Marcelo Ayub, Diana Theocharidis, Pablo Maritano, Jorge Telerman, Jan Latham Koenig, and Mario Galizzi. COLÓN THEATER PRESS PHOTOS / JUAN JOSÉ BRUZZA
“I will emphasize two things: on the one hand, I do not provide personal taste. If there’s one thing that guides my logbook, it’s the phrase ‘You’re Forbidden’. No personal taste, no personal friend. One season will be more traditional, others more modern, but the search is for excellence, honesty, coherence and freshness, ”he said. Jorge Telerman a Clarion.
Before it is presented to the public the conceptual guidelines that will guide his management and the new team he will join in Colon Theater. While the general direction will take on artistic responsibilities, Telerman confirmed that he has set up a sort of curatorial table, with people from the theater, from Argentina and the world, that will have specific duty.
Renowned British director Jan Betrand Latham-Koening will take over as music director. “Not only will he be the music director – Telerman pointed out -, he will direct some of the titles we will show next year. It will participate very actively in the definition of seasons, repertoires and cast. How many people have the experience and global recognition that Latham-Koening has. ”
Jorge Telerman in his speech in the Golden Room.
The British director came primarily to Buenos Aires to close the deal. Mario Galizzi will continue to lead the ballet. Arturo Diemecke finally leave his duties, Pablo Maritano will take over as director of programming and production, “someone whom I have already had opportunity to work. For most of the sector, he is one of the most talented and most deployed young people. And with a head that, who does not know him in this aspect, will discover it, ”the officer said.
Augusto Techera will continue to coordinate production, under Maritano’s wing, and will be joined by Daniela Cerchiaro, from Telerman’s kidney, who has extensive production experience here and around the world.
The direction of the study will be directed by Marcelo Ayub. Diana Theocharidis left the Ribera Theater to take over the leadership of CETC.
Director Jan Betrand Latham Koenig.
“The most important programs in which we will put energy, but also enthusiasm -Telerman pointed out -, are what I have identified as ordering issues. And one of the most important issues is equality: tangible and intangible .I summoned two great ones, each in her own way: Teresa de Anchorena, to defend the material heritage.Another person was Diego Fischerman, with whom we will review a work of recognition, ordering, digitization and retrieval of the entire sound and audiovisual collection ”.
-Organization only or also circulation?
-Finally put it in circulation. We need to undo a lot of things around the world. In addition, for the purpose of preservation, which is our obligation, but also of circulation and dispersion.
Pablo Maritano will take over as director of programming and production.
-The library archive has been left in a container since the Master Plan. Did you meet?
Yes, it is recognized. We will also use the opportunity to give a twist to the idea of the archive. This is a preservation and dissemination file. We believe that the “Colón” brand is a very attractive, interesting brand that helps in every way. Not only does the Teatro Colón make it work for itself, but as one of the devices left by Argentina standing to speak about its excellence.
-The idea is to take its history to reflect the institution better and with more force?
-Yes, from that perspective I would like to reorganize the heritage area. A living heritage. Of course we’ll take care of the curtains, the railings, all that. There is nothing better than Teresa Anchorena who will do it, but what must be understood is that Colón receives an inheritance from a living legacy. It is completely different from other arts.
Our heritage is singing, sounding and dancing. And you need places to sing, ring and dance. Not to keep quiet. That is managing the heritage of living art. There is tremendous potential. I am interested in a projection not only of Columbus, but of our culture, our city and our country.
The direction of the study will be directed by Marcelo Ayub.
-Will executive direction continue under the management of Martín Boschet?
-The three administrative areas: the executive part, the technical-administrative part and the Human Resources part continue to be managed by Boschet, Sergio Di Fonzo and Elisabeth Sarmiento.
-Did you organize the executive area and coordinate with the three?
Diana Theocharidis left the Ribera Theater to take over the leadership of CETC.
-In the previous interview, you said that you kept a blog to record the insight you wanted to give about Theater and its connection to society. Have you completed it yet? Did you change the rules?
-The logbook is prepared in relation, on the one hand, to the analysis we found, which is not much different from what we found. At this stage, the Theater will look for an organization that makes internal procedures seamless. As Norte, we have the idea to strengthen the production of our own artists, simultaneously maintaining that space in communicating with the culture and the world, and bringing in new audiences. Another important point of the notebook: how many things can we put on the “Columbus stamp”? In a publishing house, a Vatican Square and a Baroque Music Festival.
-Who will direct the festival?
-I asked Verónica Cangemi to design a baroque music festival. It is completed by a very beautiful and ambitious project, opera on the road. It’s about bringing Colón across the country, with invaluable collaboration from the province of Mendoza. It will have a high-tech itinerant structure and efficient deployment.
– And at the international level?
-The Country Project. In addition to the double season, we will have a guest country each season. Let’s start, how is it if not, in Italy. Because of its importance in these arts and because of its historical connections.
-Have you started working next season?
-In November we will show the seasons of 2023 and 2024. One of the points that requires a logbook is where you want to go. This is necessary to strengthen medium and long -term standards in the Theater. It seems very appropriate to me that we make a presentation of a season that seems beyond immediate.
Jorge Telerman’s performance in the Golden Room.
We’re not just going to commission an opera-we’re moving forward, I can’t say to whom-symphonic music and choreographic work. If there’s one thing we can identify with, it’s that we need to put more energy into a public theater. And a public theater not only has a mission of excellence, but also helps build community. It’s something that’s sadly pretty weak these days.
We need to build community. The Teatro Colón has very good possibilities to do so, like a few others: its grandeur, its diversity, the possibility to be aware of new things, but also of traditions.
-Will the Higher Institute of Art have changes?
-Marcelo Birman will continue, but with new responsibilities. Our chamber opera school will be more closely associated with ISA. In addition, there is a project presented so that it can work again within the Theater. If there’s one legacy I want to leave, it’s the return of ISA to the theater.
-Will the “Contemporary Columbus Cycle” continue?
-Not only continuing, it will be included further. Bauer will continue to advise in that area.
-Are you still advancing on the issue of retirement for the established Ballet corps?
I keep moving forward with everything. With the administration and the artistic: in 2026 it will be 100 years of Teatro Colón that I think I am directing. In 1926 it began to function as a theater with a stable body. I did not direct the Colón of 1908, where we brought companies from Italy. Being a producer brings completely different and infinitely better consequences. When you are a producer, you have an obligation to have a cultural policy. I wanted to talk to Colón, an art producer, with a strong body, with 1,200 people.