CONICET | Buscador de Institutos y Recursos Humanos

The history of the construction, decoration and the creation of multiple visual effects for the important Opera theaters of Montevideo (teatro Solis) and Buenos Aires (teatro Colon) during the first decade of the twentieth Century may be analized as a microhistory of the intense cultural relations between different layers of Italian immigrants within the cultural framework of both capital cities. The case of Pío Collivadino is, in this sense, a privileged viewpoint to understand the role of cultural identities (Italian/Argentine) in the world of the Opera in the River Plate. He decorated the ceiling of the Teatro Solis in Montevideo in collaboration with the uruguayan painter Carlos María Herrera, and made the scenography for the opening gala at the Teatro Colon in Buenos Aires. His archive is a rich source of information about not only the network of Italian artists active in both cities by the time, but of the complex creative processes of such interventions as well. This paper will examine the role that Pío Collivadino played since his return from Rome in 1906, in the translation of Italian traditions and expertise to the construction of those places of new mixtured cultural identities.

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