In his review of theatre productions that took place in Madrid between 1962 and 1963, George O. Schanzer considered El concierto de San Ovidio to be the ‘best serious play’ performed during the season. He noted that ‘despite its return to the author’s theme of blindness’, the play was memorable ‘because of it’s depth and thought provoking symbolism' (1964: 338).
Schanzer, George O. 1964. ‘Remarks on the Theatrical Season in Madrid 1962-63’, Hispania, 47.2, 337-9
This production was elaborately staged. Its lavishness, however, troubled one reviewer, who writes:
No expense has been spared to make this production a visual feast, but the very lavishness of the sets and costumes works against the grain of the text. We must ask if Buero's impassioned attack on social exploitation on the eve of the French Revolution really requires such an extravagant setting to make its point. Certainly the playwright's own original stage directions suggested a far simpler staging, with drop curtains and selective lighting to provide rapid scene changes and restricted playing areas. (Holt 1986: 86)
Holt, Marion Peter. 1986. ‘Review: Divinas palabras; El concierto de San Ovidio’, Performing Arts Journal, 10.2, 84-7
Entry written by Gwynneth Dowling. Last updated on 9 May 2012.