Erich Wolfgang Korngold, Die Tote Stadt (Teatro Colón, 1999)

José Luis Saenz, Correo Musicale Argentina

(...) The other hero of this production was its conductor, Stefan Lano, who continues to demonstrate that he is a profound and enthusiastic scholar of all-the scores he presents as well as an inspiring musician and excellent technician who succeeds time and again at bringing forth unusually fine performances from our orchestra. When a conductor of this caliber works with the Resident Orchestra, attending to the smallest of details, guiding and supporting them through the complexities of this extremely difficult score, it is evident to what a high level of playing they are capable. This evening, in the auditorium, Lano evoked for us the memories of a Leitner or a Previtali.

Graciela Morgenstem, El Cronista

Excellent work by Stefan Lano and the Orquesta Estable. This opera employs a voluminous and sonorous orchestral apparatus which spans the entire spectrum of instrumental color available. Lano brought forth clarity of line and texture and directed the score with a sure sense of structure and musical. precision.

Carlos Ernesto Ure, La Prensa

(...) This version of the Komgold opera distinguished itself, above all, in the orchestral plane. In his fourth presentation in the Teatro Colon, the Swiss-American conductor, Stefan Lano rendered a performance of the highest level, both from the technical as well as expressive standpoint He is well-acquainted with this seldom-performed work from having prepared it during his years as a pianist at the Vienna State Opera. He offered on this occasion, a seamless version of the opera in which the orchestra truly soared while maintaining perfect balance and permanent dramatic tension.

Federico Monjeau, Clarin

(...) The most successful aspects of this first Latin American production were those pertaining to the music itself. specifically, that which came out of the orchestra. Stefan Lano, entirely in his element with this music and as our bastion of modernism at the Colon, conducted masterfully.

Abel Lopez lturbe, Ambito Financiero

(...) The most resonant applause on the evening of the Premier went to Stefan Lano and the Orquesta Estable of the Teatro Colon who transformed this score with its Wagnerian density into a transparent wonder, which took us from Straussiana to Hollywood-like grandiloquence. An immense organism, this orchestration: with seven percussionists and an array of supplementary instruments. The devotion with which they performed and Lano conducted was palpable throughout the Colon. Lano is a conductor who possesses an authentic command and mastery of the repertoire of this soon-to-end century.

Juan Carlos Montero, La Nacion

(...) The other pillar of this event consisted of the musical leadership of Stefan Lano, marked with the authority and conceptual clarity of this born-conductor, who transmitted his ideas and objectives with absolute talent, over-looking nothing, yet with the devotion of a generous pedagogue. Lano formed, with the inestimable collaboration of the Orquesta Estable, a scintillating performance, both from the technical as well as interpretive standpoint faithful to the symphonic language of Korngold while supportive in every imaginable way, to the psycho-drama occurring on the stage.

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