Switzerland Piazzolla, María de Buenos Aires: Soloists, Cercle Bach de Genève, Chorus and Orchestra of the Haute École de Musique de Genève / Facundo Agudin (conductor). Grand Théâtre de Genève, 27.10.2023. (ALL)
Production:
Stage director – Daniele Finzi Pasca
Set designer – Hugo Gargiulo
Set design collaborator – Matteo Verlicchi
Costumes designer – Giovanna Buzzi
Lighting designer – Daniele Finzi Pasca
Choreographer – María Bonzanigo
Choir Director of the Cercle Bach – Natacha Casagrande
Cast:
María – Raquel Camarinha
La voz de un payador – Inés Cuello
El Duende – Melissa Vettore and Beatriz Sayad
Acrobats and actors of the Compagnia Finzi Pasca
In 2019, Aviel Kahn, director of Geneva’s Grand Theatre and slated to be the future director of Berlin’s Deutsche Oper in 2026, embarked on his journey with Philip Glass’s Einstein on the Beach. It was artfully staged by Daniele Finzi Pasca, who is celebrated in Switzerland for his imaginative, cirque-style shows. This production offered a feast for the eyes with its dynamic acrobats and dancers.
Tango enjoys a dedicated following in French-speaking Switzerland, and local milonga events often attract enthusiasts. Thus, it was not unexpected that the theatre was packed for the premiere of Ástor Piazzolla’s ‘tango opera’ Maria de Buenos Aires, captivating a diverse audience spanning different age groups.
The tale, beautifully woven by Piazzolla and librettist Horatio Ferrer, brings to life Maria, an emblematic figure of Buenos Aires. The opera boasts of two vocalists, a chorus and a team of actors, its standout piece being the poignant aria ‘Yo Soy Maria’ that many are familiar with.
Daniele Finzi Pasca’s direction presented many visually poetic and evocative scenes. The opening depicted a wall of tombs through which Maria’s spirit ascends, leading up to the chorus’s appearance. Subsequent scenes were adorned with unique elements, such as acrobats animating puppets coordinating with the musical score, whereas the ending had the acrobats gracefully gliding over an ice rink beneath falling snow.
While these creative elements added charm, they were not without their flaws. The opera sometimes felt disjointed, lacking a cohesive narrative and character depth. This might stem from the non-traditional plot, but it is a director’s duty to overcome such hurdles. The absence of the quintessential traits of tango on stage was also a drawback, its sensuality and vibrancy missing from the performance. Perhaps Harry Lime’s remarks about the Swiss (pace my country!) with respect to cuckoo clocks have some merit.
The inaugural performance had its hiccups. Raquel Camarinha, in the lead role, sang her main aria (which reappears in a different form later) with raw emotion, leaving the audience wishing Piazzolla had given her more solos. Inés Cuello as The Narrator, in a part typically portrayed by a male, seemed a tad one-dimensional, possibly because the venue is accustomed to grander operatic voices. Although the instrumental accompaniment was solid, the chorus appeared out of sync, especially with the nuances of the Spanish language. However, first-night jitters are not uncommon in theatre.
On paper, the production promised a riveting experience. Yet, in execution, it felt lacking in depth. Evidently, mastering the essence of tango is a challenge, at least in Switzerland.
Antoine Lévy-Leboyer