2023 Season

EIT
HE
GOVERMENT'S HEAD
Horacio Rodríguez Larreta

CHIEF OF STAFF
Felipe Miguel
MINISTER OF CULTURE
Enrique Avogadro
Colon Theater
GENERAL AND ARTISTIC DIRECTOR
Jorge Telerman
COLON THEATER
Decisions
A great event will begin our 2023 season. It will be an imposing symphony, with a remarkable dramatic
setting that stages the eternal struggle between good and evil but, above all, that glimpses how life usually
prevails, even in the midst of devastation.
A resurrection.
This is the name of Gustav Mahler's Symphony No. 2 , turned into a theatrical event by Romeo
Castellucci, one of the most important masters of the current scene, and conducted by a legend: Charles
Dutoit. Co Beginning of the season and tribute from the Teatro Colón to the 40th anniversary of the recovery
of democracy in our country.
This opening raises at the same time two of the axes that will cross the path of this entire year. On the
one hand, the decisions that people and also societies face. The emergence of Evil and the labors of the
Righteous. Those Righteous Ones who “are saving the world,” in the words of Jorge Luis Borges. Those that
allow us to glimpse a future. Discussions about the nature of good and evil may be academic, but we all know
which is which. The other axis is the one that proposes the space where this “Resurrection” will take place:
outside the walls of Colón, this time in La Rural.
It seems to us that the destiny of a public theater should not only have to do with the excellence of the
contents – which is, of course, a necessary condition – but with taking a position regarding the time and
society in which we live. That's why we decided to gain other spaces. Think about how the Columbus records
what happens around him and think – decide – what the Columbus can do to make certain things happen
around him. La Rural, the Teatro Coliseo and the Colón Fábrica, in La Boca, will be among our stages. We
want the city to be present in Colón and, at the same time, for Colón to be part of the city.
We believe that art makes us better. This idea of art that we share, in which value is intertwined with
complexity, with the posing of problems rather than easy solutions, is related to a society capable of better
imagining itself. Capable of a Resurrection.
We decide what we want to tell. And also how we want to tell it.
Many of this season's productions address and emphasize these issues in their views. Good and evil as
a political and not exclusively moral issue and, in particular, the consequences, for the individual and for
society, of each of our decisions. There will be no univocal answers but paths before which the human being
will show his noblest and most vile side. It is, in short, the possibilities of multiple meanings that differentiate
art from the simplifications of propaganda.
The premiere of Faust by Charles Gounod in 1866, in the old Teatro Colón in Plaza de Mayo, inspired
Estanislao del Campo, with one of the founding texts of Argentine literature. Faust, and Stravinsky's libertine,
and others who, like Madama Butterfly, must make transcendental decisions, will be per central sounds in our
season this year. What happened in the play, for Anastasio El Pollo – protagonist of Fausto Criollo – was not
limited to the stage. It transformed his life. And this is, finally, what we expect from art. May it transform our
lives.
Jorge Telerman
GENERAL AND ARTISTIC DIRECTOR
3
DIVINE ITALY
CONCERTS
5
COLON THEATER
2023 SEASON
RESURRECTION
SEASON
06 GANDINI FOCUS
10 COLUMBUS IN THE CITY
12 OPERA
GUIDE 14
26
Q. 28 Opera
Q. 50 Chamber Opera
BALLET
Q. 76 OFBA subscription
54 Q. 82 OFBA at the Plant
Q. 83 Stable Orchestra of the Teatro Colón
74 Q. 84 Argerich Festival
Q. 86 Rachmaninoff Festival
Q. 88 Great Performers
Q. 90 Contemporary Pass
Q. 94 Baroque Cycle
Q. 98 Extraordinary concerts
ARGENTINE MOZARTEUM
THE NINTH
ISA [ART INSTITUTE]
[EXPERIMENTATION CENTER]
104 COLON FOR BOYS

106 COLON FACTORY
108 AGENDA 2023
114 MAIN ROOM PLAN
126
135
140
152
6
2023 SEASON COLON THEATER
Resurrect
case, it rescues that old function of the art of talking about what
surrounds it. To take charge of the pain and, also, of hope.
Renaissance.
ion
The Teatro Colón will present this Resurrection , premiered in
2022 at the Aix en Provence Festival – which brings together the
most challenging proposals in the current world of musical
performing arts – and until now never repeated. And he will do it
TRIBUTE OF THE COLÓN THEATER TO THE 40 YEARS OF THE RECOVERY OF DEMOCRACY IN ARGENTINA in the Rural and with the form of a great popular show. A great
show where the axes will be neither more nor less than the music
of Mahler, inter performed live with the direction of Charles
Black earth. A white horse. Rite of death and rite of salvation Dutoit, and the theater of Castellucci. It will not be about opening
tion, in Gustav Mahler's own words. From his Symphony No. 2 , the Colón to what already has its place in the market and the mass
the great theater director Romeo Castellucci elaborated ra, with media, but quite the opposite: opening what only the Colón can
goldsmith's precision, a moving spectacle. That actually moves . offer to the consideration and, above all, to the emotion of a
Get out of the stillness. Restless in the me better sense. In any public that , for various reasons, usually does not agree to it.
Gustav Mahler's Symphony No. 2 was written between 1888
and 1894. In a turbulent world. In tension. The borders were
uncertain. And not just geopolitical borders. That which in the
18th and 19th centuries had been expressed in poetry, novels and
theater as “the evil double” – the doppelgänger – or Dr Jekyll's Mr
Hyde (phonetically “hidden”), took shape. ma of the unconscious
in the research of another doctor, Sig world Freud. The outline
was blurred in the paintings that expressly represented lights and
shadows, impressions , and not objects. And music was
approaching the abyss of a new system, which escaped the order
established for some four centuries with functional tonality.
Mahler denied that his work was crypto. But there was the
musicalization of the ode “Resurrec tion”, by the poet Friedrich
Klopstock. And, of course, the origin of the composition as a
symphonic poem called “Totenfeier” (Funeral Rites). The scene
designed by Castellucci is contun dent. Rhythm, light and music
7 07
turn action into ritual and poetry. There is a world at war. A

devastated world – this one. But a world capable, also, of
resurrection.
8 07
MARCH
TUESDAY
WEDNESDAY
07
08
R esurrection Divine ITALY
THURSDAY 09
Gu stav Mahler
FRIDAY 10
11
SATURDAY
Symphony No. 2
SUNDAY 12 in C Minor, Resurrection
DIRECTION , SCENEGRAPHY, COSTUMES AND LIGHTING
Romeo Castellucci
MUSICAL DIRECTION
Charl is Dutoit
Buenos Aires Philharmonic Orchestra
SOPRAN O
Jaqu elina Livieri

OPRANO MEZZOS
Guad alupe Barrientos
COLUMBUS IN THE CITY
®
LaRural
Av.Sarmiento 2704,
CABA
08 09
08 09
Divine
ITALY
IST/TUTO
Italian
01 CULTURE
GOOD AIDES
The Resurrection imagined by Romeo Castellucci not only opens this year's Colón season but also the
fruitful collaboration between this theater, the Italian Embassy in Argentina and the Istituto Italiano di
Cultur a of Buenos Aires. Likewise, the fact that the Coliseum, owned by the Italian State, is one of our
headquarters is not a minor fact.
It is almost redundant to highlight the links between Italy and Columbus. The first internal teachers
were Italian or had trained alongside the great teachers of that country. Here was Héctor Panizza, who had
been Puccini's assistant and who composed a magnificent Puccinian opera, sung of course in enita liano but
with an Argentine and libertarian theme: Aurora . Here Caruso and Gigli sang and Toscanini conducted. And
the verismo titles arrived in Buenos Aires a few months after their premieres in Naples, Milan or Rome. But,
going even further, the links between this theater and the cultural territory in which that European and
academic tradition that today has become classic was expressed are obvious. The current musical scales are
he from the compilations attributed to Pope Gregory the Great, the names of the notes come from a poem by
Guido D'Arezzo and nothing would be as it is without the theory of affections that emerged at the end of the
Renaissance, Italy , no, without the Camerata fiorentina , without the madrigals of Segismundo D'India,
Carlo Gesualdo and Claudio Monteverdi and without that magnificent invention of integral art
PROGRAMMING
that derives from there: opera.
Resurrection P. 08 Italy, however, is far from being just a reference cence
Faus to P. 29 to the past. From there come some of the most innovative and
impressive current views on that tradition. And there you have ne
Iltu rco in Italia P. 39 place one of the most original and dynamic movements in
The Merry Widow P. 41 current music. Divina Italia will be, in 2023, a way to explore
the great legacy of that country's musical art (Donizetti, Verdi,
Ma lady Butterfly P. 43
Rossini, Puccini) along with the new classics, the ten most
Car avaggio P. 59 current compositional trends and some of the great stage
Soli ma & Brunello P. 89 directors and choreographers of the present. But, above all, it will
be the example of a fertile creative society and the expression
Div ertimento Ensemble Q.
123 sion of our gratitude for a magnificent heritage and, in particular,
With certain and recitals for the current projections of that heritage.
10 11
COLON THEATER
FOCUS Gandini
Ten years ago Gerardo Gandini, one of the most important musicians in Argentine history, died. The author
of unique operas. A musician of incomparable talent and creativity but, also, a cultural manager. Someone
concerned, in his words, with “creating an ecosystem in which new music can “give n circular.”
In addition to being a notable pianist (“You put the Bible in Aramaic on the lectern and he read it to
you,” he recalled Horacio Malvicino, his partner in Astor Piazzolla's sextet, the bandoneonista 's last group,
and an extraordinary composer, created orchestras and situations in which they could play, was an internal
teacher and much later Musical Director of the Teatro Colón. and he founded together with Sergio Renáne
the Experimentation Center of this theater ( CETC , originally baptized CEOB – Center for Experimentation
in Opera and Ballet), he played jazz with the saxophonist Hugo Pierre, tango with Piazzolla and was the
inventor of these explorations to infinity which he called “Postangos” and which he also played with four
hands with another pianist, Ernesto Jodos.
Friend of Juan José Saer and Ricardo Piglia – his creative partner in the opera La ciudad absent –, he
was an avid reader – he was one of the first Argentines to notice authors such as John Banville or Mi chel
Houellebecq–, a keen intellectual and one of the most serious comedians imaginable. Its figure unfolds in
multiple directions. It proliferates as the small parties did in their work. almost spied music groups .
The Teatro Colón, in 2023, focuses on this three-dimensional image of the artist. With the valuable
Gerardo Gandini collaboration of his daughters Alina and Alejandra, the essayist Pablo Gianera, Fito Páez, who shared
(1936—2013)
projects, concerts and recordings with him , and the pianist Haydée Schvartz, who premiered much of her
work for that instrument and was the protagonist in his opera Liederkreis, and the National Library, through
the Gerardo Gandini Fund , has designed a transversal program, which covers opera, the Philharmonic nica
of Buenos Aires, the CETC and special concerts. Throughout this year many of his most important works
can be heard – and seen – but also fragments, reconstructions, commissions from those who were his
disciples and close collaborators and compositions by those who were his teachers and authors he loved.
12 13
2023 SEASON
COLON THEATER
COLUMBUS
(•) THE RURAL
Av. Sarmiento 2704, CABA
IN THE (•) VATICAN SQUARE
CITY Viamonte 1166, CABA
The Teatro Colón is a wonderful building. But it's not just that. Nothing that happens there
would be possible without a very complex mechanism made up of people with the most
various specializations. And, furthermore, the Colón is part of the entire city. And it is from each
person who inhabits it and who passes through it. Therefore, in its programming it is not limited to
what happens inside the walls but extends to other venues. The Rural, the Theater
Coliseum, the Usina del Arte, the Vatican Square, the Colón Fábrica and even the street itself.
1
5
(•) COLÓN FACTORY COLON THEATER
Av. Don Pedro de Mendoza 2163, CABA
(•) ART FACILITY

Agustín R. Caffarena 1, CABA
(•) COLISEUM THEATER

Marcelo T. from Alvear 1125, CABA
1
6
1
9
22
OP SEASON 2023 RA
OPERA
26 2
7
OPERA
The magic Flute

Anna Boleyn
The Libertine's Race
Il Trovatore
Il Turco in Italy
The Merry Widow
Madam Butterfly
The Absent City
Einstein on the Beach
Sun & Sea
CHAMBER OPERA
Long live Mamma!

Il Campanello
The one who says yes / the one who
says no
Humanity and Lucifer
2
8
OPERA
MARCH MUSICAL DIRECTION

Jan Latham-Koenig
TUESDAY 14 8pm G.A. SCENE DIRECTION / SCENE DESIGN
COSTUMES AND LIGHTING
Stefano Poda
WEDNESDAY 15 8pm FAITH PRODUCTION
Teatro Regio di Torino (ITALY)
Israel Opera (ISRAEL)
THURSDAY 16 8pm ANT
Lausanne Opera (SWITZERLAND)
SATURDAY 18 8pm FAITH
SUNDAY 19 17H av
TUESDAY 21 20H ANN
COLÓN THEATER
Main room
OPERA
Splendor Divine ITALY

Charles Gounod
STAR NO: THÉATRE LYRIQUE, PARIS, 1859
PREMIERE NO IN THE OLD COLÓN THEATER: 1866
STARS NO AT THE COLÓN THEATER: 1914
LAST PERFORMANCE IN THIS THEATRE: 1988
Grand opera in five acts. Libretto in French by Jules Barbier and Michel Carré, based on their own play Faust et
Marguerite , inspired by Faust , part I, by Wolfgang von Goethe.
The story of Faust, Margaret and Mephistopheles offers Gounod the opportunity to produce some of the most celebrated melodies
in the lyrical repertoire in the format of French grand opera: five acts, ballet scenes and a powerful chorus. And to put into music
the most transcendent decision, the one that confronts human beings with good and evil. Stefano Poda, stage director of this
production premiered at the Teatro Regio in Torino in 2015, more than putting the opera on a stage, he builds, from elements of
the work, a poetic world where the work lives.
MAIN INTERPRETERS
SPLENDOR
Liparit Avetisyan / Gastón Oliveira MEFISTÓFELES
Aleksei Tikhomirov / Christian Peregrino MARGARITA
Ekaterina Petrova / Marina Silva
VALENTINE
Vinícius Atique / Felipe Carelli
SIÉBEL
Florencia Machado / Daniela Prado
MARTHA
Adriana Mastrángelo / Alejandra Malvino
Stable Orchestra of the Teatro Colón

Stable Choir of the Teatro Colón
Miguel Martínez – director
GA GREAT FERTILIZER
ANT TRADITIONAL NIGHT PASS
av EVENING PASS
ANN NIGHT PASS NEW FE EXTRAORDINARY FUNCTION
OPERA
The Magic Flute (K. 620)

Wolfgang Amadeus Mozart
ESTRE NO: THEATER AUF DER WIEDEN, VIENNA, 1791
PREMIERE NOT AT THE COLÓN THEATER: 1941
LAST PERFORMANCE IN THIS THEATER: 2011
Singspiel in two acts (1791)

Libretto by Emanuel Schikaneder
"The prince? It's more than that: he is a man,” says Sarastro in reference to Tamino, in keeping with the times in which the opera
premiered. The fable of Mozart and his librettist Emanuel Schikaneder, both initiated into Freemasonry and fellow lodgers, hardly
contemporary with the French Revolution. The Enlightenment background of The Magic Flute is highlighted as much as its darker
side – or the darker side of 18th century Europe –, with references to the ritual purification of women and dark-skinned characters.
But, above all, here too there are paths that fork, learning and necessary decisions. A strange and ambiguous fairy tale and,
furthermore, a Masonic manifesto full of symbols about wisdom and its acquisition, Mozart's last work for the stage premiered
during his lifetime chooses, on the other hand, the format of the popular opera – the singspiel – . The version directed by Barrie
Kosky and conceived in partnership with Suzanne Andrade, one of the most successful and talked about of the last decade, was
premiered at the Berlin Comic Opera and recreates the world of silent cinema and, in particular, the films of Buster Keaton.
MAY MUSICAL DIRECTION MAIN INTERPRETERS

Marcelo Ayub
TAMINO
SUNDAY 07 17H av SCENE DIRECTION Joel Prieto / Juan Francisco Gatell
Barrie Kosky PAMINA

TUESDAY 09 8pm G.A. Veronica Cangemi / Hera Hyesang Park
VIDEO
Paul Barritt
WEDNESDAY 10 8pm FAITH
SCENEGRAPHY AND COSTUMES
PAPAGENO
Peter Kellner / Alejandro Spies
Esther Bialas
THURSDAY 11 8pm ANT
DRAMATURGY
PAPAGENA
María Savastano / Ana Sampedro
SARASTRO
FRIDAY 12 8pm FAITH Rafał Siwek / Lucas Debevec Mayer
QUEEN OF THE NIGHT
Ulrich Lenz
SUNDAY 14 17H FAITH
LIGHTNING
Anna Siminska / Laura Pisani
Diego Leetz MONOSTATS
TUESDAY 16 20H ANN
CONCEPTION
Pablo Urban / Sergio Spina
Barrie Kosky Suzanne Andrade FIRST LADY
Paul Barri Carolina Gómez / Laura Polverini
PRODUCTION SECOND LADY
Komische Oper Berlin (GERMANY) Florence Burgardt /
Eugenia Coronel Bugnon
THIRD LADY
María Luisa Merino Ronda / Rocío Arbizu

GA GREAT FERTILIZER
av EVENING PASS 9
ANN NEW NIGHT PASS FE COLÓN THEATER Main room
EXTRAORDINARY FUNCTION
31
OPERA
Anna Boleyn
Gaetano Donizetti
STAR NO: CARCANO THEATER, MILAN, 1830
STAR NO AND ONLY PERFORMANCE AT THE COLÓN THEATER: 1970
CONCERT VERSION
Lyrical tragedy in two acts. Libretto in Italian by Felice Romani, based on Henry VIII , ossia Anna Bolena by Ippolito
Pindemonte and Anna Bolena by Alessandro Pepoli, both about the life of Anne Boleyn, the second wife of King Henry VIII
of England.
Composed in 1830 and forgotten – or almost – for more than a century, it is one of three operas by Gaetano Donizetti that revolve
around an English queen ( Roberto Devereux , named after a supposed lover of Elizabeth I, and Mary Stuart are the others).
Someone called them “the three queens of Donizetti” and it was another queen of opera, the soprano Maria Callas, who brought
Anna Bolena out of oblivion, in a lavish production by Luchino Visconti premiered at La Scala in Milan in 1957. A typical piece
of the bel canto repertoire, it has among its attractions one of the most beautiful duets of the genre, “Sul suo capo aggravi un Dio”,
sung by Anna and Giovanna (Jane) Seymour. In this concert version, an international cast will once again bring to life a title
absent from the Colón stage since 1970.
GA GREAT FERTILIZER
(•)
AV EVENING PASS COLON THEATER
JUNE MUSICAL DIRECTION

Maurizio Benini MAIN INTERPRETERS
ANNA BOLEYNA
FRIDAY 23 8pm G.A. Maria Agresta
SUNDAY 25 17H av ENRICH VIII

Alex Esposito
TUESDAY 27 8pm A.N. GIOVANNA SEYMOUR

Daniela Barcellona
THURSDAY 29 8pm ANN

LORD PERCY
Xabier Anduaga
SMETON
Florencia Machado
ANN NEW NIGHT PASS main room
33
OPERA
The Libertine's Race

Igor Stravinsky
STAR NO: LA FENICE THEATER, VENICE. 1951
NEW PRODUCTION THEATER COLÓN

Opera in three acts and an epilogue, Libretto in English by W. H. Auden and Chester Kallman, inspired by the
homonymous paintings and engravings of William Hogarth (1735).
Igor Stravinsky's first approach to the idea of the pact with the devil was with The Soldier's Story , in 1918 and based on a popular
story. More than thirty years later he returned to that topic. In The Career – or Apprenticeship – of the Libertine , the names of the
characters clearly indicate a moral message. Anne's last name is Truelove (true love) and Tomes Rakewell's (something like a
good libertine) while the figure who tempts him – and leads him to lose what he loves most – has the last name Shadow. The
libretto of the poets W. H. Auden and C. Kallman is inspired by a series of engravings by the artist William Hogarth and
Stravinsky, like Picasso with the human face, turns to Mozart and the comic opera of the 18th century to invent a new figure.
Alfredo Arias, responsible for the memorable 2001 staging, returns to the title to present, this time, a Shadow who is none other
than the dark side of Rakewell and a court before which, sooner or later, he will have to face the consequences of actions (and
omissions). The return to Colón of this opera that in some way inaugurates musical postmodernism, will also have another great
protagonist: the director Charles Dutoit.
GA GREAT FERTILIZER
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ANN NEW NIGHT PASS
JULY MUSICAL DIRECTION MAIN INTERPRETERS

Charles Dutoit TOM RAKEWELL
TUESDAY 18 8pm G.A. SCENE DIRECTION Ben Bliss
THURSDAY 20 8pm ANT

Alfredo Arias NICK SHADOW
SCENOGRAPHY Christopher Purves
SUNDAY 23 17H av
Julia Freire ANNE TRULOVE
LOCKER ROOM Giulia Semenzato
TUESDAY 25 8pm ANN Julio Suárez LIGHTING BABA THE TURK

Patricia Bardon
Matias Sendon TRULOVE
Hernan Iturralde
SELLEM
Dario Schmunck
INSANE GUARD
Alejandro Spies
COLÓN THEATER
Main room
OPERA
Il Trovatore
Giuseppe Verdi
STAR NO: APOLLO THEATER, ROME. 1853
CONCERT VERSION
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 led by stars: the soprano Anna Netrebko in the role of Leonora, the great mezzo soprano Anita Rachvelishvili
as Azucena and the tenor Yusif Eyvazov as Manrico. The centerpiece of Verdi's so-called “popular trilogy” (along with Rigoletto
and La traviata ), Il trovatore is a tragedy of recovered identities, of class hatred that confronts characters who do not know that
they belong to the same family. Perhaps there lies the secret of the sensational success of this Verdi opera in 19th century Italy: in
those antagonists who, too late, discover that they are brothers.
GA GREAT FERTILIZER
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ANN NEW NIGHT PASS
AUGUST MUSICAL DIRECTION MAIN INTERPRETERS

Giacomo Sagripanti
COUNT OF MOON
FRIDAY 11 8pm G.A. Fabian Veloz
LEONORA
TUESDAY 15 8pm ANT Anna Netrebko
THURSDAY 17 8pm ANN LILY

Anita Rachvelishvili
SUNDAY 20 17H av MANRIC

Yusif Eyvazov
COLÓN THEATER
Main room 37
OPERA
Il Turco in Italy Divine ITALY

Gioachino Rossini
STAR NO: THEATER ALLA SCALA, MILAN, 1814

Dramma buffo per music in two acts.
Libretto by Felice Romani, based on a piece of the same name by Caterino Mazzolà.
Ridiculing danger has always been one of the main weapons against worry. A Turkish merchant as exotic as he is naive is the
target of the machinations of a clever and beautiful Neapolitan woman in this opera in which, strictly speaking, nothing is talked
about other than the Other. In the first decades of the 19th century, while Napoleon tried to govern a large part of Europe, the old
Ottoman Empire, which dominated the entire Balkan Peninsula, Transylvania, Asia Minor and North Africa, appeared at the very
gates of what from Rome onwards its inhabitants considered the center of the world, with a mysterious East (barbarous, that is,
from outside the borders or, in the original Greek, “he who babbles”) on the side. Fear and fascination were mixed in the
“civilized” perception of “barbarians.” And, also, farce and comedy. With music that is among the most original written by
Rossini, beginning with its almost avant-garde overture, in this new version The Turk in Italy will show, in the words of its stage
director, laughter and love affairs “as the other side of a city that rots in the sun.”
ALBAZAR
Santiago Martínez

SEPTEMBER MUSICAL DIRECTION MAIN INTERPRETERS

Jordi Bernacer SELIM
TUESDAY 05 8pm G.A. SCENE DIRECTION Erwin Schrott / Marko Mimica

Pablo Maritano FIORILLA
SCENOGRAPHY Irina Lungo / María Virginia Savastano
THURSDAY 07 8pm ANT

Gonzalo Córdoba Estevez GERONIO
LOCKER ROOM Fabio Capitanucci / Ricardo Seguel
SATURDAY 09 8pm FAITH Renata Schussheim

DON NARCISO
LIGHTNING Santiago Ballerini / Francisco Brito
17H av David Seldes
Sunday 10 PROSDOCIMO
Germán Alcántara / Felipe Carelli
TUESDAY 12 8pm ANN ZAIDA
Francesca di Sauro
GA GREAT FERTILIZER
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COLÓN THEATER
Main room
OPERA
The Merry Widow Divine ITALY

Franz Lehár
STAR NO: THEATER AN DER WIEN, VIENNA, 1905
PREMIERE NO AT THE COLÓN THEATER: 1955
Operetta in three acts.

Libretto by Victor Léon and Leo Stein based on the comedy L'attach é d'ambassade by Henri Meilhac.
The original book on which The Merry Widow was based, L'attaché d'ambassade , had been written in 1861 by Henri Meilhac,
author of the libretto for Georges Bizet's Carmen and several of Jacques Offenbach's operettas. Victor Léon and Leo Stein adapted
the scene to a small principality that is not named but which is not difficult to imagine in some Balkan corner of the vast Austro-
Hungarian Empire at the beginning of the 20th century, and Franz Lehár composed his first great success from that story which has
as its center a rich – and beautiful and, of course, cheerful – widow and the efforts of her compatriots so that their fortune does not
cross the border into other territories, causing local bankruptcy. The other side of brilliance, as we know, is decadence and the great
stage director Damiano Michieletto's staging, premiered at La Fenice in Venice in 2018, takes the action to the 1950s and to a small
state bank. Its themes are the same as always: money and love.
GA GREAT FERTILIZER
AV EVENING PASS
(•)
ANN NEW NIGHT PASS COLON THEATER
SEPTEMBER MUSICAL DIRECTION Jan Latham- MAIN INTERPRETERS

HANNA GLAWARI
Koenig STAGE DIRECTION
TUESDAY 26 8pm G.A. Carla Filipcic Holm / María Belén Rivarola
WEDNESDAY 27 8pm FAITH Damiano Michieletto SCENOGRAPHY COUNT DANILO DANILOWITSCH

Rafael Fingerlos / Alejandro Spies
THURSDAY 28 8pm ANT

Paolo Fantin BARON MIRKO ZETA
LOCKER ROOM Franz Hawlata / Hernán Iturralde
Carla Teti
SATURDAY 30 8pm FAITH VALENCIENNE
CHOREOGRAPHY Ruth Iniesta / Florencia Burgardt
OCTOBER Chiara Vecchi CAMILLE
LIGHTNING Galeano Salas / Duke Kim
SUNDAY 17H av Alessandro Carletti
01 Stable Orchestra of the Teatro Colón
TUESDAY 03 8pm ANN COLLABORATING DIRECTOR Stable Choir of the Teatro Colón
Eleonora Gravagnola Miguel Martínez – director
PRODUCTION
Opera di Rome
Teatro La Fenice di Venezia
FAITH EXTRAORDINARY FUNCTION main room
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1
OPERA
Madam Butterfly Divine ITALY

Giacomo Puccini
STAR NO: THEATER ALLA SCALA, MILAN. 1904

Opera in three acts. Libretto in Italian by Giuseppe Giacosa and Luigi Illica
An American sailor passing through Japan. An arranged marriage. And two people who expect very different things from it. For
Pinkerton, the American, it is little more than a hobby. For Cio-Cio San, nicknamed Butterfly, it is the possibility of love,
eventually, but, above all, of economic security. Pinkerton will leave, he will marry a good American (a serious wedding) and Cio-
Cio San will have a son, the product of the only night he spent with the sailor. The wait, the guilt, the uprooting, the death, will be
the axes of this opera that was part of the first season of the Teatro Colón in 1908, the year of its inauguration, but that had already
arrived in Buenos Aires before, premiered in 1904 in the Opera House just five months after Milan. In this production, stage
director Livia Sabag addresses the problem from a gender, social and strongly political perspective.
NOVEMBER MUSICAL DIRECTION

MAIN INTERPRETERS
Jan Latham-Koenig / Carlos Vieu
CIO-CIO SAN
TUESDAY 07 8pm G.A. SCENE DIRECTION Elena Stikhina
Daniela Tabernig *
Livia Sabag Monica Ferracani **
WEDNESDAY 08 8pm FAITH*
SCENOGRAPHY
Nicolas Boni PINKERTON
THURSDAY 09 8pm FAITH** Riccardo Massi
LOCKER ROOM
Ivan Magri *
FRIDAY 10 8pm ANT Sofia Di Nunzio LIGHTING Fermin Prieto **
SUNDAY 12 17H av José Luis Fiorruccio SUZUKI

Guadalupe Barrientos
VIDEO
María Luján Mirabelli *
Matías Otálora
TUESDAY 14 8pm FAITH * Cecilia Diaz **
WEDNESDAY 15 8pm ANN SHARPLESS

Leonardo Neiva
THURSDAY 16 8pm FAITH** Omar Carrión *

Leonardo López Linares **
FRIDAY 17 8pm FAITH* Stable Orchestra of the Teatro Colón

GA GREAT FERTILIZER
AV EVENING PASS (
ANN NEW NIGHT PASS COLON THEATER

FAITH EXTRAORDINARY main room
FUNCTION 43
OPERA
The Absent City (FG) FOCOGandini

Gerardo Gandini
STAR NO: THEATER COLÓN, BUENOS AIRES. 1995

Opera in two acts. Libretto by Ricardo Piglia, based on his novel of the same name
The themes of the novel The Absent City , by Ricardo Piglia, are the great obsessions of Argentine literature: paranoia, history and,
of course, Argentine literature itself. There they appear, as in Domingo Faustino Sarmiento or Rodolfo Walsh, the investigation and
the document; There he is, as in Roberto Arlt, the figure of the inventor on the verge of delirium. And, also, as in Argentine history,
the conversations in low voices, the conspiracies, the fear. The opera composed by Gerardo Gandini based on that novel, with
Piglia himself as librettist, adds another level to the same game: it talks about the opera. There is a woman, loved and condemned
to immortality, prisoner of a secret machine that sings stories – little operas. There is a guardian of that strange museum and also a
researcher who tries to reveal the plot. The music, magical, melan colic and sometimes terrifying, it is another voice in that
dazzling polyphony.
The absent city premiered at the Teatro Colón in 1995 and was revived two years later, with staging by David Amitín and
scenery by Emilio Basaldúa.
MAIN INTERPRETERS
ELENA
Oriana Favaro
MACEDONIAN
Sebastian Sorarrain
MUSICAL DIRECTION JUNIOR
Christian Baldini Alejandro Spies
SCENE DIRECTION FUYITA
DECEMBER
Valentina Carrasco Paul Urban
TUESDAY 05 8pm
RUSSO
Gustavo Gibert
ANA
THURSDAY 07 8pm Mariana Rewerski
BIRD WOMAN
Constanza Díaz Falú
LUCIA JOYCE
Maria Castillo
DR. JUNG
Santiago Martínez
9
COLON THEATER
Main room
45
OPERA
And instein on the beach

Phillip Glass and Bob Wilson
PREMIERE: THEATER COLÓN, BUENOS AIRES. 1995
Opera for ensemble, chorus and soloists (1976) LATIN AMERICAN PREMIERE
Einstein on the Beach is Philip Glass's most famous performance work. Its premiere at the Avignon festival in 1976 was a
revolution in the world of contemporary music, and its impact has not diminished since then. It is considered the first minimalist
opera , although its absence of narrative separates it from the traditional conception of the genre. Philip Glass builds, with a limited
instrumental palette, a radically new musical experience based on the almost hypnotic repetition of short patterns. In this opera he
takes this concept to an enormous scale, and the almost five hours of continuous sound con pour into a true tour de force.
Although the original version of Einstein on the Beach involved a complex staging created by Bob Wilson and
choreographed by Lucinda Childs, in 2018 the authors accepted the possibility that the work could be staged by other stagers. Since
then, little by little, versions have been performed in numerous festivals and theaters around the world. Then it was the turn of the
Teatro Colón
DIRECTOR
Leo Warynski
CREATIVE TEAM
Martin Bauer
Alejo Moguillanski
Carlos Casella
Matias Sendon
Luciana Gutman
Mariana Tirantte
JUNE Children's Choir of the Teatro Colón

César Bustamante – director
TUESDAY 13 8pm
WEDNESDAY 14 8pm
9
COLON THEATER
main room
47
OPERA
S un & Sea
Contemporary musical theater work , winner of the Golden Lion of Venice (2019).
Delcin easta and director Rugilė Barzdžiukaitė, writer Vaiva Grainytė and composer artist Lina Lapelytė.
Sun an d Sea is an installation/opera/performance created by Lithuanian artists Rugile Bartzdziukaité (film and theater director),
Vaiva Grainyté (writer) and Lina Lapelité (composer). Winner of the Golden Lion at the 2019 Venice Biennale, it has already been
presented in venues such as the Lliure Theater in Barcelona, the Serpentine Gallery in London, the Brooklyn Academy of Music
(BAM) in New York, the Sydney Festival in Sydney, Australia, at the MOCA (Museum of Contemporary Art) in Los Angeles, at
the Culturgest in Lisbon and at the Kiasma Museum in Helsinki.
On a sandy beach illuminated by an artificial sun, people in swimsuits enjoy a typical day of rest. They sunbathe , read,
play and chat while the public circulates along a walkway and watches them from above. This whole situation banal and everyday
mind is transformed when the music breaks out. Vacationers are excellent singers. The songs bring to the scene, then, a series of
concerns, both individual and collective, that can be as mundane as they are sinister or surreal, but in all cases they transmit
humanity, concern and hope for the future.
CONCEPT AND DEVELOPMENT

Rugilė Barzdžiukaitė
Vaiva Grainytė
Lina Lapelyte
MARCH DIRECTION AND SET DESIGN
Rugilė Barzdžiukaitė
THURSDAY 16 TEXT
Vaiva Grainytė
FRIDAY 17 COMPOSITION AND MUSICAL DIRECTION
Lina Lapelyte
SATURDAY 18
SUNDAY 19

COLON FACTORY
49
OPERA
Av.Don Pedro de Mendoza 2163, CABA
50
2023 SEASON OPERA
Long live Mamma! Il campanello

The convenience and inconvenience of Gaetano Donizetti
theatrical CHAMBER OPERA

Gaetano Donizetti
CHAMBER OPERA
Opera in one act.
The composer's libretto based on the vaudeville La sonnette de nuit , by Mathieu-Barthélemy Troin Brunswick and Victor
Lhérie.
COLÓN THEATER PRODUCTION - 2022 SEASON REPLACEMENT Premiered in 1836 in Naples, Il campanello was an immediate success, soon repeated in theaters throughout Europe. With great
Operatic farce in one act. Italian libretto by Domenico Gilardoni based on the works of Antonio Simone Sografi:
The theatrical convenience (1794) and The theatrical inconvenience (1800) efficiency, the opera does not waste any of the conventions of the buffo genre: the old doctor Annibale Pistacchio celebrates his
wedding with the young Serafina, but among the guests at the party is Enrico, the young woman's former partner, ready to win her
Theater within the theater, vanity fair and festive farce, this almost secret work by Donizetti, premiered in 1827, reveals its grace back. . The rest of this short one-act opera are Enrico's successive entries to Pistacchio's house, under various disguises and
and relevance. In the words of Pablo Maritano, its stage director, “ Long live Mamma! It is not simply a portrait of a time in which pretexts. The ringing of the title announces the arrival of a new patient, increasingly more delirious than the previous one.
opera was undergoing great stylistic transformations, nor a chronicle of the divisiveness of its time, but rather a love letter to the
genre, a true miracle of collective creation, of conjunction of wills and expertise. As Michael Talbot points out, opera is nothing
more than a collective superposition of individual expertise.”
MUSICAL DIRECTOR Tito Ceccherini

MAY PREPARATOR
MASTER MUSICAL DIRECTION MAIN INTERPRETERS
Giulio Zappa Javier Mas SCANAGALLI AGATE - LA MAMMA

FRIDAY 8pm SCENE DIRECTION Victor Torres
SCENE DIRECTION 26
Mariana Ciolfi Pablo Maritano DARIA GARBINATI - PRIMA DONNA
SATURDAY 8pm
SCENOGRAPHY 27
Matías Otálora SCENOGRAPHY Marina Silva
LOCKER ROOM Nicolas Boni PROCOLO

SUNDAY 17H
Stella Maris Müller 28 LOCKER ROOM Alejandro Spies
LIGHTNING
Maria Emilia Tambutti
TUESDAY
Fabrizio Ballarati
30 8pm BISCROMA STRAPPAVISCERE - MASTER
LIGHTNING Luis Gaeta
Academic Orchestra of the Teatro Colón Veronica Alcoba LUIGA CASTRAGATTI
Florence Burgardt
GUGLIELMO ANTOLSTOINOFF
JUNE
Ivan Maier
CÉSAR SALZA PARIGLIA – POET
Gustavo Gibert
WEDNESDAY 28 8pm
THURSDAY 29 8pm
FRIDAY 30 8pm
JULY
SATURDAY 01 8pm
50 51
2023 SEASON OPERA
TY COLON IN THE CITY
%
COLISEUM THEATER
Marcel or T. from Alvear 1125, CABA
50 52
2023 SEASON OPERA
The one who The one who says Humanity and Lucifer
To Essandro Scarlatti
says yesand
Kurt Weill no Martín Matalón
Bertolt Brecht and Bertolt Brecht
CHAMBER OPERA Matalón wrote a new opera based on it. There are then two possible paths in the face of a moral dilemma and, also, two sound
worlds.
CHAMBER OPERA
Bertolt Brecht wrote two almost identical texts. They are only differentiated by the final decision of the protagonist child. In The Yes
Sayer (Der Jasager) , a school opera with music by Kurt Weill, premiered in Berlin on June 23, 1930 by students of the Akademie
für Kirchen und Schulmusik at the Zentralinstitut für Erziehung und Unterricht, and broadcast simultaneously on the radio, custom Oratori or for two voices. Anonymous libretto, premiered in Rome at the Collegio Nazzareno.
triumphs (and self-sacrifice). The One Who Says No (Der Neinsager) was the fruit of two subsequent revisions to that text based on In 1703 , Pope Clement xi banned opera performances in Rome. Alessandro Scarlatti, the leading and most prolific opera composer
Elisabeth Hauptmann's translation of Arthur Waley's English version of Taniko , a Japanese Nō drama. In this second work the child of his time, found a way around the edict by writing oratorios, such as Mankind and Lucifer , in which the vocal display and musical
rebels against the social norm and individual decision takes precedence. As with John Lennon's “don't count on me” and “No/yes imagination were indistinguishable from those of a Opera. The difference lay in the religious or allegorical mathematics of the
count on me” in the two recorded versions of “Revolution,” Brecht takes no sides. Let the decision not only be up to the child but libretto (in Italian and not in the traditional Latin of other oratorios). This work, dedicated to the birth of the Virgin Mary, did not
also to the public. This new work did not have music but, almost a century later, the Argentine composer living in France Martín premiere in a theater, but in the hall of the Nazarene College in Rome.
MUSICAL DIRECTION
AUGUSTSalinas (The
Natalia One Who Says Yes)
Martín Matalón (He Who Says No)
SCENE DIRECTION
THURSDAY
Violeta Zamudio 31 8pm
Nahuel Di Pierro
SEPTEMBER
SCENOGRAPHY
Noelia Gonzalez Sbovoda
FRIDAYROOM
LOCKER 01 8pm
Endi Ruiz
DRAMATURGY
SATURDAY
Julian Esquerra
02 8pm
Children's
SUNDAY
Choir of 03
the Teatro Colón
17H
César Bustamante - director
MUSICAL DIRECTION
Monica Pustilnik
SCENE DIRECTION
Ana Crapis
DRAMATURGY
Gonzalo Demaria
SCENOGRAPHY
Diego Cirulli
LOCKER ROOM
Maria Emilia Tambutti
LIGHTNING
Lucas Orchessi
NOVEMBER
THURSDAY 23 8pm
FRIDAY 24 8pm
SATURDAY 25 8pm
SUNDAY 26 17H
53 53
2023 SEASON OPERA
COLUMBUS IN THE CITY COLUMBUS IN THE CITY

COLISEUM THEATER
Marcel or T. from Alvear 1125, COLISEUM THEATER
CABA Marcelo T. from Alvear 1125, CABA
54 53
2023 SEASON BALLET
BALLET
Q. 57 Swan Lake Caravaggio
P.59 Suite in Blanc/Windgames
P.61
The Taming of the Shrew
P.63
P.65 The Bayadere
54 55
BALLET
Swan Lake
Mario Galizzi
Pyotr Ilyich Tchaikovsky
At the opening of the season, the Ballet Estable del Teatro Colón will present Swan Lake , a fundamental work in the repertoire of
all companies in the world. Marianela Nuñez, prima ballerina of the Royal Ballet of London, will be in charge of giving life to the
role of Odette/Odile as a guest dancer. Mario Galizzi's version, based on the 1895 ballet by Marius Petipa and Lev Ivanov with
music by Piotr Ilich Tchaikovsky, concentrates the four acts of the original in two parts divided by a single interval, a synthesis
that seeks to avoid the dispersion of the narrative thread and lead the action without delay towards the moments of greatest
dramatic tension.
APRIL CHOREOGRAPHY
Mario Galizzi
TUESDAY 11 8pm FAITH MUSICAL DIRECTION
Carlos Calleja
SCENOGRAPHY
WEDNESDAY 12 8pm FAITH Christian Prego
LOCKER ROOM
THURSDAY 13 8pm FAITH Aníbal Lápiz
LIGHTNING
SATURDAY 15 8pm FAITH Ruben Conde
Stable Ballet of the Teatro Colón

SUNDAY 16 17H FAITH Mario Galizzi – address

TUESDAY 18 8pm FAITH
FIRST GUEST DANCERS
Marianela Núñez – royal ballet of london Kimin
Kim – mariinsky theater
THURSDAY 20 8pm FAITH
SATURDAY 22 8pm A.N.
SUNDAY 23 17H av
AN NIGHT PASS
AV EVENING PASS COLÓN THEATER
5 Main room
7
BALLET
FAITH EXTRAORDINARY FUNCTION
5
8
BALLET
Caravaggio
Mauro Bigonzetti
Bruno Moretti
Based on music by Claudio Monteverdi

Caravaggio is a contemporary ballet in two acts, created by the Italian choreographer Mauro Bigonzetti with music by Bruno
Moretti, based in turn on a selection of pieces by Claudio Monteverdi. Its premiere took place in 2008, in a production made for
the Berliner Stattsballett. Although the creation took the painter Michelangelo Merisi daCaravaggio (1571-1610) as a source of
inspiration, the focus is placed more than on the biographical narrative, on how the inner world artistically evolves in a pictorial
style; It is from there that Bigonzetti builds images in which he combines the expression of bodies and movement with the
dramatic use of light.
AN NIGHT PASS
AV EVENING PASS
FE* STAR FUNCTION
MAY CHOREOGRAPHY
Mauro Bigonzetti
SUNDAY 28 17H av MUSICAL DIRECTION
Bruno Moretti
SCENOGRAPHY AND LIGHTING
TUESDAY 30 8pm A.N. Carlo Cerri
LOCKER ROOM
WEDNESDAY 31 8pm FAITH Kristopher Milalr
* Stable Ballet of the Teatro Colón
JUNE
Mario Galizzi - address
THURSDAY 01 02H FAITH Philharmonic Orchestra

from Buenos Aires
FRIDAY 02 8pm FAITH FIRST GUEST DANCER
Roberto Bolle
SATURDAY 03 8pm FAITH
SUNDAY 04 17H FAITH
MONDAY 06 20H FE
COLÓN THEATER
59 Main room
BALLET
Windgames
Patrick of Bana
Suite in White Piotr I. Tchaikovsky
Serge Lifar
Edouard Lalo
After being a principal dancer at the Béjart Ballet Lausanne
(directed by Maurice Béjart) and the National Dance Company
of Spain (directed by Nacho Duato), Patrick de Bana began to
Created in 1943 by Serge Lifar, with music by Édouard Lalo, devise his own works. Today, with a well-established
for the Paris Opera Ballet, Suite en blanc constitutes a choreographic career, he has worked with prominent artists and
representative piece of the aesthetic searches of 20th century companies. In part, this mobility intervened in Windgames ,
ballet and the legacy of the Ukrainian choreographer in the since it is a work that he created in stages, as a guest
French company. In this non-plot work, academic dance choreographer. He staged the First movement of Tchaikovsky's
exhibits the beauty, precision and virtuosity of its own forms. Violin Concerto with the Wiener Staats-ballet, the Second with
Thus, freed from the demands of any type of story, the the Shanghai Ballet and the Third with the Tokyo City Ballet.
technique itself and its perfect execution become the central As he himself comments, it is a work that connects people from
attraction of a choreography that combines the tradition of all over the world.
danse d'école with the guidelines of modernist ballet.
CHOREOGRAPHY Serge Lifar MUSIC Édouard Lalo

COLON THEATER André Dignimont
main room
AUGUST CHOREOGRAPHIES SUITE IN WHITE
Serge Lifar / Patrick de Bana
CHOREOGRAPHY
SUNDAY 06 17H av MUSICAL DIRECTION
Jan Latham-Koenig
Patrick de Bana
MUSIC
TUESDAY 08 8pm A.N. Pyotr Ilyich Tchaikovsky
LOCKER ROOM
Agnes Letestu
LIGHTNING
James Agnot
WEDNESDAY 16 8pm FAITH WINDGAMES
FRIDAY 18 8pm FAITH FIRST GUEST DANCER

Davide Dato – wiener staatsoper
TUESDAY 22 20H FA Stable Ballet of the Teatro Colón

IT Mario Galizzi – address
Academic Orchestra of the Teatro
Colón
A.N NIGHT PASS

.
av EVENING PASS
FA EXTRAORDINARY FUNCTION 6
1
IT
BALLET
The Taming of the Shrew

John Cranko
Domenico Scarlatti
Orchestration and arrangements by Kurt-Heinz Stolze

The Taming of the Shrew is one of the titles that demonstrates John Cranko's ability to narrate through dance and to build
characters in which the dancers not only find the opportunity to to flex his mastery of technique but also to show off his acting
ability. For the creation of this ballet-comedy premiered in 1969 by the Stuttgart Ballet, the company of which Cranko was
director, the choreographer was inspired by the work of the same name by William Shakespeare. The music is by Domenico
Scarlatti, with arrangements and orchestration by Kurt-Heinz Stolze.
CHOREOGRAPHY
John Cranko
MUSICAL DIRECTION
Javier Logioia Orbe
GUEST ARTIST GENERAL SUPERVISION
OCTOBER Marcia Haydee
Elizabeth Dalton
SUNDAY 15 17H av
LIGHTNING
Ruben Conde
TUESDAY 17 8pm A.N.
WEDNESDAY 18 8pm FAITH FIRST GUEST DANCERS OF THE
Stuttgart Ballet
FRIDAY 20 8pm FAITH
SATURDAY 21 20H FE
AN NIGHT PASS
AV EVENING PASS
COLÓN THEATER
63 Main room
BALLET
The Bayadere
Rudolf Nureyev
Ludwig Minkus

Initially conceived by Marius Petipa and Ludwig Minkus as a grand ballet in four acts with exotic themes, La Bayader a, premiered in
1877, underwent several revisions that resulted in changes, additions, and even the deletion of the final act shortly before the Revolution.
Russian. This modification led to the ballet concluding with the Kingdom of Shadows, one of the most poetic scenes in the tradition of
the genre, and the ascension of the souls of Nikiya and Solor. With a new production, the Teatro Colón presents La Bayadera in Rudolf
Nureyev's version. Premiered in 1992, it was the last creation he made and responds to his personal conception of the work, to which he
gave the distinctive seal of his choreographic style.
DECEMBER CHOREOGRAPHY
Rudolf Nureyev
SUNDAY 17 17H av
MUSICAL DIRECTION
Manuel Coves SCENEGRAPHY
TUESDAY 19 8pm FAITH
Veronica Camera
WEDNESDAY 20 8pm A.N.
LOCKER ROOM
THURSDAY 21 8pm FAITH Jorge Ferrari LIGHTING
Ruben Conde
FRIDAY 22 8pm FAITH
Buenos Aires Philharmonic
SATURDAY 23 8pm FAITH Orchestra
TUESDAY 26 8pm FAITH FIRST GUEST DANCERS
Natalia Osipova – Royal Ballet London
WEDNESDAY 27 8pm FAITH Daniel Camargo – american ballet theater
FRIDAY 29 8pm FAITH
SATURDAY 30 20H FE
A.N. NIGHT PASS
av EVENING PASS COLÓN THEATER
FAIT EXTRAORDINARY FUNCTION 65 Main room

H
66
69
■■■
■
71
CONCERTS
2023 SEASON
OFBA subscription
CONCERTS OFBA at the Plant

Stable Orchestra of the Teatro
Colón
Argerich Festival
Rachmaninoff Festival
Great Performers Contemporary
Subscription Baroque Cycle
Extraordinary Concerts
74 75
2023 SEASON CONCERTS
Pas OF 0 02
MARCH APRIL
SATURDAY 25 8pm SATURDA 01 8pm

Y
1
DIRECTOR
Manuel Hernandez Silva
DIRECTOR
Jan Latham-Koenig
s BA
FIDDLE PIANO
Frank Peter Zimmermann Dang Thai Son
CONCERTS ) Johannes Brahms Carl Nielsen

Violin Concerto in D Major, Op. 77 Two pieces from Aladdin , Op. 34
Symphony No. 1 in C Minor, Op. 68 Frederic Chopin
Piano Concerto No. 1 in E Minor, Op. 11
Dmitri Shostakovich
Symphony No. 5 in D Minor, Op. 47
Philharmonic
Orchestra COLON THEATER
main room
COLON THEATER
main room
from Buenos Aires

In this new season, the Buenos Aires Philharmonic Orchestra summons several soloists and 03
APRIL
FRIDAY 14 8pm 04
APRIL
FRIDAY 21 8pm
conductors of great importance, from Charles Dutoit to Vasily Petrenko and from Maxim
DIRECTOR DIRECTOR
Vengerov to Frank Peter Zim mermann, Alessio Bax, Elina Garanča, Paul Lewis, Bryn Terfel Alpesh Chauhan Baldur Bronnimann
and Maria João Pires. But it will also bring to the foreground large compositions that have been VIOLON CELLO SOPRANO
Eduard or Vassal Daniela Tabernig
little or nothing seen in recent times. Beyond the uses usually given to round anniversaries, the
MEZZO-SOPRANO
centenary is the pretext to recreate the sound of 1923 through several works premiered that Rocío Arbizu
year: The Creation of the World by Darius Milhaud, the Lyric Symphony by Alexander von TENOR
Ricardo González Dorrego
Zemlinsky and The altarpiece by Master Pedro de Manuel de Falla. The tribute to the composer Osvaldo Golijov CHORAL ENSEMBLE UNHEARD MUSIC
Pablo Piccinni and Juan Stafforini
Gerardo Gandini, ten years after his death, will also have a musical incarnation through some of Blue, for cello, – directors
obligatory ensemble and

his orchestral works and others, by authors such as Anton Webern or Johannes Brahms, which orchestra
he loved. A fundamental author in the history of Argentine music, Gandini was an internal Anton Bruckner
teacher at the Colón and, much later, founder, together with Sergio Renán, of the CETC (Center Symphony No. 8 in C Minor
for Experimentation of the Teatro Colón), musical director of the house and frequent conductor Ludwig van Beethoven
Symphony No. 5 in C Minor, Op. 67
of this orchestra. Another notable Argentine composer, Marta Lambertini, who was one of her
Luigi Nono
great friends, will be present in the season, as will Osvaldo Golijov, one of her disciples. pulos, Il canto sospeso
and Alberto Ginastera, his teacher. Several central pieces of the repertoire will be in the hands
of great performers of the present: Brahms' Violin Concerto by Zimmermann, Chopin's
Concerto No. 1 by Dang Thai Son, Vadim Gluzman will be the soloist in the first violin
concerto by Shostakovich and Venge rov in Prokofiev's first. Pires, for his part, will perform
Mozart, one of his specialties, and Paul Lewis, the architect of one of the most important COLÓN THEATER COLON THEATER
main room
Main room
complete Beethoven piano sonatas of recent decades, will play the fourth concert for piano and
orchestra of this author. Two far-reaching works also stand out in the season: Il canto sospesso
by Luigi Nono – an essential composition76 of the 20th century in which inspiration, 77
expressiveness and avant-garde come together –, directed by Baldur Brönnimann, and Joan of
Arc at the stake, by Arthur Honegger, with Dutoit conducting and the participation of his
05 07 08
APRIL JUNE JUNE JULY
SATURDA 29 8pm FRIDAY 16 8pm

SATURDA 24 8pm SATURDA 01 8pm
Y Y Y
DIRECTOR DIRECTOR DIRECTOR DIRECTOR

Wolfgan Wengenroth Zoe Zeniodi KarelM ark Chichon Manuel Hernandez Silva
FIDDLE MEZZO-SOPRANO FIDDLE
Vadim Gluzman ElīnaG aranča Xavier Inchausti
VIOLA
Pablo Saravi
Darius Milhaud Alexander Scriabin Mikhail Glinka

The Creation of the World (1923)
Francis Poulenc
Rëverie, Op.24
Dmitri Shostakovich
Ruslan & Ludmila Overture
Pyotr I. Tchaikovsky
(Fg) FOCOGandini
French Suite Violin Concerto No. 1 in A Minor, Op. 77
Joan's Aria from The Maid of Orleans Wolfgang Amadeus Mozart
Manuel de Falla Giya Kancheli
Jules Massenet Concertante Symphony for violin, viola and
The altarpiece of Master Pedro Symphony No. 4 (in memory of Michelangelo)
(1923) Thais Meditation orchestra
Amilcare Ponchielli in E Flat Major, K. 364/320d
Dance of the Hours of La Gioconda Gerardo Gandini
Giuseppe Verdi vi diaries

O don fatale, aria from Don Carlo Silvestre Revueltas
Georges Bizet Networks

Carmen 's Suite
COLON THEATER COLÓN THEATER COLON THEATER COLON THEATER

main room main room
Main room main room
1 1
JULY AUGUST AUGUST AUGUST
SATURDAY 29 8pm SATURDA 12 8pm

SATURDA 8pm SATURDA 26 8pm
Y Y Y
0 1
Vasily Petrenko Charles Dutoit Paolo Bortolameolli Paolo Bortolameolli
PIANO JOAN OF ARC PIANO FLUTE
Nelson Goerner Annie Dutoit Alessio Bax Yubeen Kim
Sergei Rachmaninoff Arthur Honneger Marta Lambertini Hans Werner Henze

Rhapsody on a theme by Paganini Joan of Arc at the stake Galileo discovers the four Symphony No. 7
in A Minor, Op. 43 (Jeanne d'Arc au bûcher, 1935) Moons of Jupiter (1984) COMMISSIONED BY THE BERLIN PHILARMONIC ORCHESTRA
FOR HIS 100 YEARS.
Richard Strauss According to the poem by Paul Camille Saint-Saens
Claudel Leonard Bernstein
Alpine Symphony Op.64 Piano Concerto No. 2 in G Minor, Op.22
Halil
Alberto Ginastera
Gustav Mahler
Popol Vuh, the creation of the Mayan world,
Op.44 Adagio from Symphony No. 10
in F Sharp Major
COLON THEATER
9
COLON THEATER
COLÓN THEATER COLON THEATER
main room main room
Main room
main room
78 79
1 1 1 1
SEPTEMBER OCTOBER OCTOBER NOVEMBER
FRIDAY 08 8pm SATURDAY 07 8pm SATURDAY 28 8pm SATURDAY 04 8pm
3 4 5 6
Jan Latham-Koenig Claudio Cruz SrbaDi nic Valentina Peleggi
PIANO PIANO PIANO CELLOS Mario
Sergei Babayan Maria Joao Pires PaulLewis Brunello Giovanni
Sollima
Sergei Prokofiev Antonio Carlos Gomes Ludwig van Beethoven

Overture on Hebrew Themes, Op.35 Overture to the opera Il Guarany Piano Concerto No. 4 in G Major, Op.58 Divine ITALY
Concerto No. 2 in G Minor, Op. 16 Wolfgang Amadeus Mozart Alexander Von Zemlinsky
Erik Satie (Orch. Claude Debussy) Piano Concerto No. 20 in D Minor, K.466 Lyrical Symphony Op.18
Gymnopédies 1 and 3 Nikolai Rimsky-Korsakov
Heitor Villa–Lobos
Francis Poulenc Brazilian Bachiana N°7 Scheherazade, Op. 35
Sinfonietta Giovanni Sollima
Antidotum Tarantulae xxi, concerto for
two cellos and orchestra
Ottorino Respighi
The pines of Rome
COLON THEATER COLÓN THEATER COLON THEATER COLON THEATER

main room main room main room
Main room
1 1
NOVEMBER NOVEMBER NOVEMBER DECEMBER
SATURDAY 11 8pm SATURDAY 18 8pm SATURDAY 25 8pm SATURDA 8pm

Y
7
DIRECTOR
Neil Thompson
BASSOON
Theo Plat
DIRECTOR
Pablo Druker
MEZZO-SOPRANO
Adrian to Mastrángelo
9 DIRECTOR
Elias Grandy
FIDDLE
Maxim Vengerov
CORODE CHILDREN OF THE COLÓN THEATER
César Bustamante – director
Clarice Assad
Sarava (FG) FOCOGandini Sergei Prokofiev
Violin Concerto in D Major, Op.19
Nino Rota Johannes Brahms Camille Saint-Saens
Concerto for bassoon Variations on a theme by Haydn, Op.56a Havanaise, violin and orchestra, Op. 83, R.202
Sergei Prokofiev Gerardo Gandini Igor Stravinsky
Symphony No. 5 in B Flat Major, Op.100 The Firebird (1919)
Sad Songs for mezzo-soprano,
children's choir and orchestra.
ON THE TEXTS OF FERNANDO PESSOA, JACOBO FIJMAN,
GO TTFRIED BENN AND JUAN RAMÓN JIMÉNEZ* (2003)
Anton Webern
Five pieces for orchestra, Op.10
Robert Schuman
Symphony No. 3, in E Flat Major Op.97
COLON THEATER
9
COLON THEATER
main room main room
Main room
main room
80 81
Stable Orchestra
2023 SEASON CONCERTS CONCERTS
OFBA at the Plant

Concert #01
MAY
Concert #02
SEPTEMBER
FRIDAY 01 8pm
DIRECTOR
Giovanni Panella
CELLO
Matias Villafane
Concert #04
OCTOBER
SATURDAY 21 8pm
DIRECTOR
Natalia Salinas
PIANO
Ivan Rutkauskas
SATURDA 06 8pm
Y
of Colon
DIRECTOR
Javier Mas
FIDDLE
Eduardo Ludueña
the Theater
Concert #01 Concert #02
MARCH JUNE
SUNDAY 26 SATURD 10 8pm

AY
Concert #03 DIRECTOR DIRECTOR

Carlos Vieu Rodolfo Fischer
OCTOBER
SATURDA 14 8pm
Y
DIRECTOR
Annunziata Tomaro
PIANO
Lucia Caruso
2023 SEASON CONCERTS CONCERTS
2023 SEASON
Festival
CONCERTS
CONCERTS
Martha Argerich
Charles Dutoit
Annie Dutoit Argerich
erich
Nelson Goerner
Sergei Nakariakov
and other great guest musicians
Arg
In 2001 it was the first time. Martha Argerich in He headed, in his hometown and at the Teatro Colón, a
Festival with his name. Not only was the star there the undisputed but the magician, the one who gathered
around her a plethora of colleagues and in an atmosphere of friendship, celebration, meeting, invoked the
music ca like a spell. More than two decades later, that magic continues. Between July and August of this
year, together with his daughter Annie Dutoit Argerich, the great director Charles Dutoit and an ensemble of
lu minars that will include the pianist Nelson Goerner and the trumpeter Sergei Nakariakov, will transform
the cultural life of Buenos Aires. There will be music, of course. But, above all, a rite will be renewed. The
one that unites one of the great interpreters of history tory with the theater in which he debuted at the age of
12 playing the Concerto in A Minor by Robert Schu 85 Mann. A work premiered, at the time, by Clara Wieck,
the composer's wife and the pianist with whom it is inevitably compared every time its historical significance
is discussed. 2023 SEASON
Martha Argerich's musical life is, in any case, linked to that of the Teatro Colón. Then
After his debut he returned to this stage in 1965, at the age of 24. And he was already a
unique figure. In 1957, still almost a child, she had won the first prizes in the Bolzano
competitions – declared void in the previous seven years – and in Geneva. In 1961 he had
recorded his first solo album, for Deutsche Grammophon. And a few months later, having
just turned twenty, he had already retired, feeling that he had nothing to add and in crisis with
his instrument and with his last teacher, Arturo Benedetti-Michelangeli. In 1965 he returned.
She won the Chopin Prize, she was applauded in Warsaw, the specialized magazines were
already talking about someone “born to play Chopin” and she returned to the Colón where
she gave an extraordinary concert. In 1969 he played two recitals in this theater. And in
1986, together with the Buenos Aires Philharmonic Orchestra and under the direction of
Simón Blech, he did in a single night what any pianist would have done in three: he
performed, one after the other, Beethoven's Concerto No. 2, No. 3 by Prokofiev and No. 1 by
Liszt. After another hiatus Argerich returned in 1999. A few days before going on stage at
the Colón he was in a box, listening to Bruno Gelber perform Beethov's Third together with
the Philharmonic. Sitting there, listening, she played the entire concerto on the velvet of the
an roof “Did I really do that?” he commented later. “I didn't realize it at all.” A few days later
she played an enduo with Nelson Freire, and, in a sort of maelstrom throughout several
consecutive concerts, together with the Philharmonic, Chopin's Concerto No. 1, and with the
cellist Mischa Maisky (Beethoven, Debussy and Schumann). It wasn't called that yet but the
Argerich Festival was born then.
COL
ÓN
THEA
TER
Main
roo
m
JULY /AUGUST
2023
86
SEPTEMBER
Festival
SATURDAY 16 8pm
Concert #01
Sergei Rachmaninoff
Rachmaninoff DIRECTOR
Piano Concerto No. 1 in F Sharp Minor, Op. 1
The Rock, symphonic poem Op.7
Piano Concerto No. 4 in G Minor, Op. 40
Srba Dinic
PIANO
SEPTEMBER
Nelson Goerner SATURDAY 23 8PM
Buenos Aires Concert #02

Sergei Rachmaninoff
Philharmonic Piano Concerto No. 2 in C Minor, Op. 18
Orchestra SEPTEMBER
Symphony No. 2 in E Minor, Op. 27
SATURDAY 30 8PM
Complete concertos for piano and orchestra Concert #03

by Sergei Rachmaninov over three weeks. Sergei Rachmaninoff
NELSON GOERNER
Symphonic dances, Op. 45
(PHOTO: MARCO BORGGREVE)
Piano Concerto No. 3 in D Minor, Op. 30
COLISEUM THEATER
Marcelo T. from Alvear 1125,
CABA
86 87
S onya Yoncheva
Big
Recite to
OCTOBER
[SOPRANO]
THURSDAY 05 8PM
CONCERTS
Interpreter 9
COLON THEATER
main room
s
Main room
Vittorio Grigolo
COLÓN THEATER
[TENOR]

MAY
Maria João Pires
[PIANO]
MONDAY 29 8PM OCTOBER
DIRECTOR SUNDAY 08 17H

Evelino Pido
COLÓN THEATER Main room
9
COLÓN THEATER Salaprincipal
András Schiff [PIANO]
Works by Bach, Haydn, Mozart and Beethoven

SEPTEMBER
MONDAY 04 20H
Mario Brunello
& Giovanni
Sollima
Recite to
Works by Johann Sebastian Bach, Giovanni B. Costanzi,
88 89
Antonio Bertali, Giusep pe Verdi, Igor Stravinsky, Giovanni Sollima and others. MONDAY 13 20H Divine ITALY
<9 -
NOVEMBER COLÓN THEATER Salaprincipal
88 90
Pass O
E nsemble Modern
A Chin Suk / Rebecca Saunders / Georges Aperghis
[ GERMANY ] Works by:
1
Z The Ensemble Modern is one of the most recognized and acclaimed contemporary music groups in Europe and the world.
Whether performing repertoire works from the 20th century or new pieces written specifically dedicated to them, the
Ensemble Modern has established itself throughout its more than forty-year career as a reference group for audiences , performers
and composers from all over the world. the world.
D
Your participation in this subscription will undoubtedly be one of the highest points of the 2023 Season. Will present a pro
program of absolute premieres in our theater, with works specially written for them and that very few ensembles in the world can
play due to their high degree of sophistication and complexity.
N MAY
THURSDAY 18 8pm
CONCERTS
O
U
K
1j
—
Z
O
COLÓN
THEATER
Salaprincipal
90 91
Le Voci Sottovetro 100

Salvatore Sciarrino Ryo
Iked
Elaboration on the work of Carlo Gesualdo da Venosa, for 100 Saucers premiered in February 2019 at the Walt Disney
mezzo-soprano and ensemble (1998).
Concert Hall (Los Angeles) as a commission from the LA
Luciano Berio and Salvatore Sciarrino are unanimously Philhar monic for the Fluxus Festival. In this experimental piece,
recognized as two of the most important Italian composers. tes of 10 percussionists operate 100 cymbals lined up on stage. This is
the second half of the 20th century and the first decades of the a high-impact presentation, whose powerful appeal lies in the
21st century. intrigue generated by the extremely unusual nature of the
Both works in this concert are tributes in their own way: proposal and its beautiful result.
The famous Folksongs , an anthology of eleven popular songs Ryoji Ikeda (born in Japan in 1966, lives and works in
res from various origins (United States, Armenia, France, Sicily, Paris) creates at the extremes of sound, light, space and
Sardinia, etc.) chosen by the composer and taken from songs by mathematics to produce complex works of singular beauty,
popular musicians. Berio gave the songs a new rhythmic and combining visual and sound media. It has been clear praised by
harmonic interpretation and, in a certain way, recomposed them. critics as one of the most radical and innovative contemporary
In the case of Sciarrino there is an explicit reference and composers for his live performances and installations. He
homage to the madrigals of Carlo Gesualdo. From there pro performed on numerous international stages, including the
comes its title: Voices under a glass. Like very few composers in Pompidou Center (Paris), the Reina Sofía National Museum
the history of music, Sciarrino manages to continue the tradition (Madrid) and the Tate Modern (London). ) or the Hamburger
and at the same time, in the same gesture, renew it. Bahnof in Berlin among others.
JUNE
SATURDAY 24 17H
DIRECTOR
Tito Ceccherini
ERATÓ
Instrumental Ensemble
Luciano Berio
Folksongs, for mezzo-soprano and orchestra (1973)
Salvatore Sciarrino
Le voci sottovetro
OCTOBER
FRIDAY 06 20H
With the participation of: Alexandre Babel (SWITZERLAND) Stéphane Garin (FRANCE) Tambor Fantasma (ARGENTINA)
92 93
93 93
Cappella Vivica Genaux &

Gabetta Consort Bruno de Sá
Argentine Baroque Orchestra Recital with ensemble
APRIL NOVEMBER
MONDAY 17 8pm MONDAY 06 20H

WORKS BY
The conjunction of great soloists and a leading ensemble led
Georg Friedrich Handel
by Alessandro de Marchi, one of the main directors tors of the
Christoph Willibald Gluck
Pietro Antonio Locatelli Italian Baroque repertoire – and particularly Neapolitan, which
Johann Adolf Hasse it has contributed to exhuming and highlighting – will be the
AMONG OTHERS starting point for a journey through the richness, dramatic force
and spirit of the music of the Age of Enlightenment.
One of the chamber groups with a relevant career today,
characterized by their “histó” interpretations. “richly informed”
DIRECTOR
of the baroque and the cla early sicismo but also for an Alessandro de Marchi
eclecticism that allows him to play tangos with the bandoneon MEZZO-SOPRANO
Vivica Genaux
player Mario Stefano Pietrodarchi, will offer a program with
SOPRANIST
sacred and secular works by several of the central authors of the Bruno de Sá
18th century.
VIOLIN AND CONDUCTING

Andres Gabetta
SOPRAN ISTA
Samuel Marino
AGAINST TENOR
Terry Wey
<9
COLON THEATER
Main room COLÓN THEATER
Main room
94 95
The Four Seasons Cappella The HWV 56a

Antonio Vivaldi
(OUT OF FERTILIZER
Mediterranea Messiah
Geor g Friedrich Händel
NOVEMBER Deadly Sins

FRIDAY 24 20H Claudio Monteverdi
Transcription by Jean-Christophe Spinosi

Spring 1723 NOVEMBER
Written in London in 1741 and premiered in Dublin a year
Summer 2100
Autumn 2130 MONDAY 27 20H later , The Messiah , by Georg Friedrich Händel, is one of the
Winter 3100 most famous religious works in history. Although its model is
Jean-Christophe Spinosi, one of the most prominent spice lists One of the most important groups today among those dedicated German cantatas and oratorios, the dramatic gesture is that of
in the Vivaldian world, proposes, based on the most famous to the field of Renaissance and Baroque music arrives in Italian opera. There is no plot or characters but the recitatives,
work of the Venetian composer, a scenario that refers to the Buenos Aires to present a show in which various pieces by arias and choruses are linked with their own narrative. And it is
multiculturalism of that city in the 18th century. These Four Claudio Monteverdi are organized around the seven deadly sins. music that has just given meaning to the prophecies about the
Seasons propose revisiting the original concerts nals – written The Cappella Mediterranea, acclaimed for its participation in birth of the Savior and to the praises of his subsequent
from four sonnets by Vivaldi himself – in an orchestration that the Paris Opera's staging of The Gallant Indies by Jean- glorification in Heaven.
includes electronics as well as oud and ney. instruments from Phillippe Rameau, recorded the material of these Monteverdian MUSICAL DIRECTION
the opposite bank of the Medite rrane. That Mare Nostrum sins on disc ( I sette pecati capitali , published by the Alpha Ruben Dubrovsky
SOPRANO
around which our idea of art was born. label) obtaining recognition from Le Diamant d'opéra and
Veroni ca Cangemi
Choc from the French magazine Classica. TENOR
VIOLIN AND CONDUCTING
Jean-Christophe Spinosi ARTISTIC DIRECTOR, SPINET AND ORGAN Josh L Ovell
OUD Leonardo García Alarcón
Yousfi Bacem Ala SOPRANOS
NEY Mariana Flores

John Samy Nasif Gisueppina Bridelli
COUNTERTENOR
ELECTRO
Alexis Lambert Christopher Lowrey
TENORS
ENSEMBLE MATHEUS
Valerio Contaldo
Mathias Vidal
LOW
Gianluca Buratto
Cappella Mediterranea instrumentalists
©
VATICAN SQUARE
Viamonte 1166, CABA
9
COLON THEATER
main room
COLÓN THEATER Main room

DECEMBER
MONDAY 18 8pm
96 97
Tomorrow is
better
Artaud 1973–2023
Concerts
MUSICAL DIRECTOR
Adrian Iaies
The Teatro Colón is the natural setting for classical music in Buenos Aires. And Artaud , the album that Luis Alberto
Spinetta published half a century ago in this city, is, without a doubt, a classic. But that is not why Columbus decides to
pay tribute to him. That would be the easy way. The shortcut provided by one word, “classic,” which has too many
meanings fallen. What unites Columbus with Artaud
is, on the one hand, the nature of this tribute, which
is presented as a creative rereading and not as a mere
repetition or as a feti cult. joke But, above all, an
idea about culture and music as an object of
attentive listening, above other functionalities and
rituals.
Art for art's sake, that longing for classical
music, was what Spinetta claimed, at the age of 23,
with an album that invoked a cursed poet and sought
– and achieved – estrangement, the vision of
something as if it were tried the first time, and which
was, at the same time, the strangest of albums. The
CONCERTS )
design of the object itself presented an irregular cover, with no possible base and whose location among other discs was
almost impracticable. And Artaud could not be placed among other albums in any sense. Not in the musical either.
“One of the most powerful qualities of Spinetta's work is its angularity, the crouching asymmetry waiting for its
moment,” says Adrián Iaies, musical director of this tribute.
A unique cultural object, a classic album, and, above all, challenging and demanding music, Artaud turns fifty and
Columbus, celebrating it, celebrates art capable of disturbing and, like those old trumpets of Jericho, of tearing down walls
and borders.
Extraordinary
MAY
22
COLÓN THEATER
MONDA
Main Salap Y
98 99
2023 SEASON
Paez
EXTRAORDINARY CONCERT
(FG) FOCOGandini Gandini

In 1996 Fito Páez performed at the Teatro Colón. He sang and played the piano with an orchestra. But it was not the typical
pastiche or the layers and layers of silk with which the so-called great productions "pay homage" to popular music and, as if it
were the famous monkey, they do nothing other than try to distort it. The arrangements were by Gerardo Gandini. There was
structural work on the essence of those songs and the orchestra did not seek to sugarcoat them but, on the contrary, to highlight,
point out, highlight their tensions. Almost a decade later. Fito recorded Moda y Pueblo , his thirteenth album. There, in addition to
his own songs, there were compositions by Litto Nebbia, Charly García and Luis Alberto Spinetta. An orchestra participated and
the arrangements were, of course, by Gandini. “He is a great composer of songs,” said the composer, in an interview published in
2005 by the newspaper Página/12. “We just finished an album and I felt really good doing it,” he said, referring to Moda y Pueblo .
I have so much fun and he's also a friend and, for me, it all starts there. I once said that in rock there was no transgression, that it
was the language of the establishment. I still think more or less the same, but I recognize exceptions: Páez, Spinetta, García, who,
as I saw in the last shows with Fito, when he goes on stage he produces something unique. And Nebbia, some of whose songs I
discovered thanks to Fito and I find them extraordinary.” That is the music that now, ten years after Gandini's death and 18 years
after that exemplary album, will come back to life on the stage of this theater.
OCTOBER
1
COLÓN THEATER
Main room MONDA 8pm
Y
100 6 0
Easter The Geidai

Oratory
BWV 249
Johann Sebastian Bach
Philharmonia
Orchestra, Tokyo
Rothko Chapel Morton Feldman
Oratorio for soloists, choir and chamber orchestra
Bach Academy of Buenos Aires
40th Anniversary DIRECTOR
Kazuki Sawa
MUSICAL DIRECTOR
Mario Videla WADAIKO
Eitetsu Hayashi
BACH ACADEMY ENSEMBLE
Pablo Saraví, concertmaster
SOPRANO
Solitude of the Rose
COUNTERTENOR
Martin Gold
( EXTRAORDINARY CONCERTS )
TENOR
Carlos Ullan
BARITONE
Victor Torres
ORFEÓN CHOIR OF BUENOS AIRES DIRECTORS

Néstor Andrenacci and Pablo Piccinni
In 1971, Morton Feldman composed Rothko Chapel in tribute to his friend the
WITH pin tor Mark Rotkho tragically disappeared shortly before. In this work, which
has a particularly eccentric organ - viola, choir, celesta and two percussionists -
J. Feldman beautifully and masterfully captures his concern and desire for music to
resemble painting.
The chapel that was inaugurated with this work has the same octagonal surface as
DIRECTOR
Marian or Moruja
the foyer of the Theater, which invites dialogue between the two spaces.
CHORAL ENSEMBLE The program is accompanied by one of Stravinsky's most important works, his Symphony of Psalms (1930) in an
Broadcast Vocal Group excellent adaptation for choir and four-hand piano by the Russian composer Dmitri Shostakovich.
FACILITY
Minou Maguna
9
MARCH DECEMBER SEPTEMBER
Morton Feldman
SUNDAY
26 11AM WEDNESDAY
06 Rothk or Chapel8pm
Igor Stravinsky
COLON THEATER
Foyer of the
Theater
SATURD
AY 1 8pm
Symphony of Psalms
VERSION BY DMITRI SHOSTAKOVICH
FOR PIA NOT FOUR HANDS AND CHORUS
6
102 103
Mozarteum
2023 SEASON
only for the public as a whole but, in part cular, for the training of many of those who attend this theater and for a large part
of the professionals and artists who work in it.
Argentinia
n
In 1960, on August 29, Igor Stravinsky conducted the National Symphony Orchestra on the stage of the
Teatro Colón. The organization of that presentation was the Mozarteum Argentino, a society of con some
founded six years earlier. That was the first time that an alliance was formed that, over time, turned out to be
central in the musical life of Buenos Aires. For three decades the Colón was one of the venues where the
Mozarteum concerts took place, with milestones such as the presence of the Royal Concertgebouw Orchestra
of Amsterdam in 1971, conducted by Bernard Haitink, and, since 1992, it has been its location. exclusive.
The presence on its stage of many of the greatest performers over more than half a century, from José Van
Dam, Janos Starker or Mstislav Rostropovich to the Paris Orchestra conducted by the young Daniel
Barenboim, or string quartets such as the Emerson or the Hagen, is just one of the marks of this joint march.
The other is the importance that the Youth Subscription, created by the Mozarteum Argentino, has had, not
104 105
Concert #01 PIANO

APRIL
Dejan Lazić
MONDAY 24
Concert #02 Camerata Salzburg JUNE

VIOLIN AND MUSICAL DIRECTION
Giovanni Guzzi MONDAY 05
Concert #03 Munich Chamber Orchestra JUNE

PIANO
Lise De La Salle MONDAY 26
Concert #04 Ensemble Arcangelo AUGUST

DIRECTOR
Jonathan Cohen MONDAY 07
MANDOLIN
Avi Avital
Concert #05 Lucerne Symphony Orchestra AUGUST

DIRECTOR
Michael Sanderling
MONDAY 28
VIOLONCELLO
Steven Isserlis
Concert #06 VIOLIN AND MUSICAL DIRECTION OCTOBER

Rafael Fingerlos
MONDAY 09
PIANO
Sascha El Mouissi
Concert #07 Fauré Quartett OCTOBER
MONDAY 30
104 106
Symphony No. 9 in D Minor, Op. 125
In 1823, two hundred years ago, Ludwig van Beethoven complained about his difficulties
Economically, he only ate soft-boiled eggs and drank wine all day. He also finished his Symphony
No. 9 , the work that ended up symbolizing the entire European tradition. And to the idea of union
between men that accompanied the projects antagonistic political groups: French and German
nationalism, the monarchical restoration and Bolshevism, the beginning and end of Nazism, the
founding of East Germany and the fall of the Berlin Wall but, also, the choir with which The
Beatles they save Ringo from the lion, in the film Help , by Richard Lester, or, so far from Europe
– or so close –, the role of this symphony in the novel The Lost Steps , by the writer Cuban tor
Alejo Carpentier and at the end of another film, Man Looking at the Southeast , by Eliseo Subiela.
“A fog of verbiage and criticism resonates around the Choral Symphony ,” Claude Debussy
wrote in 1927. “It is amazing that it has not finally been buried under the mass of prose that it has
provoked.” Debussy longed to separate, in any case, the work from everything that, for better or
worse, history had been adding – or removing – from it. There was a possible question that
remains valid two centuries after its composition and premiere. What is our Novena ? The one
Beethoven imagined? The Anthem of the European Union? The music on the broadcast sion of the
Copa Libertadores de América football matches? There is possibly not a composition in all of
musical history in which it is so difficult – and perhaps so useless – to separate the work from its
symbolism, political, aesthetic and social frameworks. And, nor, one in which the differences
between the parts and the whole are blurred to such an extent.
If in Beethoven the Work – the set of his symphonies, quartets, sonatas and concertos –
occupies the place of the works, in the Ninth a movement – or, better, a fragment of that
movement, the appearance of the chorus – becomes the sinfo entire nation and, to some extent, in
Beethoven himself. And, beyond, in humanity ity as a whole. Symphony No. 9 , on the bicentennial
of its premiere, does not emerge from beneath “the mass of prose it has provoked” but rather
reconstructs itself, flourishes, expands with it. And with the movies and books and myths and
meanings with which human beings have modeled it over time. 2023, eventually, will be the year
in which the Columbus begins with a Resurrection and concludes with the famous invocation to
“Joy, beautiful divine spark, daughter of Elysium” and to the brotherhood of those who live. We
have this planet.
DECEMBER
$
COLUMBUS IN THE CITY Stable Choir of the Teatro Colón
SATURD
AY 1 8pm DIRECTOR
Julian Kuerti
107 107
2023 SEASON
INSTITUTE
OF ART
Since its creation in 1960, the Higher Institute of Art of the Teatro Colón continues its training work with the
most outstanding specialists in each area, all of them teachers of Theater. This training It will constantly be
reflected in different artistic projects of the 2023 Season, which will be carried out in conjunction with the
different areas of the Theater.
The Academic Orchestra of the Teatro Colón will work with directors specialized in different repertoires
such as Jan Latham-Koenig, Baldur Brönnimann, Tito Ceccherini and Carlos Vieu, but also well with a new
generation of Argentine directors such as Natalia Salinas, Ezequiel Silberstein, Pablo Bocchimuzzi, Federico
Ciancio, Juan Miceli and Nicolas Kapustiansky, with a special emphasis on the creations of local composers.
Dance students will participate in three integrated projects for the whole family, including A Midsummer
Night's Dream choreographed by Oscar Araiz. The Institute's singers will be prepared by Giulio Zappa, a
specialist in the Italian repertoire, to perform Il Campanello with the Chamber Opera and Il Turco in Italia in
the “Columbus for Boys.” Gonzalo De María and Emiliano Dionisi will create two shows for the winter
holidays in a project with baroque music that integrates all the Institute's careers, with musical direction by
Dolores Costoyas and Manuel de Olaso. There will also be collaborations with the Teatro Colón
Experimentation Center ( CETC ) and different cycles will be presented in the Golden Hall, one dedicated to
chamber music and lyrical recitals and another at noon presenting the Institute's singers.
The work of teachers and students, in this way, crystallizes in artistic experiences that encompass They
sing all genres and musical styles, from opera and ballet to symphonic and chamber concerts, and from baroque
music to current creation.
108
2023 SEASON ISA
Surrogate Cities Alice in

Pass
ISA
ai: Heiner Goebbels
Northern Minerva Text by Heiner Müller

Wonderland
Francesco Cavalli Marta Lambertini
Giacomo Carissimi
Alessandro Stradella Arcangelo Corelli
AUGUST
SATURDAY 19 17H
APRIL
ADDRESS
THE
FRIDAY
Federico Ciancio and Gustavo Gargiulio 14TH 17H
PUTTING IN SPACE
ARGENTINE PREMIERE
Matias Cambiasso It is one of the largest projects of the composition. German tor
ISATC Baroque Ensemble and musical theater innovator Heiner Goebbels. It is a reflection
on the modern city. an exa menu of the “concrete jungle” in all
Students of the Singing program and the Specialization in Baroque Opera
its complexity. Com set from historical-musical flashbacks,
SEPTEMBER
literary quotes and the configuration of the text are an integral
FRIDAY 08 17H
part of the work, incorporating authors such as Paul Auster,
Chamber opera in one act (1989) Hugo Hamil ton and Heiner Müller. Orchestral and vocal music
Texts by Lewis Carroll and Marta Lambertini combined with electronics, participates in a continuous dialogue
Music by Marta Lambertini with the tra Austro-German musical style, incorporating
Semi-staged version elements of jazz and blues.
MUSICAL DIRECTION VIOLIN AND CONDUCTING

Natalia Salinas Baldur Bronnimann
Students studying Singing, Opera Stage Direction, Scenic Arts and Opera Musical Preparation.
ERATÓ Academic Orchestra of the Teatro Colón
Instrumental Ensemble
Academic
2222222222222222222222222222222 9 ©
COLÓN THEATER
COLON THEATER
$ Main room Main room

COLÓN THEATER
110 Main room 111

2023 SEASON ISA
110 112
2023 SEASON ISA
OCTOBER
Arianna
07
SATURDAY
ADDRESS
17H
Terezin Opera in Hamlet
Sneakers
Ezequiel Silberstein
FIDDLE
Gonzalo Arguello
NOVEMBER
SATURDAY 04 17H
ADDRESS
Pablo Bocchimuzzi
PIANO
Ivan Rutkauskas
Academic Orchestra of the Teatro Colón

Children's Choir of the Teatro Colón
Cesar Bustamante – director
Anatoly Lyadov
Kikimora , Op. 63
Claudio Alsuyet
Behold the night (WORLD PREMIERE)
Dmitri Shostakovich
FOCOGandini Concerto for piano and orchestra No. 2

in F Major Op. 102
Nelly Gomez
Julia Sanjurjo Young singers from ISATC Franz Schubert
Terezin , cantata for children's
Compass choir and orchestra
(WORLD PREMIERE) Lyrical Concert Symphony No. 8, in B Minor, D. 759,
(RELEASE VERSION 2023)
Alex Nante
Sergei Prokofiev
“Unfinished”
Arianna for violin and ensemble (ARGENTINE PREMIERE) Dmitri Shostakovich
Symphony No. 1 in D Major, Op. 25
NOVEMBER
Eva Lopszyc Hamlet , suite from the film, Op. 116.
Homage to Gandini Version for actor and orchestra
SATURDAY 18 WORK 17H
COMMISSIONED BY THE ACADEMIC ORCHESTRA
(WORLD PREMIERE)
ADDRESS Gerardo Gandini

Carlos Vieu Concerto for viola and orchestra
DECEMBER
SATURDAY 02 17H
ADDRESS
Jan Latham-Koenig
Academic Orchestra of the Teatro Colón
EITH COLÓN THEATER

9 ©
COLÓN THEATER
ER
COLON THEATER
Main room Main room Main room
COLÓN THEATER
Main room 112 113
2023 SEASON ISA
112 114
2023 SEASON CETC
Gandini on stage
CETC
#Cibor6
Gestures in the water
Scarecrow
Happiness
Divertimento ensemble (ITALY)
Ex machina artist
The Paradise
11 11
4 5
2023 SEASON CETC
Gandini on stage #Cibor6

Tribute to Gerardo Gandini 10 years after his death
Two programs – which are repeated in two MARCH Fluxlian. The work APRIL
performances each – portray one of the PROGRAM I investigates the
most influential musical personalities in mutual resonances WEDNESDAY 19 8pm
Argentina. The Tropi Ensemble, together WEDNESDAY 22 8pm between body and
with notable soloists, will address, in technology,
THURSDAY 20 8pm
addition to several of its emblematic

THURSDAY 23 8pm
addressing the FRIDAY 21 8pm
compositions, some works that are part of PROGRAM II construction of stage
the unpublished - or unknown - space through light. SATURDAY 22 8pm
production. nocida- by Gerardo Gandini, SATURDAY 25 8pm

#Cibor6 explores the
based on sketches, fragments and passage between the SUNDAY 23 17H
manuscripts. The tribute will have its SUNDAY 26 17H

digital and material
current perspective based on three worlds; the transit between these hybrid
responses -encar gos of the CETC- to borders. The use of various analogue
composers who were disciples or close lighting devices generates territories that
collaborators of Gandini: Marcelo can dissolve, disappear, mutate quickly and
Delgado, Osvaldo Golijov and Pablo Ortiz. be crossed.
#Cibor6 is a project by choreographer Performers/dancers with their
Florencia Gleizer together with the electronic-luminous costumes settle on the
unconventional lighting collective limits between digitality and physical
space.
PROGRAM I BASED ON MATERIALS FROM THE GERARDO GANDINI FUND – NATIONAL CONCEPT
Piano Sonata No. 2 (1998)
LIBRARY Florence Gleizer and Fluxlian
Scenes from Liederkreis (2000) PERFOR MERS
Three responses to Gerardo Agustina Ciccola and Laila Meliz
Gandini: Pablo Ortiz, Marcelo Mirages, for ensemble and soprano
ILLUMINATION DESIGN
Delgado, Osvaldo Golijov. CETC (1985) Fluxlian
COMMISSIONS (PREMIERE)
ELECTRONIC SUITS
Subtangos, for brass quintet and Eliana Guzman
piano (1996-1997) (ARGENTINE PREMIERE) 9) ORIGINAL MUSIC AND SOUND DESIGN
Rodrigo Gomez
Find the object: Piece No. 14 of COLON THEATER
STEERING ASSISTANCE
Robert Schumann's CETC room AnaBorre
Davidsbündlertänze Op.6, recreated ADDRESS
and performed from a sketch by Florence Gleizer
Gandini (2023) for piano and
ensemble.
PROGRAM II
Tristan's Lament: funeral ceremony for

Erik Satie (1975)
The Goodbyes (fossils from '60) (1983)
Construction of a scene from The Passion
of Buster Keaton (1971)
116 117
2023 SEASON CETC
MUSICAL DIRECTION
Haydee Schvartz
RECOVERY AND CURATORY
Sebastián Tellado and Haydée Schvartz

SPACE LAYOUT AND LIGHTING DESIGN
Gonzalo Cordova
Tropi Ensemble
ARTISTIC DIRECTION
Haydée Schvartz and Sebastián Tellado
Florence Ciaffone – violin
Alejandro Becerra – cello Sebastián Tellado – flute
Constancia Moroni – clarinet Malena Levin – piano
Manuel Moreno – guitar
Juan Denari – percussion
Haydée Schvartz – piano
Lucia Lalanne – soprano
Alejandro Spies – baritone
BRASS QUINTET
Pablo Fenoglio – trombone and direction
Valentín Garvié – trumpet
María Florencia Díaz – horn
López Fernando Chiappero – horn
Pablo Fenoglio – trombone
Pedro Pulzovan – tuba
Melos Editions
GERARDO GANDINI FUND OF THE NATIONAL LIBRARY
116 118
2023 SEASON CETC
Scarecrow
Cinema-concert on three medium-length films by Buster
Keaton (The scarecrow / The playhouse / One week)
A collective creation by Alina Marinelli, Camila Malenchini, Margarita Molfino and Buster Keaton is one of the most important
Mariana Montepagano. representatives of silent cinema. Based on three
Alina Marinelli works with natural elements to explore the relationship between of his films, Martín Matalon presents a show
the ways of relating to the environment and the universe of gestures within an where the energy and cunning of the images are
anthropocentric context and planetary crisis. Inspired by dowsing - an ancient practice intertwined with the sound world.
that is still valid as a technique to detect the existence of flows, masses of water and
invisible underground lakes - this piece integrates different These physical practices
linked to containment and care, permeability and fluidity, spillage and immersion.
Through certain scenic devices, different relationships are generated between visuality
and sound atmosphere, creating a link ass with the space and therefore with the
spectators.
CONCEPT AND DIRECTION MAY COMPOSITION AND MUSICAL DIRECTION JUNE

Alina Marinelli Martin Matalon
PERFORMERS
Agustina Ciccola and Laila Meliz TUESDAY 16 8pm
Under the auspices of the French Institute of
THURSDAY 29 8pm
MUSICAL COMPOSITION AND SOUND DESIGN Argentina

Carola Zelaschi WEDNESDAY 17 8pm FRIDAY 30 8pm
Federico Estevez
SPACE AND LIGHTING DESIGN
Matias Sendon
THURSDAY 18 8pm JULY
FRIDAY 19 8pm
SATURDAY 01 8pm
SATURDAY 20 8pm
SUNDAY 02 17H
SUNDAY 21 17H
TUESDAY 04 8pm
WEDNESDAY 05 8pm
9)
<9
COLON THEATER
CETC Room
COLON THEATER
CETC room
119 119
2023 SEASON CETC
Divertimento ensemble DivinaVTALlA.
In The Weddings , Stravinsky presents the love affair prior to marriage in the pre
paratives of a wedding. A century after the premiere of this composition, the writer
Samanta Schweblin, in the story “Desperate Housewives” , stages the ritual of
marriage – and abandonment – in a stark way, from the edges of fantastic realism.
MUSIC
TRUMPET SEPTEMBER Three SEPTEMBER
Marcos
Valentin Garvié concerts
Franciosi (CUE collective)
TEXT
CELLO
Martin Devoto
FRIDAY 01 8pm
with works Invitation to how it's
Samantha
Schweblin INSTRUMENTAL VOICE by done , for 12
(ABOUT THE Javier Lezcano
SATURDAY 02 8pm
contempor instrumentalists,
STORY
“DESPERATE PERCUSSION director and
SUNDAY 03 17H ary Italian
WOMEN”)
Oscar Albrieu Roca electronics
LIBRETTO
SYNTHESISTS AND ELECTRONICS
composers Vincenza Cabizza
Marcos
Franciosi and
Marcos Franciosi THURSDAY 07 8pm
September 29, 1940 ,
ADDRESS
Walter Jakob Sandro for assembly and
MUSICAL
FRIDAY 08 8pm
Gorli electronics
DIRECTION
Valeria Giacinto Scelsi
Martinelli
SATURDAY 09 8pm
CONCIE RTO I Pranam II
SCENE Daniele
DIRECTION SUNDAY 10 17H Ghisi
Franco Donatoni
Julian Garces Hot
An
Trio of female experiment Concerto for
voices and saxophone and
actress with time
Multimedi ensemble
SAX QUARTET
Tsunami a concert
Ensemble for six CONCIE RTO III
Mariana instrument ClaraIannotta
Brondino
Martin alists, D'apres
Proscia electronics Acoustic concert for
Alejand and video. eight instrumentalists,
ro Soraires
conductor and
Maurici
o Berg CONCIE RTO II electronics
GiuliaLorus Marco Momi
so, Iconica IV
Giovanni Stefano Gervasoni
Montiani
Prato prima present
and
Fausto Romitelli
Mathieu
Corajod The wisdom of the
120 121
2023 SEASON CETC
time
Ex machina
22
VIERNES
23
SÁBADO
artist 20H
20H
The
Installation/ Music/ Performance
DOMINGO 24 17H
Paradise
Musical
theatre
N THEATER
9 COLON THEATER
C room
CETC Room
The piece-installation proposes a poetic journey through the universe of the artist El Paraíso is a piece of musical theater that gives life to something that was left NOVEMBER
Nicola Costantino, inhabited by essential creatures of her imagination: Art itself, unfinished. Seven models reproduce a series of cinemas designed by famous
artifacts, specters, automatons. A journey that leads to the core of a work that escapes architects that, for various reasons, were never built. Unfinished and frustrated movie WEDNESDAY 22 8pm
all classification. The journey unfolds through different seasons and concludes when theaters in different places around the world - France, Nigeria, the United States,
the viewer arrives at an insane paradise. lost in the vegetal universe, where everything Argentina, Brazil, Germany, Japan - reproduced from surviving descriptions and
THURSDAY 23 8pm
is given for the enjoyment and exercise of the senses. Esteban Insinger's music and plans. On the screens of each of these miniature cinemas, texts are projected that SATURDAY 25 8pm
Maricel Álvarez's staging play an essential role. It is not a museum or an art gallery narrate in great detail films by famous directors that were never made. Movies not
but rather a total work. The dialogue between the different languages allows each one filmed for cinemas not built. Each of these films made of words is accompanied by SUNDAY 26 17H
to illuminate the others and, at the same time, to be crossed by them. internal music. performed live, in the manner of a great score. The audience can move
from one cinema to another in any order they wish and build their own sense of TUESDAY 28 8pm
totality.
WEDNESDAY 29 8pm
THURSDAY 30 8pm
DECEMBER
GENERAL DIRECTION
Nicola Costantino
OCTOBER AUTHOR DIRECTOR
Mariano Pensotti
FRIDAY 01 8pm
STAGE DIRECTION MUSIC

Maricel Alvarez WEDNESDAY 25 8pm
Diego Vainer
SATURDAY 02 8pm
ORIGINAL MUSIC
Esteban Insinger THURSDAY 26 8pm TUESDAY 05 8pm
With the participation of students from
Higher Institute of Art of the Teatro Colón
FRIDAY 27 8pm WEDNESDAY 06 8pm
SATURDAY 28 8pm THURSDAY 07 8pm
SUNDAY 29 17H
NOVEMBER
WEDNESDAY 01 8pm
THURSDAY 02 8pm
FRIDAY 03 8pm
SATURDAY 04 8pm
SUNDAY 05 17H
9)
<9
COLON THEATER
CETC Room
COLON THEATER
CETC room
121 121
2023 SEASON CETC
122 121
2023 SEASON CETC
Daniel Proietto / Colón Factory World's End

Dance/Performance Augmented reality opera
ORK IN PROGRESS 2024 WORK IN PROGRESS 2024 WORK IN P ROGRE SS 2024 WORK IN PROGRESS 2024 WORK IN PROGRES
The choreographer and dancer Daniel Proietto, one of the most important Argentine The end of the world is an “augmented reality opera” developed
artists on the current scene, will create his first work in this country. for this goose sion by the compo Sitor Patricia Martínez together with librettist
Proietto has chosen to remove the CETC from its usual space. It will use the Colón Giuliana Kiersz and stage director Carmen Kruse (Austria).
Fabrica as a setting, inviting the public to walk with it through the great opera and It reflects on the apocalyptic theme of the end of the world, through
ballet sets from the Teatro Colón repertoire that are on display, accompanied gidas in personal interviews with women of different ages and
that fantastic warehouse in the heart of La Boca. On stage, Proietto encar You will play backgrounds, incorporating new technologies that expand the
multiple characters, using a wide range of movement and acting techniques. With the traditional space of opera and its narrative. The public will have a
freedom of contemporary dance, the Japanese precision of Kabuki theater, the particular visual and sound experience in the
transgression and rawness of Butoh dance, the sculptural beauty of classical ballet and Experimentation Center room, where they will encounter the stories
the self-confidence of cabaret, the artist will question gender stereotypes, the ritual of of these women, through holograms of singers and musicians.
performance and the meaning of the democratization of the arts in a poetic journey of The stories that are mixed are a reflection of the 21st century
deep reflection. and the multiple possible ends of the world.
Patricia Martínez, one of the most talented composers
to emerge from the new generations of musical creators in Argentina,
died while this work – planned in conjunction with the CETC and
CONCEPT, CHOREOGRAPHY, GENERAL DIRECTION AND PERFORMANCE Civic Opera Creations, from Austria – was in process. Its premiere is then considered as a tribute.
Daniel Proietto
ORCHESTRA CONDUCTING AND ARRANGEMENTS MUSICAL COMPOSITION
Martha Luna Patricia Martinez
LIGHTNING LIBRETTO
Leandro Calonge Giuliana Kiersz
CREATIVE AND PRODUCTION COLLABORATION STAGING
Mauro Proietto Carmen Kruse (AUSTRIA)
MUSICAL PRODUCTION
COPRO DUCTION
Luz Rocco
CivicOpera Creations (AUSTRIA)
With the special participation of the Academic Orchestra SWRExperimental Studio (GERMANY)
and students of the ISA singing career at the Teatro Colón
ORK IN PROGRESS 2024 WORK IN PROGRESS 2024 WORK IN P ROGRE SS 2024 WORK IN PROGRESS 2024 WORK IN
PROGRES
124 125
20232023 SEASON
SEASON COLON FOR BOYS
COLUMBUS P.128
P.128
Aurora's Wedding
Summer night Dream
The Turk in Italy
GUYS P.129
The Sylphide
FOR
P.129
Frayed Songs
Winter Break
P.130
P.130
12
7
2023 SEASON COLON FOR BOYS
Aurora's
songs dream of a The Turk in Italy The Sylphide
VACATION
Gioachino Rossini Herman Severin Lovenskiold
Wedding Summer night
Frayed Oscar Araiz Third act of Sleeping Beauty in JUNE NEW PRODUCTION THEATER OCTOBER
the Forest COLÓN VERSION FOR
Pyotr Ilyich Felix Mendelssohn SATURDAY 03 11H CHILDREN SATURDAY 21 11H
Concert for children on
Tchaikovsky APRIL FERTILIZER SUBSCRIBER FUNCTION
melodies by Erik Satie FUNCTION SEPTEMBER
SUNDAY 23 11H
SUBSCRIBER FUNCTION SUNDAY 04 11H SATURDAY 09 11H CHOREOGRAPHY
FAITH FERTILIZER Mario Galizzi
Land of Stories and

ON ORIGINALS BY AUGUSTO BOURNONVILLE
FUNCTION
CHOREOGRAPHY MUSICAL DIRECTION
During the winter holidays, theMario Galizzi (about Marius Petipa) CHOREOGRAPHY
SUNDAY 10 11H Pablo Bocchimuzzi
NOVEMBER Oscar Araiz
Teatro Colón will present two MUSICAL DIRECTION FAITH SCENE DIRECTION, REPOSITION AND
Ezequiel Silberstein MUSICAL DIRECTION CHOREOGRAPHIC ADAPTATION
12 SUBSCRIBER FUNCTION shows those for boys, set in theSTAGE DIRECTION, REPLACEMENT Sabrina Streiff
The Wolf, that is Legends

SUNDAY 11H Juan Miceli
AND CHOREOGRAPHIC ADAPTATION ADDRESS
missionary jungle, which Sabrina Streiff
Cesar Bustamante Students of the ISA dance
Colón Theater Production 2.
ADDRESS
propose rediscovering their SCENEGRAPHY AND COSTUMES 1. ADAPTATION FOR CHILDREN AND program
Nicholas Kapustiansky
stories and legends through the
Colón Theater Production St
Students of the ISA dance SCENE DIRECTION
Pablo Maritano Academic Orchestra of the
STAGE DIRECTION
Felipe Hirschfeldt LIGHTNING
baroque music of the time. Fabricio Ballaratti the Terror of the
program
SCENOGRAPHY
oriW
Gonzalo Córdoba Estevez
Teatro Colón
Colón Theater Academic
ISATC Singers and Instrumental Ensemble
J Students
( of
( the ISA dance Missions
Children's show about music by Henry
Orchestra
Purcell
LOCKER ROOM
Renata Schussheim
il by Jean-Philippe
Show for children about
esmusic
U
program
1 2
L
Y
TUESDAY 18 1 1.30H
)
Academic
3PM
)
Orchestra of the
DRAMATURGY AND DIRECTION
Gonzalo Demaría
LIGHTNING
David Seldes
d among others.
Rameau
DRAMATU
Teatro Colón RGY AND

WEDNESDAY 19 1.30H 3PM
MUSICAL DIRECTION
Dolores Costoyas
Academic Orchestra of the
DIRECTION
Teatro Colón Emiliano
THURSDAY 20 1.30H 3PM Dionisi
O
Baroque
MUSICAL Ensemble of
FRIDAY 21 1.30H 3PM the Colón
DIRECTION Theaterof the
Singing Students
Manuel
22 Specialization in Baroque
SATURDAY 1.30H 3PM de Olaso
Opera at ISATC
SUNDAY 23 1.30H 3PM
TUESDAY 25 1.30H 3PM
WEDNESDAY 26 1.30H 3PM
27
F
THURSDAY 1.30H 3PM
FRIDAY 28 1.30H 3PM
SATURDAY 29 1.30H 3PM
SUNDAY
30 1.30H 3PM
WINTER
9
COLON THEATER
COLÓN THEATER
Main Room
Main Room Main Room Main Room
COLÓN THEATER C
Main Room O
L
Ó
128 129
N
T
H
2023 SEASON COLON FOR BOYS
128 130
DISNEY 100 FINERY
In concert
After the success of the First Fundraising Gala held in July 2022, the Theater
Colón institutionalizes two annual events framed in its fundraising policy. With
an innovative gastronomic proposal and a special artistic one, in 2023 we will carry out
In the month of June and September respectively, two exclusive fundraising galas
in our Golden Room. Subscribers, special guests, cultural personalities and
Our artists will star in an unforgettable evening.
Disney celebrates its first 100 years and will begin its celebrations at the Teatro Colón in Buenos
Aires with a great symphonic concert. Disney 100 In Concert will include many of the most iconic
songs from The Walt Disney Animation Studios, tracing its history from 1920 to 2020. This concert
will be performed by the Academic Orchestra of the Teatro Colón, who will be joined by There will
be 30 artists including singers, dancers, acrobats and 26 characters among whom will participate:
Mickey, Minnie, Goofy, Elsa and Anna from Frozen, Aladdin and Jazmin, Mary Poppins, Cinderella,
WINTER SPRING
Snow White and The Little Mermaid among others.
Among the most iconic songs we can hear the new classics “No se siempre de Bruno” from JUNE 2023 SEPTEMBER 2023
Encanto, “You're welcome” from Moana: A sea of adventures, “Summer” from Frozen: A frozen
adventure, as well as the most classic ones: “A world ideal” from Aladdin, “Part of your world” from
The Little Mermaid, “Bibidi Babidi Bú” from Cinderella and “Supercalifragilisticexpialidocious”
from Mary Poppins.
The costumes and props will be developed in conjunction with the Teatro Colón workshops.
132 133
2023 SEASON
. COLON THEATER
GUIDED VISITS
ROUTE
FOYER BUST GALLERY GOLDEN ROOM MAIN ROOM
Colon
BEHIND THE SCENES
The Teatro Colón is one of the few theaters in the world that produces
productions nes of their shows entirely in their workshops. Its scenic staff makes
it possible by keeping alive theatrical crafts that are transmitted from generation
to generation.
Colón Fábrica is a unique space, where visitors will be able to live an
unforgettable experience, discovering the great productions that emerge from
our workshops: sets, costumes, wigs, shoes, special effects.
We invite you to enjoy this space where art and heritage coexist. monium,
international level production and ancient theatrical crafts.
FRIDAYS, SATURDAYS, SUNDAYS AND

HOLIDAYS FROM 12:00 TO 18:00
Av. Pedro de Mendoza 2163, La Boca
Visits for schools, contact by email at colonfabrica@buenosaires.gob.ar
134 135
2023 SEASON
The Teatro Colón keeps secrets in every corner and through a Guided Tour
Colon
We can learn a little more about its history and its present.
Guided tours take place every day, from 10 a.m. to 6 p.m., every 15 minutes.
PRODUCTION MANAGEMENT
Theater
PRODUCTION DIRECTOR ARTISTIC BODIES PROGRAMMING TEAM
Tickets can be purchased at the Theater Box Office, or on our website
Daniela Cerchiaro Martin Bauer
WWW.TEATROCOLON.ORG.AR STABLE ORCHESTRA
Veronica Cangemi
STABLE BALLET Diego Fischerman
GENERAL AND ARTISTIC DIRECTOR GENERAL COORDINATOR OF ARTISTIC Mario Galizzi – DIRECTOR
For inquiries about special visits for schools, contact the following email:
CHIEF OF CABINET Jorge Telerman
EXECUTIVE DIRECTOR MUSICAL DIRECTOR
PRODUCTION GENERAL STAGE COORDINATOR
Escuelavisitas@Buenosaires.gob.ar Augusto Techera STABLE CHOIR Matias Cambiasso
Paz Dubarry Martin Boschet Jan Latham-Koenig Miguel Martínez – director
CHIEF COORDINATOR TECHNICAL, ADMINISTRATIVE AND LEGAL PROGRAMMING DIRECTOR
DIRECTOR
Mariano Uccello Pablo Maritano GENERAL COORDINATION PHILHARMONIC ORCHESTRA
Ignacio Greco DEMUSICAL STUDIES FROM BUENOS AIRES
PRODUCTION DIRECTOR Marcelo Ayub Analía Belli – executive director
DIRECTOR OF THE HIGHER INSTITUTE OF ART
Daniela Cerchiaro
Marcelo Birman
SCENOTECHNICAL DIRECTOR CHILDREN'S CHOIR
PROMOTION OPERATIONAL MANAGER César Bustamante – director
AND RELATIONSHIPS WITH THE COMMUNITY Enrique Bordolini
Florencia Raquel García HUMAN RESOURCES DIRECTOR
Elisabeth Sarmiento
CETC DIRECTOR
Diana Theocharidis
SCENOTECHNICAL DIRECTION
ASSISTANT STAGE TECHNICAL DIRECTOR PREVENTION OF STAGE RISKS AND CHAMBER OPERA
Maria Eugenia Palafox
Oscar Vazquez Oscar Flores Ladislao Hanczyc
PAINTING AND THEATRICAL CRAFTS
STREAMING ASSISTANT EXECUTIVE PRODUCTION
Claudia Vega
Karina Barresi Jorge Negri
AUDIO SCENOTECHNICAL PRODUCTION

Federico Guastella Veronica Camera
DOCUMENTATION NETWORKS AND STAGE COMMUNICATION

ENTATION AND
Arnaldo Colombaroli Christian Escobar
STAGE ELECTRICITY SCENOTECHNICAL RECORD

Ricardo Azzariti Maria Cremonte
SCENIC EFFECTS THEATER TAILORING

Ricardo Gimenez Carlos perez
SCENOGRAPHY UPHOLSTERY
Juan Carlos Monzani Carlos DePasquale
SCULPTURE PROPS
Jorge Crescente Hector Vidaurre
THEATER BLACKSMITH VIDEO

Gustavo Gomez Natalio Rios
STAGE INFRASTRUCTURE SHOE SHOP

Luis Pereiro Blanca Villalba
LIGHTING TECHNIQUE
LINKS
Ruben Conde
STABLE BALLET TECHNICAL
STAGE MACHINERY ASSISTANT
Palmiro Criniti Florence Bordolini
HAIRSTYLING AND CHARACTERIZATION CETC TECHNICAL ASSISTANT

134 136
2023 SEASON
GENERAL TECHNICAL,
ADMINISTRATIVE AND LEGAL CEO
OPERATIONAL MANAGER ROOM COORDINATION Elisabeth Sarmiento
DIRECTORATE
OPERATIONAL MANAGER HUMAN RESOURCES MANAGEMENT
Gabriel Pokorny
GENERAL COORDINATOR ECONOMIC ARTISTIC LINK
OPERATIONAL MANAGER HUMAN RESOURCES MANAGEMENT
LEGAL AFFAIRS Marina Maceras
Maria Victoria Alvarez Kathia Osorio Niño
PROMOTION OPERATIONAL MANAGER
OPERATIONAL MANAGER COMMERCIAL AND FINANCIAL
THE OFFICE OF SECTOR MANAGEMENT Fernando Sowyn
Juan Martin Collados
PURCHASING OPERATIONAL MANAGER,
CONTRACTING, SUPPLIES
INSTITUTIONAL MATTERS
AND ACQUISITIONS
Patricia Blanco INSTITUTIONAL COMMUNICATION COORDINATOR
Marcelo Grosman
INSTITUTIONAL RELATIONS AND EVENTS DIGITAL COLON COORDINATOR

Congratulations Rama
CTION GENERAL DIRECTION

FROM HUMAN RESOURCES
134 137
MAIN ALLY
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ALLIES OF THE SEASON
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OPERA ALLIES
MARRIOTT
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BALLET ALLIES
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BUENOS AIRES
ALLIES OF THE BUENOS AIRES PHILARMONIC ORCHESTRA, OFBA:
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Teatro Colón Foundation BLOOMS INSURANCE
COLLECTION
BOARD OF DIRECTORS EXECUTIVE COMMITTEE VOWELS ALLIES OF GREAT PERFORMERS

PRESIDENT Ambrogi, Guillermo
Camaño, Dante Bruno Quijano, Gonzalo
Cañardo, Victor >
accenture
FIRST VICE PRESIDENT
Door, Ramon Ceretti, Rodolfo Agustín CARDON
Caesar, Gloria SINCE 1988 MARRIOTT
SECOND VICE PRESIDENT
Lamb, Alexander BUENOS AIRES
Elias, Melissa Maria
De Benedetti, Lilia R.
SECRETARY Grüneisen De Maronese, Teresa
di Lello, Jorge Daniel Le Comte, Eric Guillermo
ALLIES OF THE HIGHER INSTITUTE OF ART
TREASURER Lo Prete, Gerardo R.
I deleted, Martha Meller, Sergio
Remaggi Alberro, Luis Alberto
PRO-SECRETARY
Rubina, Carolina
Skinner, Roberto Luis
Santarelli de Roux, Liliana JCM
PRO-TREASURER
Wolosewicz, Matías
DIVINA ITALY ALLY: OFFICIAL TIME
ROLEX
138 139
AGE NA
OPERA
CHAMBER OPERA
CONCERTS
OFBA
BUENOS AIRES PHILARMONIC ORCHESTRA

BALLET CETC
STUDY CENTER
CCH
COLON FOR BOYS

MPORANEAN CONTEST OF THE TEA TRO COLÓN
MOZ
MOZARTEUM
FR
RACHMANINOV FESTIVAL
ACADEMIC
STABLE ORCHESTRA OF THE COLÓN THEATER
BAROQUE
BAROQUE CYCLE
GREAT INTERPRETERS
EXTRAORDINARY CONCERT
140 141
2023
141 141
FEBRUARY
FRIDAY 10 8pm Disney 100 Years
SATURDAY 11 2PM Disney 100 Years
8pm Disney 100 Years
SUNDAY 12 11H Disney 100 Years
17H Disney 100 Years
TUESDAY 14 8pm Disney 100 Years
WEDNESDAY 15 8pm Disney 100 Years
THURSDAY 16 8pm Disney 100 Years
FRIDAY 17 8pm Disney 100 Years
SATURDAY 18 2PM Disney 100 Years
8pm Disney 100 Years
SUNDAY 19 11H Disney 100 Years
17H Disney 100 Years
WEDNESDAY 22 8pm Disney 100 Years
THURSDAY 23 8pm Disney 100 Years
FRIDAY 24 8pm Harry Potter
SATURDAY 25 8pm Harry Potter
MARCH • FOCUS Gandini • Divine ITALY
TUESDAY 07 Resurrection •
WEDNESDAY 08 Resurrection •
THURSDAY 09 Resurrection •
FRIDAY 10 Resurrection •
SATURDAY 11 Resurrection •
SUNDAY 12 Resurrection •
TUESDAY 14 OPERA 8pm Splendor BIG PASS •
WEDNESDAY 15 OPERA 8pm Splendor EXTRAORDINARY FUNCTION •
THURSDAY 16 OPERA 8pm Splendor TRADITIONAL NIGHT PASS •
THURSDAY 16 OPERA Sun & Sea CONTEMPORARY SUBSCRIPTION
FRIDAY 17 OPERA Sun & Sea CONTEMPORARY SUBSCRIPTION
SATURDAY 18 OPERA 8pm Splendor EXTRAORDINARY FUNCTION •
OPERA Sun & Sea CONTEMPORARY SUBSCRIPTION
SUNDAY 19 OPERA 17H Splendor EVENING PASS •

142 143
OPERA Sun & Sea CONTEMPORARY SUBSCRIPTION
TUESDAY 21 OPERA 8pm Splendor NEW NIGHT PASS •

WEDNESDAY 22 CETC 8pm Gandini on Scene - C1 •
THURSDAY 23 CETC 8pm Gandini on Scene - C1 •
SATURDAY 25 OFBA 8pm OFBA – SUBSCRIPTION 01
CETC 8pm Gandini on Scene - C2 •

SUNDAY 26 EC 11H Bach Academic
OE 17H Concert #01 •) Coliseum Theater
CETC 8pm Gandini On Scene - C2 •
APRIL
SATURDAY 01 OFBA 8pm OFBA – SUBSCRIPTION 02
TUESDAY 11 BALLET 8pm Swan Lake EXTRAORDINARY FUNCTION
WEDNESDAY 12 BALLET 8pm Swan Lake EXTRAORDINARY FUNCTION
THURSDAY 13 BALLET 8pm Swan Lake EXTRAORDINARY FUNCTION
FRIDAY 14 ACADEMIC 17H Surrogate Cities CONTEMPORARY SUBSCRIPTION
OFBA 8pm OFBA – SUBSCRIPTION 03
SATURDAY 15 BALLET 8pm Swan Lake EXTRAORDINARY FUNCTION
SUNDAY 16 BALLET 17H Swan Lake EXTRAORDINARY FUNCTION
MONDAY 17 c. BAROQUE 8pm Cappella Gabetta Consort
TUESDAY 18 BALLET 8pm Swan Lake EXTRAORDINARY FUNCTION
WEDNESDAY 19 BALLET 8pm Swan Lake EXTRAORDINARY FUNCTION
CETC 8pm #Cibor 6
THURSDAY 20 BALLET 8pm Swan Lake EXTRAORDINARY FUNCTION
CETC 8pm #Cibor 6
FRIDAY 21 OFBA 8pm OFBA – SUBSCRIPTION 04 CONTEMPORARY SUBSCRIPTION
CETC 8pm #Cibor 6
SATURDAY 22 BALLET 8pm Swan Lake NIGHT PASS
SATURDAY 22 CETC 8pm #Cibor 6
SUNDAY 23 CCH 11H Aurora's Wedding FERTILIZER FUNCTION
BALLET 17H Swan Lake EVENING PASS
CETC 17H #Cibor 6
142 144
MONDAY 24 MOZ 8pm Mozarteum Arg. - Concert #01 SUNDAY 04 CCH

11AM Summer night Dream EXTRAORDINARY FUNCTION
BALLET
SATURDAY 29 OFBA 8pm OFBA – SUBSCRIPTION 05 17H Caravaggio •
MONDAY 05 MOZ
8PM Mozarteum Arg. - Concert #02
MAY TUESDAY 06 BALLET
8PM Caravaggio •
SATURDAY 06 OFBA 8pm OFBA – USINA CONCERT 01 • Art Factory
SATURDAY 10 OE
8PM Concert #02 • Colosseum Theater
SUNDAY 07 OPERA 17H The magic Flute EVENING PASS
TUESDAY 09 OPERA 8pm The magic Flute BIG PASS
WEDNESDAY 10 OPERA 8pm The magic Flute EXTRAORDINARY FUNCTION
THURSDAY 11 OPERA 8pm The magic Flute TRADITIONAL NIGHT PASS
FRIDAY 12 OPERA 8pm The magic Flute EXTRAORDINARY FUNCTION
SUNDAY 14 OPERA 17H The magic Flute EXTRAORDINARY FUNCTION
TUESDAY 16 OPERA 8pm The magic Flute NEW NIGHT PASS
TUESDAY 16 CETC 8pm Gestures in the Water
WEDNESDAY 17 CETC 8pm Gestures in the Water
THURSDAY 18 ACADEMIC 8pm Modern Ensemble CONTEMPORARY SUBSCRIPTION
CETC 8pm Gestures in the Water
FRIDAY 19 CETC 8pm Gestures in the Water
SATURDAY 20 CETC 8pm Gestures in the Water
SUNDAY 21 CETC 17H Gestures in the Water
MONDAY 22 EC 8pm Tomorrow is better
FRIDAY 26 EITHER. CAMERA 8pm Long live Mamma! (•) Coliseum Theater
SATURDAY 27 EITHER. CAMERA 8pm Long live Mamma! (©) Coliseum Theater
SUNDAY 28 BALLET 17H Caravaggio EVENING PASS •

EITHER. CAMERA 17H Long live Mamma! (•) Coliseum Theater
MONDAY 29 G.I. 8pm Vittorio Grigolo
TUESDAY 30 BALLET 8pm Caravaggio NIGHT PASS •

EITHER. CAMERA 8pm Long live Mamma!
THURSDAY 31 BALLET 8pm Caravaggio STAR FEATURE •

• FOCUS Gandini • Divine ITALY
JUNE • FOCUS Gandini • Divine ITALY
THURSDAY 01 BALLET 8pm Caravaggio •

FRIDAY 02 BALLET 8pm Caravaggio •
SATURDAY 03 CCH 11H Summer night Dream FERTILIZER FUNCTION
SATURDAY 03 BALLET
8PM Caravaggio •
144 145
TUESDAY 13 OPERA
8PM Einstein on the Beach CONTEMPORARY SUBSCRIPTION
WEDNESDAY 14 OPERA
8PM Einstein on the Beach CONTEMPORARY SUBSCRIPTION
FRIDAY 16 OFBA
8PM OFBA – SUBSCRIPTION 06
FRIDAY 23 OPERA
8PM Anna Boleyn GREAT FERTILIZER
SATURDAY 24 OFBA
8PM OFBA – SUBSCRIPTION 07
SUNDAY 25 OPERA
5PM Anna Boleyn EVENING PASS
MONDAY 26 MOZ
8PM Mozarteum Arg. - Concert #03
TUESDAY 27 OPERA
8PM Anna Boleyn TRADITIONAL NIGHT PASS
WEDNESDAY 28 EITHER. CAMERA

8PM Il Campanello • Colosseum Theater •
THURSDAY 29 OPERA
8PM Anna Boleyn NEW NIGHT PASS
EITHER. CAMERA
20H Il Campanello • Colosseum Theater •
CETC
20H Scarecrow
FRIDAY 30 EITHER. CAMERA

8PM Il Campanello • Colosseum Theater •
CETC
20H Scarecrow
JULY • FOCUS Gandini • Divine ITALY • WINTER BREAK
SATURDAY 01 OFBA
8PM OFBA – SUBSCRIPTION 08 •
EITHER. CAMERA
20H Il Campanello •
CETC
20H Scarecrow
SUNDAY 02 CETC
5PM Scarecrow
TUESDAY 04 CETC
8PM Scarecrow
WEDNESDAY 05 CETC
8PM Scarecrow
TUESDAY 18 CCH 11:30 A.M. Land of Stories and Legends •
CCH 15H Land of Stories and Legends •
OPERA 20H The Libertine's Race BIG PASS
WEDNESDAY 19 CCH 11:30 A.M. Land of Stories and Legends WINTER BREAK •
CCH 15H Land of Stories and Legends WINTER BREAK •
144 146
11.30a
THURSDAY 20 CCH
m Land of Stories and Legends WINTER BREAK • WEDNESDAY 16 BALLET 8pm Suite en Blanc / Windgames
CCH 3PM Land of Stories and Legends WINTER BREAK • THURSDAY 17 OPERA 8pm Il Trovatore
OPERA 8pm The Libertine's Race TRADITIONAL NIGHT PASS FRIDAY 18 BALLET 8pm Suite en Blanc / Windgames
11.30a
FRIDAY 21 CCH
m Land of Stories and Legends WINTER BREAK • SATURDAY 19 ACADEMIC 17H Northern Minerva
CCH 3PM Land of Stories and Legends WINTER BREAK • OFBA 8pm OFBA – SUBSCRIPTION 11
11.30a
SATURDAY 22 CCH
m Land of Stories and Legends WINTER BREAK • SUNDAY 20 OPERA 17H Il Trovatore EVENING PASS
CCH 3PM Land of Stories and Legends WINTER BREAK • TUESDAY 22 BALLET 8pm Suite en Blanc / Windgames
11.30a
SUNDAY 23 CCH
m Land of Stories and Legends WINTER BREAK • SATURDAY 26 OFBA 8pm OFBA – SUBSCRIPTION 12
CCH 3PM Land of Stories and Legends WINTER BREAK • MONDAY 28 MOZ 8pm Mozarteum Arg. - Concert #05
OPERA 17H The Libertine's Race EVENING PASS THURSDAY 31 EITHER. CAMERA 8pm He who says Yes / He who says No (•) Coliseum Theater
11.30a
TUESDAY 25 CCH
m Land of Stories and Legends WINTER BREAK •
TUESDAY 25 CCH 3PM Land of Stories and Legends WINTER BREAK • SEPTEMBER • FOCUS Gandini • Divine ITALY
OPERA 8pm The Libertine's Race NEW NIGHT PASS FRIDAY 01 EITHER. CAMERA 8pm He who says Yes / He who says No (•) Coliseum Theater
11.30a
WEDNESDAY 26 CCH
m Land of Stories and Legends WINTER BREAK • OFBA 8pm OFBA – POWER PLANT CONCERT 02 Art Factory
CCH 3PM Land of Stories and Legends WINTER BREAK • CETC 8pm Happiness
11.30a
THURSDAY 27 CCH
m Land of Stories and Legends WINTER BREAK • SATURDAY 02 EITHER. CAMERA 8pm He who says Yes / He who says No (•) Coliseum Theater
CCH 3PM Land of Stories and Legends WINTER BREAK • SATURDAY 02 CETC 8pm Happiness
11.30a
FRIDAY 28 CCH
m Land of Stories and Legends WINTER BREAK • SUNDAY 03 EITHER. CAMERA 17H He who says Yes / He who says No •) Coliseum Theater
CCH 3PM Land of Stories and Legends WINTER BREAK • SUNDAY 03 CETC 17H Happiness
11.30a
SATURDAY 29 CCH
m Land of Stories and Legends WINTER BREAK • MONDAY 04 G.I. 8pm Andras Schiff
CCH 3PM Land of Stories and Legends WINTER BREAK • TUESDAY 05 OPERA 8pm Il Turco in Italy BIG PASS •
OFBA 8pm OFBA – SUBSCRIPTION 09 WEDNESDAY 06 OPERA 8pm Il Turco in Italy EXTRAORDINARY FUNCTION •
11.30a
SUNDAY 30 CCH
m Land of Stories and Legends WINTER BREAK • THURSDAY 07 OPERA 8pm Il Turco in Italy TRADICONAL NIGHT PASS •
CCH 3PM Land of Stories and Legends WINTER BREAK • CETC 8pm Happiness
FRIDAY 08 ACADEMIC 17H Alice in Wonderland

AUGUST FRIDAY 08 OFBA 8pm OFBA – SUBSCRIPTION 13
SUNDAY 06 BALLET 17H Suite en Blanc / Windgames EVENING PASS FRIDAY 08 CETC 8pm Happiness
MONDAY 07 MOZ 8pm Mozarteum Arg. - Concert #04 SATURDAY 09 CCH 11H The Turk in Italy FERTILIZER FUNCTION •
TUESDAY 08 BALLET 8pm Suite en Blanc / Windgames NIGHT PASS SATURDAY 09 OPERA 8pm Il Turco in Italy EXTRAORDINARY FUNCTION •
THURSDAY 10 BALLET 8pm Suite en Blanc / Windgames SATURDAY 09 CETC 8pm Happiness
FRIDAY 11 OPERA 8pm Il Trovatore BIG PASS SUNDAY 10 CCH 11H The Turk in Italy EXTRAORDINARY FUNCTION •
SATURDAY 12 OFBA 8pm OFBA – SUBSCRIPTION 10 OPERA 17H Il Turco in Italy EVENING PASS •
TUESDAY 15 OPERA 8pm Il Trovatore CETC 17H Happiness
146 147
MONDAY 11 GALA WEDNESDAY 25 CETC 8pm Ex Machina Artist
TUESDAY 12 OPERA 8pm Il Turco in Italy NEW NIGHT PASS • THURSDAY 26 CETC 8pm Ex Machina Artist
SATURDAY 16 EC 8pm Rothko Chapel FRIDAY 27 CETC 8pm Ex Machina Artist
SATURDAY 16 FR 8pm Rachmaninoff Festival (©) Coliseum Theater SATURDAY 28 OFBA 8pm OFBA – SUBSCRIPTION 15
FRIDAY 22 CETC 8pm Entertainment Ensemble • CETC 8pm Ex Machina Artist
SATURDAY 23 FR 8pm Rachmaninoff Festival (•) Coliseum Theater SUNDAY 29 CETC 17H Ex Machina Artist
CETC 8pm Entertainment Ensemble • MONDAY 30 MOZ 8pm Mozarteum Arg. - Concert #07
SUNDAY 24 CETC 17H Entertainment Ensemble •

TUESDAY 26 OPERA 8pm The Merry Widow BIG PASS • NOVEMBER • FOCUS Gandini • Divine ITALY
WEDNESDAY 27 OPERA 8pm The Merry Widow EXTRAORDINARY FUNCTION • WEDNESDAY 01 CETC 8pm Ex Machina Artist
THURSDAY 28 OPERA 8pm The Merry Widow TRADICONAL NIGHT PASS • THURSDAY 02 CETC 8pm Ex Machina Artist
SATURDAY 30 OPERA 8pm The Merry Widow EXTRAORDINARY FUNCTION • FRIDAY 03 CETC 8pm Ex Machina Artist
FR 8pm Rachmaninoff Festival (©) Coliseum Theater SATURDAY 04 ACADEMIC 17H Terezin
OCTOBER CETC 8pm Ex Machina Artist -

SUNDAY 01 OPERA 17H The Merry Widow EVENING PASS • SUNDAY 05 CETC 17H Ex Machina Artist
TUESDAY 03 OPERA 8pm The Merry Widow NEW NIGHT PASS • MONDAY 06 C.B. 8pm Vivica Geanaux & Bruno De Sá
THURSDAY 05 G.I. 8pm Sonya Yoncheva TUESDAY 07 OPERA 8pm Madam Butterfly BIG PASS
FRIDAY 06 CONCERTS 8pm 100 Cymbals CONTEMPORARY SUBSCRIPTION WEDNESDAY 08 OPERA 8pm Madam Butterfly EXTRAORDINARY FUNCTION *
SATURDAY 07 ACADEMIC 17H Arianna • THURSDAY 09 OPERA 8pm Madam Butterfly EXTRAORDINARY FUNCTION**
OFBA 8pm OFBA – SUBSCRIPTION 14 FRIDAY 10 OPERA 8pm Madam Butterfly TRADITIONAL NIGHT PASS
SUNDAY 08 G.I. 17H Maria Joao Pires SATURDAY 11 OFBA 8pm OFBA – SUBSCRIPTION 17
MONDAY 09 MOZ 8pm Mozarteum Arg. - Concert #06 SUNDAY 12 CCH 11H Frayed Songs FERTILIZER FUNCTION
SATURDAY 14 OFBA 8pm OFBA – USINA CONCERT 03 © Usina del Arte OPERA 17H Madam Butterfly EVENING PASS
SUNDAY 15 BALLET 17H The Taming of the Shrew EVENING PASS MONDAY 13 G.I. 2H0 Giovanni Sollima & Mario Brunello •
MONDAY 16 EC 8pm Paéz-Gandini Concert • TUESDAY 14 OPERA 8pm Madam Butterfly EXTRAORDINARY FUNCTION *
TUESDAY 17 BALLET 8pm The Taming of the Shrew NIGHT PASS WEDNESDAY 15 OPERA 8pm Madam Butterfly NEW NIGHT PASS
WEDNESDAY 18 BALLET 8pm The Taming of the Shrew THURSDAY 16 OPERA 8pm Madam Butterfly EXTRAORDINARY FUNCTION**
THURSDAY 19 BALLET 8pm The Taming of the Shrew FRIDAY 17 OPERA 8pm Madam Butterfly EXTRAORDINARY FUNCTION *
FRIDAY 20 BALLET 8pm The Taming of the Shrew SATURDAY 18 ACADEMIC 17H Opera In Slippers
SATURDAY 21 CCH 11H The Sylphide FERTILIZER FUNCTION SATURDAY 18 OFBA 8pm OFBA – SUBSCRIPTION 18
SATURDAY 21 BALLET 8pm The Taming of the Shrew EXTRAORDINARY FUNCTION WEDNESDAY 22 CETC 8pm The Paradise
SATURDAY 21 OFBA 8pm OFBA – USINA CONCERT 04 © Usina del Arte THURSDAY 23 EITHER. CAMERA 8pm Humanity and Lucifer •) Coliseum Theater
148 149
THURSDAY 23 • CETC -d
20H Paradise
FRIDAY 24 EITHER. CAMERA

20H Humanity and Lucifer • Colosseum Theater
•
CB hu
8:00 p.m. The Four Seasons
(•) Vatican Square
p OFBA •
SATURDAY 25 20 OFBA – SUBSCRIPTION 19 •
*
OPERA •
20 Humanity and Lucifer
(• Colosseum Theater
pt CETC
SATURDAY 25 hmm 20 Paradise
p
SUNDAY 26 OPERA 17 Humanity and Lucifer
• (•) Coliseum Theater
pu CETC •
17 Paradise
t
MONDAY 27 CB hum 20 Cappella Mediterranea
p CETC •
TUESDAY 28 20H Paradise
pu CETC •
WEDNESDAY 29 20H Paradise
p CETC
THURSDAY 30 mud 20H Paradise
150 151
THURSDAY 28 BALLET 8pm The Bayadere EXTRAORDINARY FUNCTION
FRIDAY 29 BALLET 8pm The Bayadere EXTRAORDINARY FUNCTION
SATURDAY 30 BALLET 8pm The Bayadere EXTRAORDINARY FUNCTION
FRIDAY 01 CETC 8pm The Paradise
SATURDAY 02 ACADEMIC 17H Hamlet
TUESDAY 05 OPERA 8pm The Absent City •

CETC 8pm The Paradise
WEDNESDAY 06 EC 8pm The Geidai Philarmonia, Tokyo
THURSDAY 07 OPERA 8pm The Absent City •

DECEMBER16
MONDAY 8pm Beethoven's 9th Symphony $ COLÓN IN THE CITY
SUNDAY 17 BALLET 17H The Bayadere EVENING PASS
MONDAY 18 C.B. 8pm The Messiah
TUESDAY 19 BALLET 8pm The Bayadere EXTRAORDINARY FUNCTION
WEDNESDAY 20 BALLET 8pm The Bayadere NIGHT PASS
THURSDAY 21 BALLET 8pm The Bayadere EXTRAORDINARY FUNCTION
FRIDAY 22 BALLET 8pm The Bayadere EXTRAORDINARY FUNCTION
SATURDAY 23 BALLET 8pm The Bayadere EXTRAORDINARY FUNCTION
TUESDAY 26 BALLET 8pm The Bayadere EXTRAORDINARY FUNCTION
WEDNESDAY 27 BALLET 8pm The Bayadere EXTRAORDINARY FUNCTION
151 151
COLON THEATER
FLAT
Main Room
ODD SEATS EVEN SEATS
SCENERY
7654 3 2 1 1 234567
ORCHESTRA / PIT
PLATE ROW 1-14
PLATE ROW 15-22
ENTRANCE
b
TU
CU
PALCOALTO M
AN
CENTER AC
CE
CENTER SS
CASSEROLE
TO
CENTER
GALLERY
TO
OR FREEDOM ACCESS
LEVEL 1 PLATE ROW 1—14 PLATE ROW 15-22 BOX LOWER CENTER CENTRAL LOW BOX
ARMCHAIRS 1—433 / 2—434 1—433 / 2—434 1—19 / 2—20 21—29 / 22—30
LEVEL 2 BALCONY PLACE CENTER BALCONY BOX SIDE BALCONY BOX

ARMCHAIRS
1—33 / 2—34 1—19 / 2—20 21—31 / 22—32
LEVEL 3
HIGH CENTER BOX HIGH SIDE BOX
ARMCHAIRS
1—23 / 2—24 25—35 / 26—36
LEVEL 4
ARMCHAIRS CENTER SIDE Casserole CAZUELA BOX FOOT
CASSEROLE CASSEROLE
ROW 1 ROW 2 ROW 3 ROW 1 ROW 2 ROW 3 1—13 / 2—14
53—87 41—70 47—76 1—52 1—40 1—46
LEVEL 5
ARMCHAIRS CENTER TERTULIA 1ST SIDE TERTULIA 2nd SIDE TERTULIA STANDING TALK
ROW 1 ROW 2 ROW 3 ROW 1 ROW 2 ROW 3 ROW 1 ROW 2 ROW 3

87—122 81—114 71—100 47—88 43—80 37—70 1—48 1—42 1—36
LEVEL 6
ARMCHAIRS
CENTER GALLERY 1ST SIDE GALLERY 2ND SIDE GALLERY
ROW 1 ROW 2 ROW 3 ROW 1 ROW 2 ROW 3 ROW 1 ROW 2 ROW 3

LEVEL 7 89—128 83—119 71—101 45—88 41—78 35—60 1—44 1—36 1—24
STANDING PARADISE •••••••

PARADIS
E
ARMCHAIR 1—77 / 2—78
S
153
154 155
“We believe that art makes us better. This idea of art that we
share, in which value is intertwined with com Complexity, with
the posing of problems rather than easy solutions, is related to a
society capable of imagining itself better. Capable of a
Resurrection.”
Jorge Telerman
GENERAL AND ARTISTIC DIRECTOR OF THE COLÓN THEATER
Colon Theater
WWW.TEATROCOLON.ORG.AR
® TEATROCOLONOFICIAL
© TEATROCOLON
V THEATERCOLONTV
to TEATROCOLON Buenos Aires City
Let's go Buenos
Aires

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EIT

Horacio Rodríguez Larreta

GENERAL AND ARTISTIC DIRECTOR

54 Q. 82 OFBA at the Plant

Q. 83 Stable Orchestra of the Teatro Colón

104 COLON FOR BOYS

turn action into ritual and poetry. There is a world at war. A

DIRECTION , SCENEGRAPHY, COSTUMES AND LIGHTING

Jaqu elina Livieri

Guad alupe Barrientos

COLUMBUS IN THE CITY

IN THE (•) VATICAN SQUARE

CITY Viamonte 1166, CABA

Av. Don Pedro de Mendoza 2163, CABA

(•) ART FACILITY

(•) COLISEUM THEATER

The magic Flute

Long live Mamma!

MARCH MUSICAL DIRECTION

SATURDAY 18 8pm FAITH

TUESDAY 21 20H ANN

Splendor Divine ITALY

Stable Orchestra of the Teatro Colón

The Magic Flute (K. 620)

Singspiel in two acts (1791)

MAY MUSICAL DIRECTION MAIN INTERPRETERS

Barrie Kosky PAMINA

Stable Orchestra of the Teatro Colón

JUNE MUSICAL DIRECTION

SUNDAY 25 17H av ENRICH VIII

TUESDAY 27 8pm A.N. GIOVANNA SEYMOUR

THURSDAY 29 8pm ANN

ANN NEW NIGHT PASS main room

The Libertine's Race

NEW PRODUCTION THEATER COLÓN

JULY MUSICAL DIRECTION MAIN INTERPRETERS

THURSDAY 20 8pm ANT

TUESDAY 25 8pm ANN Julio Suárez LIGHTING BABA THE TURK

AUGUST MUSICAL DIRECTION MAIN INTERPRETERS

THURSDAY 17 8pm ANN LILY

SUNDAY 20 17H av MANRIC

Il Turco in Italy Divine ITALY

NEW PRODUCTION THEATER COLÓN

Stable Orchestra of the Teatro Colón

SEPTEMBER MUSICAL DIRECTION MAIN INTERPRETERS

WEDNESDAY 06 8pm FAITH

THURSDAY 07 8pm ANT

SATURDAY 09 8pm FAITH Renata Schussheim

The Merry Widow Divine ITALY

Operetta in three acts.

SEPTEMBER MUSICAL DIRECTION Jan Latham- MAIN INTERPRETERS

WEDNESDAY 27 8pm FAITH Damiano Michieletto SCENOGRAPHY COUNT DANILO DANILOWITSCH

THURSDAY 28 8pm ANT

FAITH EXTRAORDINARY FUNCTION main room

Madam Butterfly Divine ITALY

NEW PRODUCTION THEATER COLÓN

NOVEMBER MUSICAL DIRECTION

SUNDAY 12 17H av José Luis Fiorruccio SUZUKI