He Colon Theater It has been since its inauguration one of the largest lyrical temples in the world. Due to its acoustics, its architecture and the excellence of its stable structures, it stands alongside La Scala in Milan, the San Carlo in Naples, La Fenice in Venice, the Covent Garden in London, the Paris Opera, the Real in Madrid and the MET in New York, among other venues that offer the highest level of the international opera repertoire every season.
Those who appear in it – top-class singers, directors and choreographers – confirm this in every performance. It is common for them to express genuine emotion as they bid farewell to the audience, grateful for the privilege of performing on a stage whose professional and artistic standards enjoy unanimous recognition. We saw it again in the production of The Traviataat the end of the 2024 season, whose artists publicly celebrated the opportunity to work in Buenos Aires.
The story of Columbus contains moments that place him at the forefront of world poetry. They walked past her podium Toscanini, Ansermet, Stravinskyand they shone on their boards Maria Callas, Montserrat Caballe and so many characters who shaped generations. This tradition has been maintained with contemporary directors and singers, whose mere presence confirms the prestige of the house.
In its golden age, seasons were presented with a range of titles that competed with the best European theaters. In 1912, 17 different titles were offered. However, in recent years a worrying trend has been observed: the sustainable reduction in the number of annual opera productions. From ten in the ’90s, it rose to nine, then to eight, and finally to seven in 2024. This decline puts the Colón below the regular programming of comparable theaters whose calendars – even with different budget realities – maintain a broader level of production.
The paradox is that this decline does not respond to a decline in demand. On the contrary, The places are systematically sold out. The subscriptions – Gran Abono, Nocturno, Nuevo Nocturno, Vespertino – are almost completely renewed and the exceptional performances sell out immediately after they go on sale. The Colón audience is not only loyal: it is growing, demanding and with conviction upholds a cultural tradition that distinguishes Buenos Aires in the world..
In this context, versions have emerged that predict only five titles in the Colón and a sixth in the Palacio Libertad for the 2026 season. Predictably, the news caused concern among the theater’s subscribers and followers. It is understandable: opera is an integral art, and its presence must live up to the level of the Philharmonic – whose performance, under the direction of its new director, Zoe Zeniodiwas remarkable – and the ballet, which continues to develop sustainably.
It’s not about nostalgia, but about institutional responsibility. El Colón is a cultural heritage of the people of Buenos Aires and all Argentines. Its programming must not lag behind its history or its international position. This is even less true when, season after season, audience support shows that there is enough demand to sustain a more sophisticated artistic offering.
If, on the other hand, the aim is to reduce costs, reducing the number of titles does not seem to make sense: the salaries of theater staff must continue to be paid while the number of tickets offered for sale decreases.
The city government and theater authorities have the opportunity – and the obligation – to ensure that the 2026 season regains the quantity and quality that the Colón deserves. Maintaining one’s leadership position in world poetry is not a luxury: it is taking care of one of Argentina’s most valuable cultural assets.
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