Bartok, Concerto for Orchestra
Orquesta Estable del Teatro Argentina, 2000

La Nacion

Martin Liut

An Orchestra with a Future
It is evident that Pedro Pablo Garcia Caffi has set very high goals for the newly re-constructed Teatro Argentina. For the first concert commemorating the re-opening of the theater in La Plata, notable were the difficulty of the program, and the artistic caliber of the conductor chosen to present it...

Public and orchestra applauded enthusiastically the conductor, Stefan Lano in his long anticipated return to the Teatro Colón. He again demonstrated his technical solidity in realizing a most difficult opera at a very high niveau of performance. The Rake's Progress is extremely demanding for the orchestra, with many exposed passages demanding Mozartian clarity and precision. Lano accomplished this with his customary professionalism.

Accompanying the energetic and vibrant performance of violinist Fernando Hasach, it was evident that the orchestra was entering hitherto unknown territory in their history as an ensemble. Lano guided them with his customary clarity and calm, but he was clearly not in a position to take the high and risky musical flights we have come to expect of him. He concentrated instead on precision and cultivation of his new ensemble, which resulted in both this concerto and the work that followed, in a certain global coolness.

In the complex Concerto for Orchestra, the changes we noted in the orchestra in the first part of the concert continued to reveal themselves with increasing drama. Compared to the caliber of performance from previous years, it does Lano credit that, in his first program, he has opened artistic vistas which would not been thought possible.

In any event, this concert served to point up the change of attitude of this orchestra: their demeanor on the concert stage was attentive and professional and they maintained the high level of concentration necessary for such a program, throughout the evening. Without doubt, Bartok's Concerto for Orchestra can point up the strengths and weaknesses of any orchestra that performs it. Lano's attention to detail was, in this instance, both excessive and necessary. In the course of the evening, one had the impression of an orchestra 'growing' before us: the timidity of the first movement seemed all the more in contrast to the exultant playing of the finale. Lano has put the orchestra on a demanding and promising path.