Carlos Palacios , Regisseur , escenógrafo e iluminador

PRESS

                                                                                                                            


LES CONTES D` HOFFMANN …
Carlos Palacios plays with fantasy and imagination   that the bella òpera de Offenbach requires,  creating an agile regie with persona codes, weirdr at times,such as the acrobats in the prologue or the weired burial of the musical instruments in the act of Antonia. In general terms, his mise en scene has plasticity, even with the plastic and acrylic ornaments in the act Olimpia..  Ámbito Financiero , 28  November of 2008 – Eduardo Giorello.

 L´ELISIR D´AMORE"..
.the refinated scene concept and mise en scene….based on a painting of Van Gogh,in an imaginary and original concept that signs a regie of Carlos Palacios not free of grace and logic, resides showing a great efficiency in marking the participants"
Abel Lopez Iturbe (28 - 02- 2003) Ámbito Financiero

 L´ELISIR D´AMORE "...The mise en scene offered by Carlos Palacios, and artist that Works devoted and with great thrust, was used as the most important element of ambientation fothe image of the known painting "La llanura de la Crau", of V. Van Gogh, and wih the help of theatrical simple resources,good ambientation and appropriate apparel he constructed a version adjusted to the best tradition, with the valuable virtue of not having interruptednb the importante of the song." Juan Carlos Montero (29 - 09 - 2002) La  Nación

L´ELISIR D´AMORE    "..
.La régie and scenery of Carlos Palacios brings a breeze of fresh air With a "naif impostation and using the paintings of Van Gogh, most of all "la llanura de la Crau", the régisseur created a succesfull mise en scene where creativity and plastic beauty shake their hands mosto f the time."  Eduardo Giorello (5 - 10 – 2002) La Prensa

L´ELISIR D´AMORE"
.. The mise en scene has also its merit in the positive result obtained ... A painting of Van Gogh acts as background to the landscape of workers that Carlos Palacios, régisseur y and schenographer, used as a contextual and ambiental element, allowing in this wahy a whole lot of Graphics and illustrative syntaxa. The movements of the parts were adjusted to the scenary with dinamismo and efficiency...a play that deserved, a loto f applause it gained" Néstor Echevarria (29 -09 - 2002) La Prensa

THE MAGIC FLUTE... The Opera Director  integrated fhe ilumination, the set designe an he  general direction with profesionalism and likenness for fantasy, that always has caracterized all the work of this complete  theatrical man calIed Carlos PaIacios.
CORREO MLISICAL ARGEN'TINO, november 16 th  I99I   Eduardo GioreIlo

TURANDOT..
.In regards to this scenic work, it is important to mention the production beIonginng  to the Opera Director CarIos PaIacios  With just a few well combined elements, lighting  and asserted color design, he was able  to created the fantastic atmosphere of the chinese leyend. He did  it with  imagination, inteligence and refinamentt.  LA PRENSA, I991 - G. Malde.


CAVALLERIA  RUSTICANA and  I PAGLIACCI..
.The setting on stage from the argentiniean poducer Carlos PaIacios without and general modifications , has moments where we can see in a dear  the supervision from this extraordinary director .
EL DIARID DE CARACAS, lune 29 th 1990, VenezueIa.


LA TRAVIATA... The Opera Director Carlos Palacios proposed an unconventionaI set. From the beginning (wifh the drinking) with drawing  objects from fhe dying woman's room (Act 4) inside a good scenic movements. LA  MAÑANA,  Uruguay, june  6 th 1989.


THE MAGIC FLUTE..
.With abstracts movements he has got a visual instance who has help him to improve into the music of this marvellous Magic Flute.
EL DIA, october  10 th 1987, La Plata - E. Atencio.

AIDA..
A beatiful set endowed  wifh suprising effects, Iights and movements aIso during the internal (even in the roof of flot  and also before at the beginning of the opera).
EL DIA, december 2l th I986, La Plata -  E. Atencio.

CARMEN
..A right regie guided to a clear displacement and on of part an acceptable gain of the wholet. LA NLIEVA PROVINCIA, june I7th 1987, Bahia Blanca.

L'ITALIANA IN ARGEL...
With humor and refined imaginafion the Opera Director  Carlos Palacios excelled the scenic mechanism. A very detailed producfion got the most from all  the singers... LA RAZON, october I4th I986 - Oscar Ledesrna.

LUISA FERNANDA...
With Iife and souI...In Buenos Aires we can see  at the Liceo Theatre in an exceIIent translation loyal  and pure like a  few,, who denotes the presence of a young director Carlos Palacios...CLARIN ,  march 4 th    I985  Napoleón Cabrera.

MADAME BUTTERFLY . Precise  interpretatiion...the  regie of CarIos Palncias has established the inciting atmosphere  with  more poetry than reaIism coming from the bigest and the expensives displays.. LA PRENSA, april  25 th 1982 .

IL BARBIERE DI SIVIGLIA...
The anxiaus pubtic has switched with receptivity  to an effective scenic solution from the Opera Director Carlos Palacios where all  his imagination provided for fhe lack of economic resources. LA RAZON, november I6 th I985 - Oscar Ledesma .


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