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$ Vitreaux<br />
The massive vitreaux<br />
(above) in the entrance hall is<br />
impressive, but do not miss<br />
the pair in El Salón Dorado,<br />
depicting Greek mythology.<br />
La Sala<br />
There is no such<br />
thing as a bad seat<br />
within the Colón’s<br />
auditorium, where<br />
upward of 2,500<br />
spectators (right)<br />
seated in red velvet<br />
seats are treated to<br />
acoustics only<br />
afforded by a theater<br />
with the optimal<br />
horse-shoe shape.<br />
* La Cúpula<br />
A 3,423-sq ft (318-sq<br />
m) dome above La Sala’s<br />
floor forms the crown on<br />
el Colón (left). Its original<br />
paintings deteriorated –<br />
the present ones were<br />
rendered in the 1960s.<br />
( Pasaje de los Carruajes<br />
At the top of the entrance hall stairs is this<br />
narrow hallway where, prior to the automobile’s<br />
popularization in <strong>Buenos</strong> <strong>Aires</strong>, carriage drivers would<br />
pick up and drop off their affluent charges.<br />
)<br />
Workshops<br />
In the three<br />
basements, artisans<br />
construct sets, sew<br />
costumes, and design<br />
props. Performers hold<br />
rehearsals on the<br />
replicated stage (right).<br />
%<br />
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El Paraíso ^ The cheapest “seats”<br />
also happen to boast<br />
some of the best<br />
acoustics. Here, in the<br />
ironically named Paraíso<br />
(Paradise), more than 500<br />
standing audience<br />
members can pack in.<br />
Optimal sight lines,<br />
however, are guaranteed<br />
only for early arrivals.<br />
& Library<br />
El Colón’s formidable<br />
archives, accessible to<br />
all, contain first-edition<br />
librettos, artifacts from<br />
past performances, and<br />
rich ballet and opera<br />
reference materials. The<br />
library’s main attraction is<br />
its complete set of<br />
programs from theater<br />
performances, dating<br />
from its 1908 opening.<br />
A Fraught<br />
Opening Act<br />
The Colón’s cornerstone<br />
was laid in 1889, yet the<br />
theater would not open<br />
for two decades. The<br />
lead architect died<br />
during construction,<br />
leaving his assistant in<br />
charge until his own<br />
death in 1904, followed<br />
by the chief financier’s<br />
assassination. A Belgian<br />
then inherited the<br />
project, imparting many<br />
French Baroque<br />
touches. Verdi’s Aida<br />
finally inaugurated the<br />
house in 1908.<br />
<strong>Buenos</strong> <strong>Aires</strong>’ <strong>Top</strong> <strong>10</strong> 13