant account of her famous aria ‘Grossmächtige Prinz...
The second part of the concert opens up a new horizon for this French-style garden from beyond the Rhine: the performance of Schumann's Symphony No. 2 further strengthens an impression that has been established until then. The Orquesta Filarmónica de Buenos Aires responds to the letter to all of Manuel Hernández-Silva's requests and gives them warm applause....
The six soloists demonstrate, both on stage and on screen, solid acting skills and seem to have obviously taken a certain pleasure in recording the making of projected on the background screen. The disarticulated triptych formed by the parents and the daughter concentrates an important part of the dramatic action. At its head, soprano Sabrina Cirera (Rosine) develops the dry, strong...
The professionalism of the vocal stage, almost exclusively made up of students, is immediately apparent. These young solo singers, like the dancers very involved in their tasks, receive strong applause which attests to the excellent performance of their performance and their ability to captivate an audience in search of new emotions
The show, received with great enthusiasm, is partly due to the strength of these young singers, all very invested in their role. But it is also the daring staging of Julián Ignacio Garcés that is hailed. The plastic beauty and ingenuity of the scenic design, minimalist and inscribed in a multitude of nuances under skilful play of lights (Verónica Alcoba), from mouse gray to anthracit...
While this performance was not always perfect, it was proof that Catán’s score needs to be heard and one that should get more attention around the world. For now, the Teatro Colón has a solid production that is worth seeing.
Mezzo Florencia Machado (Irene) has a full, round and warm voice. A proven technique allows him to perform technically well mastered trills. Iván Maier is finally a Messenger who stands out for the power of his projections and the clarity of his tone.