Las estr\u00edas que dej\u00f3 en Turandot esa tensi\u00f3n -ese crecimiento s\u00fabito de un material, la \u00f3pera, que no admit\u00eda crecer tan de golpe- no son una simple an\u00e9cdota hist\u00f3rica. Obligan todav\u00eda a quien dirige la obra a tomar decisiones, y la directora italiana Beatrice Venezi las tom\u00f3. En lugar de disimular alguno de los extremos y volcar, por lo tanto, la orquesta hacia el otro, dej\u00f3 las estr\u00edas a la vista. La mayor transparencia arm\u00f3nica y el detallad\u00edsimo perfilamiento mel\u00f3dico no excluyeron pasajes de sensibler\u00eda crasa. Hay que agradecerle a Venezi que mostrara esa otra tragedia de Turandot: la imposibilidad de unir esos extremos, o m\u00e1s bien, que su sola uni\u00f3n proviene de mostrar su desuni\u00f3n. Fue por lo dem\u00e1s notable la respuesta de Estable en todas las filas.<\/p>\n\n\n\n
(photo: Istituto Italiano di Cultura – Buenos Aires<\/em><\/p>","protected":false},"excerpt":{"rendered":" (19\/05\/2024) La Nation – Recensione di Pablo Gianera. Las estr\u00edas que dej\u00f3 en Turandot esa tensi\u00f3n -ese crecimiento s\u00fabito de un material, la \u00f3pera, que no admit\u00eda crecer tan de golpe- no son una simple an\u00e9cdota hist\u00f3rica. Obligan todav\u00eda a quien dirige la obra a tomar decisiones, y la directora 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