The different classes are aimed at singers, dancers and the general public, addressing different themes and proposals around the history and analysis of opera, the practice of singing, dance, stage design, costumes, theatrical hairdressing and the acquisition of different knowledge that supports the theatrical trades.

 

From Monday, June 14 to Saturday, July 10, the Teatro Colón in Buenos Aires invites you to participate in online classes taught by prestigious professionals and teachers. Among the various innovative proposals open to all audiences, the classes in the Boquitas Pintadas course offer a cross-sectional reading of the history of opera, narrating a chronology of dissidents to the norms of gender and sexual choice throughout its more than 400 years of experience. existence.

 

 

Classes will be held through the Zoom platform and registration is now open through www.teatrocolon.org.ar

 

 

 

Specialized professionals, teachers and artists such as the stage director Pablo Maritano, the mezzo-soprano Alejandra Malvino, Paula Argüelles in classical dance, the costume designer Luciana Gutman, Roberto Mohr in theatrical hairdressing, the journalist and music critic Diego Fischerman and the Graduate in Philosophy Eugenio Monjeau, among others, will teach the classes online.

 

 

 

 

 

The Director General of the Teatro Colón, María Victoria Alcaraz, said: “We decided to honor one of the great traditions that historically have characterized the Teatro Colón; that of the transmission, accumulated from generation to generation, of the different knowledge and secrets of our great masters. These online classes, open to the entire community, are intended for those who want to explore or deepen their knowledge of lyrical singing, theatrical trades, the history of opera and classical dance. A new opportunity to strengthen the bonds that unite to this century-old institution with its community. ”

 

 

Enrique Avogadro, Minister of Culture of the City of Buenos Aires, shared: “All Argentines are proud to have the Teatro Colón, which is an icon both nationally and worldwide. On this occasion, it opens its doors to us so that we can enjoy online classes aimed at different artistic disciplines. Colón is a true cultural beacon for the city and we hope that more and more people will connect with it. ”

 

 

 

 

Classes for dancers

 

1. Introduction to Classical Dance:

This course aims to expand your knowledge, analyze and use the different movements, and acquire technical excellence. Aimed at dance students between 10 and 13 years old (participant level) and 14 to 19 years old (intermediate level).

 

2. The Ballet in four steps (with previous knowledge)

This course, by Mtra. Paula Argüelles, will address the style and universe of four of the most significant ballets of the classical repertoire: Giselle, Don Quijote, La Bayadera and Las Sílfides. From the historical context to the most significant steps. Intended for intermediate / advanced classical dance students.

 

Classes for singers (with previous knowledge)

1. Vocal Technique and Interpretation

In charge of Mtra. Elisabeth Canis, this course will address the vocal technique and interpretation of the repertoire, emphasizing the understanding of sung texts and their technical application. Each active student will propose a specific repertoire, which must be informed when they register. Intended for all strings.

2. Discovering our voice

In charge of Mtra. Alejandra Malvino. Approach to vocal technique from an integrating perspective aimed at beginners and singers in training in academic music. Respiratory function and vocal positioning will be actively worked on, taking into account all the other factors that influence and determine our vocal identity.

 

Theatrical trades classes (open to all audiences)

 

1. Theatrical Hair Salon

Given by Prof. Roberto Mohr. This intensive course is intended for both characterization students and anyone interested in the subject and theatrical trades. Its objective is to provide different tools and strategies in the work of making theatrical wigs and hairpieces.

 

2. Opera Costume Design

Given by Luciana Gutman. This intensive course aims to make an approach to the wardrobe, reflect on the wardrobe as a scenic sign, explore the necessary tools for design: historical and geographical research, plastic resources and the costume, conventional and unconventional production materials, dynamics of work and the interrelation with the spectator. Aimed at students of costumes, characterization, clothing, scenery and art.

 

Classes for all audiences

 

1. All about Opera

Given by Claudio Mamud. In this course the different parts that make up an opera (overtures, recitatives, arias, leitmotifs, etc.) and how they have changed over time. Examples of the most diverse composers of all ages are heard, from the birth of opera to the present day.

2. The operatic trilogy of Mozart and Da Ponte

Given by Eugenio Monjeau. This course will address the three creations of Wolfgang Amadeus Mozart together with the librettist Lorenzo Da Ponte: Le nozze di Figaro, Don Giovanni and Così fan tutte. It will be a detailed study of each of the operas, from its historical, plot and musical context.

 

3. Opera vs. Classical music: The idea of ​​classical music in the 19th century

Given by Diego Fischerman. This course will address the European music of the 19th century, developing the following themes: The 19th century and music in cities. Entertainment vs. art. Opera vs. Philharmonic societies. The notions of elevation and depth. Form and significance. The anti-operatists: Schubert, Mendelssohn, Brahms, Schumann, Mahler. The opera against the opera: Beethoven, Berlioz, Wagner.

 

4. Painted mouths

Given by Pablo Maritano. If theater is a lie that tells a truth, opera, as a theatrical event, allowed, over the centuries, to make the singing voice the music of identities that openly questioned all certainties about human social behavior. It is not for less: although it was born in the courts, the carnival was its breeding ground and export.

The course proposes a cross-sectional reading of the history of opera or, rather, uses it to narrate a chronology of dissidents to the norms of gender and sexual choice throughout its more than 400 years of existence. It is the story of so many human beings who, far from being a mere object of fantasy, found in opera a home and refuge for active dissent, to narrate their experiences in the first person, under the protection of the insolent fiction of this genre, perhaps much more than in any other cult genre.

Beyond being a natural place of expression, it is a parallel universe in a dynamic and changing art par excellence.