Blog i hate music!
Teatro Colón: Do you hear or not?
Newspapers praise the restored Teatro Colón, but the well-known Argentinian forum Habitués del Teatro Colón posted on friday’s night a heartfelt letter signed by Roberto Blanco Villalba where he, after attending the concert on May 6, said: “They fucked on the sound of the Colón.”
Blanco Villalba is a music teacher, composer, musicologist, music critic and Content Director of FM Radio Cultura. I’ve tried to contact him during the week-end
but got no reply (*).
So I asked Pablo Bardin if he had attended the Colón’s concert: he said no because he had to attend the Dresden Philharmonic concert at the Mozarteum. Pablo Bardin is musicologist and music critic of The Buenos Aires Herald, and I trust him a lot. He said the people he had spoken to was happy with the sound (Eduardo Giorello, music critic of Ámbito Financiero, for example). He also told me that the likely noise reduction was due to the acoustic hood suspended above the scenario, which will be replaced soon: the new one cost three million dollars and will arrive in June. So history may be another after mid-year.
Anyway, there are some other problems needing urgent solution. For example: The employment situation of workers transferred to municipal offices where they are forced to perform tasks for which they are not prepared; It is very likely that, even after the reopening, the works inside the theater will continue; And last but not least, where is the invaluable Colón’s library?. Diana Fasoli, former Director of the Library, reported that all books, records and letters are stored in three containers outside the theater. In addition, valuable material was lost: the gold baton of Giacomo Puccini, the handwritten sheet of Richard Wagner’s Die Meistersinger von Nürnberg, important autographs, etc.
(*) While writing this entry I received an email from Blanco Villalba. I mentioned him about the acoustic hood. Despite this he has his doubts. He said many other details of the scenario has changed and this affects the sound.
Special thanks to Pablo Bardin and Ricardo Blanco Villalba for their kindness and willingness.