Berg, LULU, Teatro Colón 1993

Oscar Ledesma, La Razon

The Teatro Colón, as is generally expected with projects of special importance, went to great extremes to assure this first South American performance of the three-act version of LULU the respect and artistic attention it is due. The effect of this opera depends, more than others on the variable structures of the orchestra, the formal symmetries and, above all, the complexities of thematic interplay. Voices and orchestra are a unity: all of equal importance. It is these deciding elements which test the acoustic power of perception, the capability and sensitivity of the conductor. Stefan Lano demonstrated a mastery of these elements and more. He achieved a balance within the orchestra and between orchestra and stage which facilitated the understanding of both text and the multi-faceted inter-weavings of musical material so important to this opera. Understanding the music is, no doubt, a deciding factor, he also did not miss the opportunities to underscore the rhythmic vitality which, although less analytic than other facets of this music, is equally important to the over-all success.

Federico Monjeau, Clarin

(...) One of the primary challenges for the conductor in a work such as LULU consists of his ability to clarify musical parentheses in such a manner that the text is clear and supported without the rhythm of the work being superceded. Stefan Lano could be observed in rehearsals as he sang, note for note, the various passages which confused the singers and orchestra. He solved the many problems with mastery: perfect choice of tempi, dramatic rhythmic articulation, wellstructured dynamic of tempo modulation, variety of texture and balance in clarifying main and subsidiary voices. All of this worked out to the most minute of details which resulted in an outstanding achievement by the Colón orchestra.

But there is another aspect of this experience with LULU which has moved us deeply: something which is not merely of aesthetic nature, but whose historical importance goes beyond the history of this opera. One has not forgotten that the fate of the opera has not been assimilated to the fate of the author. To the history and experience of LULU, we associate the names Berg, Adomo, Cerha, Boulez, Lano and many others. Now, the Teatro Colón is part of this history as it has presented one of the most worthy and precious productions in its history.

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The thankful Colón public applauded the ensemble and conductor, Stefan Lano, whose mother died on the day of the first performance. All the more impressive: his equanimity and mastery of this complex score at a time of personal loss.

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