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The Italian teacher Attilio Cremonesi once again proved to be very well connected with the Santiago Philharmonic, achieving a successful balance between the pit and the stage, highlighting the beauty and contrasts of the score, attentive to the theatrical. Cremonesi’s directing was one of the best of the premiere, and he allowed himself to try interesting and not so traditional elements, such as the accompaniments to the recitatives, more expressive and descriptive than usual.

[Radio Dulce Patria]
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Attilio Cremonesi’s version has a baroque approach and the sound achieved allowed us to reveal some of the chamber music details that the score has and to assess the progress in fingering that the string section of the Philharmonic Orchestra has had. The director was always aware of the singers.

[El Mercurio]
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The musical direction showed a concept of the opera that gave primacy to the details with an overture full of dynamic nuances. He managed to expand or reduce the orchestra as the situation required. From the stage, he fiercely controlled and closed arias, duets, trios, and concertados, with a broad and generous gesture, permanently accompanying the singers.

[Cine y Literatura]
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The musical reading of maestro Attilio Cremonesi… it is an enormous job with both the orchestra and the singers, it manages to extract from the Philharmonic a chamber-sounding sound that is deeply felt by Mozart. An agile, varied, tight reading, very steeped in the character of each situation and character and that highlights the rich sound framework of the piece.

[Toda La Cultura]
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Attilio Cremonesi led the Santiago Philharmonic Orchestra, achieving, as is his custom, a beautiful and transparent sound, with beautiful dynamic contrasts, endearing pianissimo.

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