The star of “María de Buenos Aires,” currently showing at the Capitol Theater, is truly captivating. Kelly Guerra brings María to life with a stunning voice and an alluring presence that draws people in. Some admire her, while others are prepared to fight.
This production is only the second Spanish-language opera presented by Madison Opera, whose history mainly includes works in Italian, German, and French. “María de Buenos Aires” was written by Horacio Ferrer in 1968, using a unique Argentine slang called lunfardo, which sets it apart.
Madison Opera uses this part of the season to take artistic risks, and “María” fits perfectly. The music by Astor Piazzolla is vibrant and energizing. It combines tango with exciting choreography from Kanopy dancers, making it impossible to look away from the stage.
Director Frances Rabalais creates a rich atmosphere that feels both sacred and seductive. The opera skillfully weaves religious imagery with themes of power and desire, creating a complex character in María, who is described as a witch, a spirit, and a holy mother.
The cast is brilliant, with Guerra’s powerful performance shining through. Her opening number, “Yo Soy María,” is lively and infectious, showcasing her vocal ability. Laureano Quant plays multiple roles, bringing an equally energetic presence to the stage with his expressive voice.
The music itself, under the direction of Kamna Gupta, sparkles. Instruments like the flute, guitar, and accordion-like bandoneon create melodies that are simply a joy to listen to.
Costume designer Karen Brown-Larimore dresses María in saintly white robes and a vibrant red dress for the bar scenes. This transformation highlights her character’s dual nature effectively. The choreography by Lisa Thurrell also adds flavor to the production, with dancers weaving around each other seamlessly.
While Ferrer’s surreal text can be challenging to grasp, the overall production is engaging. Though the narration by Kirstin Chávez as El Duende relies heavily on spoken text, her confident stage presence captures the audience’s attention.
Other creative elements, like Katy Fetrow’s unique scenic designs and Tláloc López-Watermann’s evocative lighting choices, enhance the performance. The lighting shifts dramatically, creating a haunting atmosphere as María navigates her conflicts.
Overall, “María de Buenos Aires” immerses viewers in a dreamlike journey filled with vibrant music, dance, and a colorful exploration of character. It’s an experience that captivates from start to finish.
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