Name: Der Freischütz, op. 77
Start: 2005-06-02T00:00:00.000Z
End: 2005-06-12T00:00:00.000Z
Location: Teatro Avenida

Organization

Conductor

Guillermo Brizzio

Stage director

Daniel Helfgot

Set designer

Gastón Joubert

Costume designer

María Clara Beitía

Chorus master

Juan Casasbellas

Buenos Aires Lírica

Others

Coro Buenos Aires Lírica

Orchestra

Orquesta Buenos Aires Lírica

Der Freischütz, op. 77 -  (The Marksman)

Buenos Aires

Argentina

Teatro Avenida

Musical direction: Guillermo Brizzio Staging: Daniel Helfgot Set design: Gastón Joubert Lighting design: Juan Inclán Costume design: María Clara Beitia Choir direction: Juan Casasbellas With Carla Filipcic Holm, Enrique Folger, Marcelo Lombardero, Gisela Barok, Ariel Cazes, Leonardo Estevez, Walter Schwarz, Sergio Carlevaris, Lucila Gandolfo. Buenos Aires Lyric Choir and orchestra.

Teatro Colón

Der Freischütz Weber

Public

The Marksman

Approved

If BAL was born with the principle of helping to restore the lost shine to opera in Argentina, it is because its members like to take on challenges. That taste also goes through rescuing works of great importance for the history of sung theater, absent from the Buenos Aires billboard for years. For this reason we “point to” Der Freischütz (The Poacher) by Carl Maria von Weber. The idea dates back to the gestation days of what was then just a project (that is, three years ago), and today it is a happy reality. Absent from our billboards since 1969, the opera premiered at the old Teatro Colón in the 19th century, was revived at the Politeama a few years after its premiere, and returned to the Teatro de la Ópera at the beginning of the 20th century. On this last opportunity it was directed by the great Arturo Toscanini, with the intervention of great figures such as Giuseppe Borgatti and Adam Didur. All these productions were in the Italian language, under the title of Il franco cacciatore. It only premiered in its original version late in the last century at the current Teatro Colón, where it was staged for the last time in 1969. After thirty-six years of absence, we offer you the founding drama of German romantic opera (for more information, see Comment). We chat with Guillermo Brizzio, the musical director, Daniel Helfgot, responsible for the staging, and Juan Casasbellas, director of the BAL Choir where it went on stage for the last time in 1969. After thirty-six years of absence, we offer you the founding drama of German romantic opera (for more information, see Commentary). We chat with Guillermo Brizzio, the musical director, Daniel Helfgot, responsible for the staging, and Juan Casasbellas, director of the BAL Choir where it went on stage for the last time in 1969. After thirty-six years of absence, we offer you the founding drama of German romantic opera (for more information, see Commentary). We chat with Guillermo Brizzio, the musical director, Daniel Helfgot, responsible for the staging, and Juan Casasbellas, director of the BAL Choir.

English

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Echipajul

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