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María de Buenos Aires

Thrill your audience with our production of María de Buenos Aires, the world’s only all-tango opera, by famed Argentine composer Astor Piazzolla.  It is a performance of passionate storytelling told by the jazz and folk-inspired tango music of Argentina. The rhythm of the music is palpable, and the opera’s plot is hypnotic.  This intimate 80-minute piece is the perfect way to utilize nearly any sized stage, or try a unique performance venue, such as black box, dance club, or local café.

“Syracuse Opera does it right in its new production of Astor Piazzolla’s tango opera María de Buenos Aires. Friday night’s opening performance provided a thoroughly entertaining evening of stylized dance music.”

MariadeBuenosAires
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Thrill your audience with our production of María de Buenos Aires, the world’s only all-tango opera, by famed Argentine composer Astor Piazzolla.  It is a performance of passionate storytelling told by the jazz and folk-inspired tango music of Argentina. The rhythm of the music is palpable, and the opera’s plot is hypnotic.  This intimate 80-minute piece is the perfect way to utilize nearly any sized stage, or try a unique performance venue, such as black box, dance club, or local café.

Born every night in the tango clubs of La Boca, she seduces her payadors by fulfilling their every desire in the dance. As the bars close in the early morning hours she dies, only to be reborn the next day. Colored by Argentine folklore and Catholic imagery this fairytale blends Horacio Ferrer’s poetry and the musical brilliance of Argentine’s most acclaimed composer.  María and Tango ask only that you experience this music to love it.

Sung in an Argentine dialect to Piazzolla’s haunting melodies, our two vocalists have mastered the style required to bring this work to life.  A vibrant narrator weaves the tale, and your own professional or community dancers augment the scene.  Scored for 9 solo instruments, it is a perfect way to feature players of your orchestra in a night of unique and rewarding music-making that is a joy to perform. Sold-out houses around the world prove this to be true. This production has most recently thrilled audiences in New York, Houston, Miami, Naples, Aspen, Cincinnati, Salt Lake City, and Syracuse.

Led by conductor Douglas Kinney Frost (Los Angeles Opera, Opera di Roma, Teatro Colón), director/choreographer Adam Cates (Broadway’s Gentleman’s Guide to Love and Murder and Anything Goes; Lincoln Center), and Luis Alejandro Orozco (Kennedy Center World Stages, Washington National Opera, Spoleto Festival), María de Buenos Aires has performed to sold-out audiences at Forida Grand Opera, Cincinnati Opera, Lexington Philharmonic, Aspen Music Festival, and many more!

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…what every opera should accomplish…
“It accomplishes what every opera should accomplish; María de Buenos Aires forces viewers to care about María and the passion, danger, pathos and hope she represents.” 
…allows the power of music to take on a starring role…
“His production allows the power of music to take on a starring role. Each song is portrayed as its own vignette, with the surreal concept of María embodying tango and the city itself as more of a backing vocal.” Read more about Adam Cates’ production of María de Buenos Aires here!
…all the men want to lover her…all the women want to be like her…
“‘María is the personification of tango,’ said Cuervo. ‘A very strong woman. She’s going to conquer anything. She goes through so much. She is sold. She is raped. But she uses these experiences to her advantage. She is tango. All the men want to love her. All the women want to be like her. Everyone wants to tango, to be like María.’” Read more about Anchorage Opera’s production of María de Buenos Aires here!
…precision and power…
“Tall, clean-shaven and leading-man handsome is baritone Luis Alejandro Orozco, who becomes a recurrent character named El Payador. Orozco, a singer with wide experience, brings precision and power to his music. His imposing presence and graceful dance steps complement and enhance the title character without making him only a supporting player.” 
…attractive and accessible…
“Piazzolla’s writing is immediately attractive and accessible to the listener. Once you hear a fugue whose subject starts with bandoneón and answered by a guitar, it’s hard to return to the music of Bach.” 
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