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 Cavalleria rusticana de Pietro Mascagni donde surgi\u00f3 plena la melod\u00eda que invita al recogimiento, pero a la vez preanuncia el tr\u00e1gico desenlace de la obra, y el Intermezzo de Manon Lescaut de Puccini con amplio lucimiento de los solistas en cuerdas, destaque del profundo lirismo de la pieza y perfecta elecci\u00f3n de los tiempos de la obra. Cerr\u00f3 el programa oficial \u2018Gloria all\u2019Egitto\u2019 – Marcha triunfal, del segundo acto de Aida de Verdi. No es ocioso aclarar que esta \u00f3pera remite de manera directa a la historia del teatro: tanto la obra como la escena en forma de concierto formaron parte de momentos decisivos del Col\u00f3n -incluida la inauguraci\u00f3n del edificio actual en 1908, las m\u00faltiples representaciones de la obra que se ubica entre las m\u00e1s ofrecidas por el Teatro y en diversas galas o celebraciones- y se convirti\u00f3 en una referencia representativa dentro del repertorio abordado por los cuerpos estables. Es indudable el alcance simb\u00f3lico de este fragmento para esta celebraci\u00f3n que fue conducido con mano segura por Venezi y alta respuesta de Coro y Orquesta.<\/p>\n\n\n\n
<\/p>","protected":false},"excerpt":{"rendered":"
(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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