The Teatro Colón in Buenos Aires, considered one of the most important operatic centers on the planet, broke the mold by premiering a unique and avant-garde opera that commemorates in Argentina the fiftieth anniversary of May 1968, a movement that produced important cultural changes in the world.
The opera, called "68", is the work of Matías Feldman, Nicolás Varchausky and Marcelo Brodsky and its representation takes place at the Colón Experimentation Center, where it will be on display until December 16 with seven unique performances.
The singularity of this contemporary show resides in its conception as a mixture of sound light, visual arts and vocal music, in which noises burst with force and where the actors put on stage various episodes that conclude in an almost grotesque debate about the problems social.
With music for voices, foley (with objects) and electronics, the opera is the fruit of a thorough study, both of the effects of May 1968 and the development of ideas, carried out by Matías Feldman, Nicolás Varchausky and Marcelo Brodsky, visual artist with strong involvement in research on May 68.
In fact, the work, which is a commitment of the Teatro Colón for new creative forms, is a starting point to remember and think about that French social outbreak that caught the attention of the entire world and that in the immediate environment had replications such as called "Cordobazo", movement originated in the Argentine city of Córdoba with the outbreak of various social protests.
The work draws a May of 68 as if it were a prism that reflects and projects critical questions and reflections that go beyond epochs and continents.
With a set made by the theater director Matías Feldman, "68" has the support of the modern visual arts, specifically with eight screens of six by two meters, in which videos elaborated by Mercelo Brodsky and Alejandro Chaskielberg are constantly shown.
In the most conventional staging, which takes place once the public has had to wander through different places of the Experimentation Center, Miguel Pesce directs the "Ensamble Vocal Cámara XXI", composed of 25 young singers with vocal training and extensive experience musical.
Agustin Genoud as a noisemaker; Hernán Lewkowicz for the voiceover; Look at Begoña Cortazar and Nicolás Mannara, as foley artists; Mariano Cura and Daniel Hernández in the soundtrack; Simón Pérez as a musical assistant; Gianna Guerrante as costume designer, and Ricardo Sica as lighting designer, are the main supporters of this operatic production.
The most versatile of all the members is the visual artist and human rights activist Marcelo Brodsky, who in addition to designing the videos of the show and exhibiting photographs that accompany him is a co-author of the opera and intervenes in it as an actor.
The actors represent on stage a dispute of spaces of power and symbols that provoked in May 68 major cultural changes and project a sensory experience, thought, action and images that recall what happened 50 years ago.
The student and popular mobilizations that originated in May 1968 in France, but also in different parts of the world, marked the last decades of the 20th century.
Young people, mainly students, and workers took to the streets of large cities to demand greater presence in social decisions and greater political and sexual freedom.
These transformative movements were plagued by contradictions that are reflected in the final dialogue of "68" with proposals as unprecedented as talking without talking or dialogue without dialogue.
Last October, the Italian portal Travel 365 chose the Colón as the most important opera theater on the planet, considering it "a true monument of theatrical, lyrical and acoustic art, undoubtedly the best of all time".