National Opera
This is what they called her 1898 - 1950

This remarkable work is only possible because behind it, above it, and before it stands an opera enthusiast like Gonzalo Cuadra. An artist who knows the genre and what it produces in the affections of those who feel challenged by it; who is capable of recognizing the value of a score and of events linked to musical life—sometimes inexplicable, like many of those narrated here—and who can detect how certain gaps in knowledge regarding art are due to some social injury and/or end up producing it. The ignorance and marginalization of Chilean opera—which deepened the lack of development that the genre displays in this land—are predictable, but that does not make them any less surprising.