Celebrating a century of life is not a protocol gesture: it is about taking on a story, revisiting it and projecting it. The music – which crossed different styles, languages and dramatic contexts – with which the Stable orchestra and choir of the Teatro Colón chose the best x-ray of two artistic bodies to commemorate its centenary They accompanied, defined and enhanced the sound identity of Argentina’s most important theater.
Since its founding, the Stable Orchestra has been more than just instrumental support for the poetry and ballet seasons. Born under the handwriting of the Italian master Tullio Serafin and then increased by figures like Erich KleiberThe group developed a versatility that enabled them to enter into dialogue with the greatest directors of the 20th century: Karl Böhm, Thomas Beecham, Wilhelm Furtwängler, Herbert von Karajan And Arturo Toscaniniamong other things. Their sound was also softened thanks to the contribution of exceptional instrumentalists, and their presence on tours and concerts at home and abroad consolidated a tradition.
The Stable Choir, founded in 1925, completes this legacy. Since there were more than a hundred members trained not only in vocal technique but also in acting, their role in opera productions was crucial. Under the direction of directors such as Achille Consoli, Cesar Stiattesi And Rafael TerragnoloThe group traced a line of interpretation that endured the passage of time and aesthetic changes. Today under the leadership of Miguel Martínezsounds compact, ductile and dramatically solid.
For this celebration, The choice of repertoire was a homage to the languages that the orchestra and choir knew how to speak. The night started with Alexander Nevsky by Prokofiev, a monumental score whose epic is based on an inseparable alliance between orchestra and choir. The filling, the collective phrasing and the solidity in fortissimi They made it clear why These two groups have been at the heart of the for decades colon.
A particularly emotional moment was Guadalupe Barrientos’ participation in the number The field of the dead. The mezzo-soprano offered a very profound intervention. Its warm timbre and sustained line gave the scene a human dimension that contrasted with the monumentality of the rest of the cantata.
In the second part, the program covered various milestones in the opera repertoire and also experienced its emotional moment with the participation of Mario Perusso towards the overture of The power of fateWith its expansive drama and play of fate, it enabled the orchestra to develop a full sound that was well balanced between the density of the brass and the tension of the strings.
The choir Gli arredi festivi from Nabucco reinforced the celebratory character of the evening: rhythmic precision, clear colors and a homogeneous emission that maintained the theatrical pulse. The maestro left the stage to loud applause from the audience and musicians and emotions ran through the room.
The trip continued with Mascagni again in charge Beatrice Venice: the intermezzo of Cavalleria Rusticana -of almost cinematic lyricism- caused a moment of bated breath Regina coeli… Inneggiano It showed the choir in its most natural, lively and expressive zone. In this edition, again with the intervention of Barrientos, The mezzo-soprano showed a firm and luminous charisma that was perfectly intertwined with the choir; His stage presence and the naturalness with which he projected himself over the choral mass gave Mascagni’s symbolic side a special shine.
He Kermesse Choir from Splendor It provided lightness, rhythm and an almost choreographic energy, supported by a flexible orchestra that avoided heaviness and favored the fluidity of the narrative. Then the intermezzo of Manon Lescaut He let the string shine with great amplitude, achieving the mix of nostalgia and tension that characterizes Puccini.
The conclusion – inevitably festive – came with it Triumphal March Gloria all’Egitto from Aidaa work that stands alone It uses all the resources that a lyric theater can offer: choral masses, orchestral brilliance and a sense of monumentality which the public immediately recognized. The room responded with sustained applause, knowing they were celebrating not just an anniversary but a living legacy.
At the end the orchestra and choir performed Wow, I think as an encore: the symbolic chorus of the third act of Nabucco it seemed like a gesture of unity.
Over the decades A stable orchestra and choir have accompanied the cultural pulse of the countrywho maintain complex seasons, unforgettable premieres and collaborations with legendary artists. This celebratory concert was not about simple nostalgia, but rather about reaffirming its validity.
Interpreter: Stable Choir and Stable Orchestra of the Teatro Colón; Beatrice Venezi, director; Guadalupe Barrientos, mezzo-soprano; Miguel Martínez, choir director function: Sunday, December 7th Location: Teatro Colon.
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