(Credit: Juanjo Bruzza)

To launch its 2026 season, the venerable Teatro Colón made a bold programming choice: presenting the quintessential verismo double bill, but with a structural twist. Inverting the traditional performance order, Leoncavallo’s “Pagliacci” served as the curtain-raiser, followed by Mascagni’s “Cavalleria Rusticana,” effectively kicking off the theater’s seven-title operatic lineup.

At first glance, staging these two brief iconic staples of the verismo movement might seem like a recipe for guaranteed success. However, adapting them to the logistical realities of a major modern opera house is no small feat. Despite sharing a genre, the tessitura and vocal demands of the roles vary greatly, requiring a considerable rotation of casts. As if the sheer scale of the casting wasn’t ambitious enough, this season opener brought a highly distinctive element to the stage: a new production by renowned stage director Hugo De Ana.

A Neorealist Cinematic Universe

Situating both operas in the same southern Italian universe during the mid-1950s, De Ana immerses the audience in the aesthetic, tones and pervasive influence of Italian Neorealist cinema. Throughout the evening, there are direct references and erratic nods to postwar filmmaking. The prologue of “Pagliacci” and the Teatro Colón’s revolving stage become quintessential to this execution: the former introduces this postwar Italian universe—framing the impending stories as fictitious, yet deeply rooted in reality—while the latter ensures constant dramatic continuity. The revolving stage allows for seamless transitions from sweeping public crowd scenes to intimate, behind-the-scenes drama, while easily shifting from Canio’s backstage to Mamma Lucia’s tavern.

The staging itself is a monumental theatrical achievement, easily holding its own against the world’s top opera companies. De Ana’s meticulous attention to detail is evident from every angle, notably achieving something many modern directors forget: ensuring perfect sightlines from every seat in the house. Following a string of local productions that felt designed solely for the orchestra section, a staging that successfully projects its vision to the entire room is a triumph worth celebrating.

Evoking the sensation of being on a bustling film set, scenes unfold amidst exposed scaffolding and cinematic rigs. At the start of each scene, the exposed scaffolding anchors the situational context of the story— presumingly visual homage to Federico Fellini’s 8 ½. The costumes are equally triumphant, displaying an accurate synthesis of the Neorealist aesthetic.

Overcrowding and Artificial Intelligence

However, two specific directorial choices clashed with this scenic beauty. The first was an overabundance of supernumeraries. In an attempt to maintain a high level of visual spectacle, the stage was flooded with an excessive number of actors, dancers, and circus performers—particularly in “Pagliacci.” While the revolving stage helped modularize the chaos, the visual saturation was overwhelming, leaving the eye unsure of where to focus.

The second, more glaring misstep was the perplexing use of Artificial Intelligence. Both “Pagliacci” and “Cavalleria Rusticana” feature orchestral Intermezzos of unparalleled beauty, with Mascagni’s being one of the most beloved instrumental pieces in the classical canon. These interludes are designed as moments of stillness and introspection—the calm before the tragic storm. Yet, for this production, the production team opted to project AI-generated imagery during these moments: an anguished clown for “Pagliacci” and an Easter procession culminating in a bombed-out church (presumably postwar) for “Cavalleria.”

While the thematic intention might seem fitting, the execution felt cheap and distracting. Given the heavy reliance on Fellini as a core inspiration, projecting actual scenes from his extensive filmography—such as “I Clowns,” “Amarcord,” “Le Notti di Cabiria” or “La Strada”—would have been infinitely more poignant. Better yet would have been to strip away all visual stimuli, allowing the sheer beauty of the orchestral music to wash over the audience without transforming these masterworks into a movie soundtrack.

Before assessing the soloists, high praise is due to chorus master Miguel Martínez and the Teatro Colón’s Permanent Chorus, as well as Mariana Rewerski and the Children’s Chorus, who once again proved themselves to be a solid, superlative pillar of the theater’s operatic output.

The Clowns: Contrasting Takes on Tragedy

“Pagliacci” featured two formidable international talents as Canio. Ukrainian tenor Denys Pivnitskyi (First Cast) showcased a voice of substantial heft and dramatic bite. While he took some liberties with the score’s phrasing, his visceral vocalism paired effectively with his captivating stage presence. His Canio was an unhinged, deeply abusive figure, perfectly aligning with the toxic relationship dynamic proposed between him and Nedda.

Conversely, Spanish tenor Alejandro Roy (Second Cast) offered a highly correct, potent, and deeply moving vocal interpretation. Though his acting was more measured, his vocal instrument did the heavy lifting, delivering a thrilling and resonant “Vesti la giubba.” Being an aria so famous that it inevitably invites comparisons to legends of the past, Roy held his own flawlessly; one could simply sit back and revel in the sheer vocal security he brought to the role.

As the fragile Nedda, Argentine sopranos María Belén Rivarola (First Cast) and Marina Silva (Second Cast) offered contrasting portrayals. Possessing a plush lyric instrument capable of filling the cavernous Colón, Rivarola honored the role with tonal beauty, even while navigating the extreme physical fragility and submission that it was demanded of her character. Her duet with Silvio was arguably the vocal highlight of the evening—a moment of pure sonic delight. Silva covered the role dependably; while lacking vocal transcendence, she compensated with a deeply secure and convincing theatrical presence. (It is worth noting that De Ana’s production placed heavy emphasis on Nedda’s victimization and objectification, a directorial choice that undeniably impacted the physical and vocal delivery of both sopranos).

A character that usually remains secondary took on remarkable weight in this production: Silvio. Interpreted by Ramiro Maturana (First Cast) and Samson McCrady (Second Cast), the lovers were elevated by the sheer vocal solvency and power of both baritones. The sprawling scene “E fra quest’ansie in eterno vivrai”, culminating in the duet with Nedda, was an unexpected jewel of this “Pagliacci.” Both singers transformed a traditionally smaller part into a star turn.

Sicilian Bloodshed: A Resonant Cavalleria

The sublime, raw “Cavalleria Rusticana” featured a mix of international and local stars. South Korean tenor Yonghoon Lee (First Cast) brought immense squillo, dynamic nuance, and gorgeous legato to Turiddu. Vocally, he gave the score exactly what it demanded. Theatrically, his performance felt more inspired by Marlon Brando’s brooding bad boys than a Sicilian ex-soldier, but his charisma was warmly embraced by the audience.

Expectations were high for the highly anticipated debut of Ukrainian dramatic soprano Liudmyla Monastyrska as Santuzza (First Cast). Her massive instrument easily sliced through the dense orchestration, filling every corner of the hall from her very first notes. While her phrasing occasionally lacked authentic Italianate bite and diction, she more than compensated with sheer vocal firepower. Theatrically, she delivered a Santuzza deeply attuned to the tragedy of the story.

In the second cast, esteemed Argentine soprano Mónica Ferracani delivered her customary reliable emission and seasoned acting, leaning into the traditional martyrdom of the character, though her performance lacked moments of distinctive vocal transcendence. Argentine tenor Diego Bento proved a highly believable Turiddu, embracing the spirit of the staging with a potent instrument. However, during the intense confrontation scene with Santuzza, his technique faltered slightly; in his effort to maintain volume and dramatic thrust, he resorted to a noticeable throaty resonance that robbed his upper register of its natural spin.

Just as Silvio stood out in “Pagliacci”, Mamma Lucia commanded an unusually prominent position in this “Cavalleria.” This was largely due to the formidable vocal and theatrical presence of Argentine mezzo-soprano Guadalupe Barrientos (who sang in both casts). Armed with a plush, resonant lower register, Barrientos maximized De Ana’s staging choices, turning a supporting role into a deeply connected, scene-stealing anchor for the drama.

The Baritones Anchor the Evening

Finally, immense credit is due to Fabián Veloz and Youngjun Park, who took on the Herculean task of singing the Prologue, Tonio, and Alfio across both operas. These baritones bore the brunt of the evening’s rapid costume and scenic changes. In this cinematic concept, the Prologue took on heightened importance, acting not just as an introduction to “Pagliacci,” but to the entire double bill.

Argentine baritone Fabián Veloz (First Cast), an international prominent star and Colón favorite, sang with his trademark solvency, offering a warm timbre and nuanced phrasing across all three roles. South Korean baritone Youngjun Park (Second Cast) boasted a booming, resonant instrument and highly accurate characterizations, shining particularly bright as the wronged teamster Alfio. Both men were the foundational pillars of this production.

The Teatro Colón’s 2026 season opener was an event of undeniable magnitude. There was spectacle, brilliance and undeniable musical merit. While there were missteps—namely, a few questionable staging choices and visually distracting gimmicks—they did not eclipse the overall triumph of the evening.

Ultimately, the Colón succeeded in presenting a staging whose scale and meticulous elaboration are worthy of one of the world’s most legendary opera houses. Bolstered by robust national and international voices, this “Pagliacci” & “Cavalleria Rusticana” proved to be a highly successful launch to the lyric season. Still, it leaves us with a lingering warning: as opera moves into the future, we must be wary of overusing artificial intelligence, recognizing that the true magic of this art form relies exclusively on human talent.