The director must be a broadcaster

Alejo Pérez, the newly appointed chief conductor of the Orchestral Ensemble of the Teatro Colón, has taken up his role amid the return of Giuseppe Verdi’s Otello to the theater’s stage after a thirteen-year absence. Pérez, who grew up attending performances at the Colón with just enough money to buy standing tickets in the paradise section, now leads one of Argentina's most prestigious orchestras. His appointment marks the first time since nearly two decades ago that the Colón has had a permanent director for its resident orchestra. The revival of Otello, considered one of Verdi’s masterpieces, coincides with this new chapter for Pérez, who sees both his personal journey and the artistic significance of the opera as intertwined. Pérez spoke about the emotional weight of assuming leadership of the Orchestral Ensemble, which he described as having a unique spirit rooted in service. He emphasized how the ensemble traditionally operates behind the scenes, supporting vocalists and dramatic action rather than taking center stage itself. This ethos of dedication resonates deeply with him, especially given his long-standing relationship with the group through previous collaborations. As a native of Buenos Aires, Pérez expressed pride in returning to lead an institution that holds a special place in his life and career. The Teatro Colón occupies a central position in Pérez’s personal history. He recalls visiting the theater as a child with whatever funds he could spare, drawn to the wealth of classical music experiences it offered. From operas to symphonic concerts, the Colón was a gateway into the world of classical music for him. Even after studying and working abroad, he maintained a deep connection to the Colón, appreciating not just the building itself but the mystique surrounding the theater, its acoustics, and the passion of the people who work there. For Pérez, the desire to continually improve everything that happens within these walls represents one of the greatest strengths of the Colón. Verdi’s Otello stands out in Pérez’s view as a culmination of genius from three great minds: William Shakespeare, Verdi himself, and librettist Arrigo Boito. He highlighted how the opera reflects Verdi at the peak of his maturity, having been convinced over many years to compose it despite initially considering retirement. The psychological depth of the piece, particularly in the character of Iago, is profound, with intricate manipulation and tension translated into orchestral language. Pérez noted Verdi’s mastery in using orchestration to convey emotional nuances, making each performance reveal new layers of meaning. Beyond the narrative of jealousy and betrayal, Pérez acknowledged the complexity of human nature explored in Otello. The opera delves into themes of trust, deception, and the consequences of misjudgment, offering rich material for interpretation. As the production prepares to take the stage, Pérez aims to bring forth these elements through the Orchestral Ensemble, ensuring their presence enhances the storytelling. His vision includes strengthening the orchestra’s visibility beyond its traditional role while maintaining its core identity. As preparations for Otello continue, Pérez faces the challenge of balancing the demands of leading an orchestra known for its support role with the need to elevate its profile. His approach emphasizes fostering growth and versatility within the ensemble, allowing it to thrive both in operatic accompaniment and in solo performances. With the return of Otello, the Teatro Colón once again becomes a focal point for musical excellence, reflecting the ambitions of its new director and the enduring legacy of the institution.