2025: De lo bueno, poco, por Lázaro Azar
The year 2025 brought a wave of standout classical performances across Mexico and Latin America. Major opera houses, orchestras, and festivals delivered memorable productions, though not all were equally well received. From Monterrey to Bogotá, audiences experienced everything from rare piano recitals to bold new stagings of classic works.
The season began in early January at the Cartagena Music Festival, where Martín García García’s piano recital drew high praise. In contrast, Javier Perianes’ performance at the same event failed to impress critics.
Later in the year, the Monterrey Symphony Orchestra revived Miguel Meneses’ *Atala*, while the Filarmónica de las Artes staged *Madama Butterfly* at the Centro Universitario Cultural. Nearby, Escena 77 partnered with the Orquesta Sinfónica del Estado de México to present *La Sonnambula* in Texcoco. Meanwhile, Marcelo Lombardero’s productions—including *Lady Macbeth of Mtsensk*, *Rigoletto*, and a tribute to Berio—stood out as some of the year’s most talked-about opera events. At the Ópera de Bellas Artes, Lombardero’s leadership saw 94 activities, from *Breaking the Waves*—which he directed—to concerts like *Madrigales de Monteverdi*. The institution also marked its 20th anniversary with a book presentation on 11 December. His tenure had begun earlier with a divisive concert version of Berlioz’s *Roméo et Juliette*, conducted by Stefan Lano. Guadalajara’s music scene thrived with the Orquesta Solista de América, led by Rodrigo Macías, performing Strauss waltzes and polkas alongside the Conjunto Santander. The city’s May Festival, along with the PAAX GNP Festival, remained exceptions in Mexico’s cultural landscape, praised for strong leadership and thoughtful programming. In Mexico City, Louis Lortie’s collaboration with the Jalisco Philharmonic at Sala Nezahualcóyotl was a rare highlight in an otherwise uneven orchestral season. Beyond Mexico, the Bogotá International Classical Music Festival showcased 20th- and 21st-century works from the Americas. Performances by Betty Garcés, Ramón Vargas, and the São Paulo State Symphony Orchestra drew acclaim, with Colombian audiences particularly enthusiastic about Gabriela Ortiz’s compositions.
The year’s classical calendar featured bold revivals, high-profile collaborations, and mixed audience reactions. While some festivals and directors maintained their reputation for excellence, others faced criticism or uncertainty. The final months of 2025 saw no new announcements from the Ópera de Bellas Artes, leaving its future plans unclear after a busy season.
