Beatrice Venezi conducted the Orquesta Estable with total confidence, achieving very good musical versions of the various fragments. Her baton shone brightly and produced high-flying performances. The two purely orchestral fragments performed by Venezi turned out to be balanced: the Intermezzo of Cavalleria rusticana by Pietro Mascagni, where the melody that invites to contemplation emerged fully, but at the same time foreshadowed the tragic ending of the work; and the Intermezzo of Manon Lescaut by Puccini, with ample brilliance from the string soloists, a highlight of the work\u2019s profound lyricism and a perfect choice of the work\u2019s tempi. She closed the official program with \u2018Gloria all\u2019Egitto\u2019 \u2013 Marcha triunfal, from the second act of Aida by Verdi. It is needless to point out that this opera directly refers to the history of the theater: both the work and the concert scene were part of crucial moments at the Col\u00f3n \u2013 including the inauguration of the current building in 1908, the numerous performances of the work, which ranks among the most performed by the Teatro, and various galas or celebrations \u2013 and became a representative reference within the repertoire addressed by the established ensembles. The symbolic scope of this fragment is undoubtedly significant for this celebration, which was conducted with confidence by Venezi and with a high response from the Choir and Orchestra.<\/p>\n\n\n\n
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(09.12.2025) La recensione di Gustavo Gabriel Otero. Beatrice Venezi condujo con total seguridad a la Orquesta Estable, logrando muy buenas versiones musicales de los distintos fragmentos. Su batuta luce clara y produce versiones de alto vuelo. Equilibrados resultaron los dos fragmentos puramente orquestales a cargo de Venezi: el Intermezzo de 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