The Colón Theatre We Want

The undersigned are conscious of the progressive deterioration of the Colón Theatre as a National Historic Monument and of the empoverishment of its activities in its Centennial year, with the resulting loss of artistic prestige that this brings.

Under these circumstances, the Executive Power of the Government of the City of Buenos Aires, (which, before assuming power, descarted its cultural PROposition and two possible Minister candidates for the Ministry of Culture), today pushes for a law «of autarchy» that it pretends to approve with urgency, whose intentions and consequences give us great cause for alarm and concern.

Before modifying the legal and institutional status of the Theatre, we should first devote ourselves to recuperate and restore it, and to debate openly as to what type of theatre we want.

The law must contemplate that the Colón Theatre is an Official Theatre that belongs to the public. Its functioning should be regulated by the politics of the state, and not by the market, since by the latter it will not prove sustainable. The lyrical, coregraphical and symphonic activities, with Stable Ensembles and its In-House Productions, have as their sole purpose the benefit of multiplying social interests. It must be emphasized that under this module the theatre has obtained its greatest and most efficient performance, high level of excellence and international prestige.  

  • Open and active.

  • Within the legal framework of the Government of the City of Buenos Aires, under the tenents of the Ministry of Culture.

  • Restored and maintained with the advise and direction of international experts and organisms knowledgeable in the conservation of such type of national patrimony.

  • Dedicated exclusively to culture and education.

  • Focusing exclusively in opera, symphonic and coral concerts, plus ballet.

  • Without electronic sound amplification, due to the harmful consequences that this type of production has on its structure.

  • Permanent home of its Stable Ensembles: A Resident, Stable Orquestra, the Philharmonic Orquestra of Buenos Aires, A Resident Choir, Chamber Opera, A Resident Ballet Ensemble, Escenotechnical Group, Experimentation Center of the Teatro Colón, Children's Choir, Academic Orquestra, as well as the Superior Institute of Art, The Library and Museum, its Auxiliary and Stewardship Services, since all these are the Intangible Patrimony of Our First Coliseum and of those who make possible the system of its In-House, Native Production capabilites.

  • Of its own in-house production, with a permanent team of artists, technicians and artesans of all the specialties in their shops, unique in the world. The Theatre is capable of exporting productions of high quality, like the past year when it took the complete production of the opera Turandot by Puccini (orquestra and choir included) to Mexico DF, with very competitive costs, which can become a genuine source of income.

  • With all its positions covered by contest, as indicated by the law (and which is not followed).

  • With an adequate administrative and structural organization for its most optimum performance.

  • With the possibility of managing its budget in an autonomous manner, by means of an exception of the reach of the system of the Sole Account of the City.

  • With the possibility of private participation solely as an additional funding mechanism to the public activities themselves of the Theatre.

  • With tight managerial control through a mixed-body auditing process (Executive-Legislative).

  • Directed to the quest for excellence, so as to recuperate its place as one of the ten most important Opera houses of the world.

    •  
    SILVINA PERILLO -BUENOS AIRES
    MAXIMO PARPAGNOLI - BUENOS AIRES
    ALICIA IRURETAGOYENA - BUENOS AIRES

    If you agree with the above, it is important that you please send an e-mail to adhesiones2008@yahoo.com.ar, adding your signature to the names mentioned in this note.

    Thank you very much!

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    Last revised  11/19/2008 [531]
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