In the atmospheric open-air amphitheatre of Monaco’s 14th-century Fort Antoine, Martín Palmieri’s Mateo emerged as a striking fusion of opera and tango. With the sea on one side, the port of Monte Carlo on the other, and the chorus robed in white like figures from Greek tragedy, the setting could hardly have been more evocative.
Palmieri, one of Argentina’s leading composers, travelled from Buenos Aires to conduct. Best known for his Misatango — performed for Pope Francis and staged more than 4,000 times worldwide — he here revealed another side of his artistry. Drawing inspiration from tango greats Troilo, Pugliese and Piazzolla, he blends the rhythms and colours of a traditional tango orchestra (two bandoneons, piano, violin and strings) with operatic scale. The music has both sweep and bite: sudden pianissimo cadences, lyrical arias for each character, and a rhythmic pulse that makes the score as danceable as it is dramatic. Hearing Palmieri himself at the podium was a privilege.
The drama centres on Miquele, a man undone by poverty and the march of progress as the motor car replaces the horse. Tempted by the villain Severino, he turns to crime while his children strain against his despair. The symbolism of a huge black horse dominating the stage, flanked by carousel-like smaller horses, proved powerful: life as a merry-go-round of loss, survival and change.
Argentine director Carlos Branca made imaginative use of chorus and dance, recalling Greek theatre traditions while celebrating tango as both music and movement. The overture featured two dancers weaving tango steps with ballet, a nod to both Argentine heritage and French operatic convention. As dusk deepened, the blending of natural and stage lighting lent the performance a magical glow.
The cast was uniformly strong. Baritone Fabrice Alibert, also artistic director, anchored the evening as Miquele, a role he first sang at the 1999 Reims premiere. His dark timbre and emotional intensity made Se daba vuelta me miraba genuinely heartbreaking. His achievement in pulling together such a strong ensemble also deserves recognition.
Chilean tenor Diego Godoy, whose career has surged since La Rondine in Nice, gave the standout performance as Chichillo. With ringing top notes and an urgent stage presence, he conveyed both youthful energy and tragic inevitability. French soprano Charlotte Bonnet (Lucia) sang with bright, lyrical warmth, her voice cutting through the darker textures of the score. Tenor Rémy Mathieu (Carlos) began with some upper-register tightness but relaxed into a more flowing and engaging performance as the family’s saviour. Mezzo Simona Caressa was deeply moving as Carmen, particularly in her aria Es mi hijo, sung with warmth and emotional depth. Bass-baritone Matthieu Lécroart was a convincingly menacing Severino, vocally and physically imposing.
What makes Mateo remarkable is its accessibility. Steeped in tango yet crafted with operatic technique, it bridges genres with ease. Its verismo themes — poverty, the clash of tradition and progress, the dignity of survival — resonate as strongly today as when first conceived. Both modern and timeless, it is a hybrid that feels natural and compelling in performance. For opera lovers, musical theatre audiences and tangueros alike, it offers genuine crossover appeal.
This Monaco staging proved musically assured, theatrically vivid and emotionally resonant. Plans are already under way for Mateo to travel — and on the strength of this performance, it deserves to reach a wide audience.
Théâtre du Fort Antoine, Monaco
Opera Tango in Three Acts
Composer & Musical Director: Martín Palmieri
Libretto: Javier Aduriz
Director: Fabrice Alibert
Staging: Carlos Branca
Lighting: Brice Romero
Cast includes: Fabrice Alibert, Matthieu Lécroart, Simona Caressa, Rémy Mathieu, Diego Godoy, Charlotte Bonnet, Frédéric Diquero, Elvis Miath
Running time: 1h 35min (no interval)
12–14 September 2025
Sung in Argentine Spanish
Photo Credit: Philippe Fitte