One hundred years after the death of the great composer Giacomo Puccini, the Sala Ginastera opens in 2024, enjoying two special meetings in which the Stable Orchestra and Choir, the Children’s Choir and outstanding solo singers directed alternately by the head of the Orchestra Estable, Carlos Vieu, and the guest teacher, Mario Perusso, will perform fragments of their works.
The program includes arias, duets, choruses, intermezzos, preludes and different scenes from the operas “Le Villi”, “Edgar”, “Manon Lescaut”, “La Rondine”, “La Fanciulla del West”, “Tosca”, “Madama Butterfly”, “La Bohème” and “Turandot”.
Stable Orchestra and Choir Participation of the Children’s Choir
One hundred years after the death of the great composer Giacomo Puccini, the Sala Ginastera opens in 2024, enjoying two special meetings in which the Stable Orchestra and Choir, the Children’s Choir and outstanding solo singers directed alternately by the head of the Orchestra Estable, Carlos Vieu, and the guest teacher, Mario Perusso, will perform fragments of their works.
The program includes arias, duets, choruses, intermezzos, preludes and different scenes from the operas “Le Villi”, “Edgar”, “Manon Lescaut”, “La Rondine”, “La Fanciulla del West”, “Tosca”, “Madama Butterfly”, “La Bohème” and “Turandot”.
Stable Orchestra and Choir Participation of the Children’s Choir
Opera in four acts. Libretto by Salvatore Cammarano, based on the play El trovador by Antonio García Gutiérrez.
More than two decades have passed since its last performance at the Teatro Colón. This time, Il trovatore will have a concert version with a cast headed by stars: soprano Anna Netrebko in the role of Leonora, the great mezzo-soprano Anita Rachvelishvili as Azucena and tenor Yusif Eyvazov as Manrico. The central piece of Verdi’s so-called “popular trilogy” (along with Rigoletto and La traviata), Il trovatore is a tragedy of recovered identities, of class hatreds that confront characters who are unaware that they belong to the same family. Perhaps therein lies the secret of the sensational success of this Verdi opera in nineteenth-century Italy: in those antagonists who, too late, discover that they are brothers.
