Julio Bocca will replace Jorge Telerman at the Colon

The Minister of Culture of the City, Gabriela Ricardes, removed Jorge Telerman from the General and Artistic Direction of the Teatro Colón, a position he held since the 2022 season, when he replaced María Victoria Alcaraz. Although the Colón is completely secretive regarding the decision to dismiss Telerman and his possible successor, for a few days now it has been mentioned – by unofficial but serious sources – that the person who will occupy the same position will be the dancer Julio Bocca.

“For me and my collaborators, it has been an immense and unforgettable honor to lead the destiny of this wonderful institution over the last two and a half years. During this time, the Teatro Colón has achieved a series of accomplishments that make us proud: the incorporation of new audiences and new generations, permanent sold-out performances, record audiences, rich and diverse programming in a committed dialogue with its time, a considerable increase in own resources, through fundraising and through private donations, which have been decisive for this season.”

“We know that the revalidated national and international recognition of the artistic excellence and professionalism of our beloved theatre has been possible, first of all, thanks to the extraordinary dedication, talent and commitment of its workers and artistic bodies, with whom we share a conviction that has already become a motto of our management: the Colón is for everyone, but not for everything.”

“I am deeply grateful to each of the hundreds of women and men who have made it, are making it, and will always make it possible.”

For budgetary reasons, the Colón is developing —with few exceptions— a season that is based almost exclusively on reruns. Not only that, but also, because of the exchange rate restrictions and said money restrictions, in more than one case there were international artists who have not yet been paid for their contracts. This is the case, mentioned those sources cited at the beginning, of the Russian singer Anna Netrebko, among others (and not only artists, but also technicians: some denounced it on their social network).

“This is nothing new at the Colón,” the source cited told this newspaper. “However, during previous administrations, such as that of the deceased García Caffi and others, the authorities sought a way to unblock and comply with the payments, something that did not occur in the Telerman case.”

This could be due to the disagreements between the management of Jorge Macri and the former Sciolista official, supported by Horacio Rodríguez Larreta; Telerman, in addition, expressed his support for Martín Lousteau, although an interpretation of this nature is quite partial considering an institution that never ends up putting its accounts in order, such as the Teatro Colón.

The same thing happened with Martha Argerich: the prestigious Argentine pianist did not come to her usual festival this year because she knew there would be problems in receiving her fees. When, for no health or agenda reasons, the cancellation of her performances was announced a few weeks ago, all the alarm bells rang.

During Telerman’s administration there were achievements (the Colón’s attendance increased, he sought to attract young audiences at affordable prices, he took the Colón to the Rural in a resounding spectacle with a Mahler Symphony, conducted by Charles Dutoit, etc.), but also conflictive events, such as union clashes with the members of their orchestras, an endemic evil that does not seem to have an end.

Telerman had to deal with a very unpleasant situation earlier this year when British conductor Jan Latham Koenig, whom he had appointed as musical director of the Colòn in 2023, had to be immediately dismissed at the beginning of this season when he was charged in London with a paedophilia offence.

Of course, this was a private crime that occurred in a foreign country and had nothing to do with the honorability of the Colón and its officials (beyond the bitter pill it represented), but the discomfort was generated by the Englishman’s mistreatment, which Argentine musicians used to constantly complain about.

Letter from Jorge Telerman

“I want to inform you that, in the last few hours, the Minister of Culture of the City has communicated to me her decision to replace me as director of the Teatro Colón”

“For me and my collaborators, it has been an immense and unforgettable honor to lead the destiny of this wonderful institution over the last two and a half years. During this time, the Teatro Colón has achieved a series of accomplishments that make us proud: the incorporation of new audiences and new generations, permanent sold-out performances, record audiences, rich and diverse programming in a committed dialogue with its time, a considerable increase in own resources, through fundraising and through private donations, which have been decisive for this season.”

“We know that the revalidated national and international recognition of the artistic excellence and professionalism of our beloved theatre has been possible, first of all, thanks to the extraordinary dedication, talent and commitment of its workers and artistic bodies, with whom we share a conviction that has already become a motto of our management: the Colón is for everyone, but not for everything.”

“I am deeply grateful to each of the hundreds of women and men who have made it, are making it, and will always make it possible.”

Jorge Telerman’s management at the Teatro Colón

For budgetary reasons, the Colón is developing—with few exceptions—a season that is based almost exclusively on reruns.

During Telerman’s administration there were achievements (the number of attendees at the Colón increased, the Martha Argerich recitals continued, although this year they were interrupted), but there were also conflicting events, such as the union situation with the members of his orchestras, in addition to the famous case of the British orchestra director Jan Latham Koenig, whom Telerman had appointed musical director of the institution at the beginning of last year, and who was immediately fired at the beginning of this season when he was charged in London with a crime of pedophilia.

Of course, that was not what caused the conflict (it was, of course, a private crime that occurred in a foreign country that had nothing to do with the honorability of the Colón and its officials), but rather the discomfort was generated by the Englishman’s mistreatment, which Argentine musicians used to constantly complain about.