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From south to north: music, dancing and presidential tears on emotional night at Teatro Colon – 30/11/2013

The central staircase of Teatro Colón, facing the foyer of the Argentine Coliseum, was a prelude to the historical moment. On the one hand, the group image of the heads of state that make up the G20 – including the German Angela Merkel, who traveled directly from Ezeiza International Airport to red carpet from Columbus– to the first ladies. On the other hand, the federal review – no 40 minutes – in the artistic key to show the diversity of the country's culture and landscapes.

On the night of this Friday there were two protagonists. One was dance and choreography of the Argentum play, according to the artistic direction of Riki Pashkus – which brought together 84 dancers and 75 musicians to represent the regions of Patagonia, Cuyo, Litorial, Noreste and La Pampa. The other was the mapping technique, video projections of audiovisual collective numbers – directed by Francisco Alcaro.

The debut of this internal technique at Teatro Colon was one of the keys to the show. Kulis dome – painted by the prestigious Raul Soldier – digitally intervened in a multimedia format. The poor ocher lights in the interior became blue.

And after applause of the world's top leaders (found in the main box) and nearly 1,000 present at night, began to extract different words at the highest point of Colon. Many looked at the ceiling, as it was seen by Markos Penya, the head of the Cabinet, showing the heights of Angela Merkel.

This technology drew a map of the Colon's dome to give a start to Act 1 of the night, the Patagonian region, one of the world's touristic postcards on earth. Group by children He danced on the stage while the images were projected in the reference cubes for each area of ​​Argentina. The South had a real whale, continental ice, wind power and the base of Marambio, among its protagonists.

On acoustic invincible from the room, favored a remarkable experience in colored red, blue and ocher colored in every space of imposing kit. Masked dancers with heads of mounted horses, repeated alochia of gaucho yellow in a surrealistic key, sustained with excellent string and choreography.

The first great applause During the night, he mixed between tango and malambo with a group of dancers with an urban look and the presence of gaucho again on the stage. A musical melange where the heels of the boots were merged with a choreographed choreography. Summary of Creole DNA.

From the main stage, the G20 leaders applauded as images projected panels of solar energy, the fall of the sun, dawn, the mountain range, and the hill Ritz Roy. Flight of the Condor, another of the brands of autochthonous fauna.

Every choreography was demanding match with projected images, holding the image-sound-choreographic formula. It sounds the most progressively, based on the synthesizers, entered the Pampas Act with landscapes of national agriculture and round-the-clock views of the city of Buenos Aires.

There was a more disinterested look, a hole back, in the quest to cross the tango with youthful reflections. Some parks, acrobatics, circus movements and capers, where the sound of the dance and the house was not lacking.

Another strange moment was free style, crucifixion crossed with Gauco culture. A phrase in Spanish with the phrase: "Buenos Aires is today a place," among the most important.

Then came the moment of tango, the sound of the export par excellence of these countries. Mora Godoy, in the rhythm of Tanguera (by Mariano Mores) starred in the most elegant night. With a thin blue outfit and a friend Borlaino's color, the rest of the cast was placed in a semicircle, to give them the place of the solo number. Closed applause.

A new surprise occurred during Act 3 (Littoral), where the screens were portraits of maritime transport through the Parana River, the Flag Monument and the Falls of Iguassu. Shamame appeared in the choreography, and Theater Colon celebrated the return of Julio Bocca, 11 years after his release, on the stage that made him famous dancing a small number of cameras, while the world's leading leaders won.

Then, in Act 4 (north of Argentina), the folklore with a base of drums and a certain medieval look rattled with its serious rhythms while projecting the seven colors of the Tilkara hill between the choreographic multiplicity. The introduction of the northern carnival with its rhythms and the sustainable song of the Copper caused one of the most subtle moments of the night.

For closing, the rock had its place with respect to Soda Stereo – with loud applause to the sounds of light music – and Charly García. And the tears of Makri.

Among the aides of the Argentinean political class, Federico Pinedo, the president of the deputy bloc's deputy bloc, as well as the governor of the province of Buenos Aires, Maria Eugenia Vidal, was in the front row; Minister of Production and Labor, Dante Sika; the mayor of Triz de Febrero, Diego Valensuela; Minister of Social Development, Carolina Stanley and Secretary General of Buenos Aires Province, Fabian Adapter.

Live broadcast on public television and with the implementation of Silvina Cedik and German Paoloski, together with Gustavo Sierra as an international columnist, gala evening in Colon, Balbina Ramos bassaulera and accordion player Javier Acevedo participated among other artists.

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