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zur Startseite (ecotopia dance productions: Pressestimmen Fondazione Nazionale della Danza / Aterballetto - In Canto)

FONDAZIONE NAZIONALE DELLA DANZA / ATERBALLETTO

PRESSESTIMMEN

"... once again Mauro Bigonzetti has succeeded in hitting the target, and has added another pearl to the rich collection constructed in ten years at the head of Aterballetto… “InCanto” with a set and visual scenes by the painter Angelo Davoli… Davoli, at his first experience in a theatrical production, created, with the light design of the expert Carlo Cerri, the ideal environment for the complex evolution of the dancers (…).
Bigonzetti already has succeeded in bringing the dancers to a surprising degree of harmony, …contemporary baroque ... the dancers move in tight fitting costumes halfway between armour and spacesuits to the music of Handel, more appropriate for court dances than to marching armies. Warrior strength, folly, and love constantly make tangles of bodies explode in perfect synchronization.
The pas de deux of Vincenzo Capezzuto and Anne-Laure Seillan is siuperb ... This “InCanto” is really an enchantment. It will certainly remain among the most valuable works of the rich collection of Aterballetto ... "
Bruno Cancellieri – Il Resto del Carlino, 16 December 2007

“ Haendel’s “Rinaldo” and his other music fragments interspersed by the fascinating arrangements by Bruno Moretti are the poetic background music of this original creation by Mauro Bigonzetti, who takes free inspiration from the Orlando Furioso and creates a completely abstract ballet in which he shows the innermost soul of Ariosto's poem, namely the burning magma of madness and fear, of Eros and passion. The geometric precision and the physical dynamics are extreme. Though solos, duets, trios and group dances the excellent dancers of the Company (…) offer a visual echo of the knightly duels and the audacious enterprises (…). Angelo Davoli’s projections are very impressive (and Carlo Cerri’s light design is perfect). They are studded with stars and clouds, spaceships and strange cockpits equipped with antennas, which create an extraterrestrial universe where Paladins seem transformed into space creatures (...) anxiously running on the curved platform at the end of the stage to look elsewhere, for a possible way to escape from the finitude of existence. The final is fascinating (…) at times the dance becomes more frantic and has precise references to classic stylistic elements, at times it becomes more languid. Rarefied and dreamlike sequences evoke the troubles and elegance of the chivalric poem by Ariosto.
Paola Bruna- Il Gazzettino, 10 April 2009

“…visual artist Angelo Davoli’s poetic set up projects starry skies and clouds chasing each other in immense blue spaces and delimits the background with a curved wall that the dancers try to climb or slide from… But rather than focusing on the athletic movements, Bigonzetti is interested in the madness and the conflicts that menace human destiny. Set to Haendel’s music, congenial to Bigonzetti, the choreographer unravels a sequence of solos and duets in which he expresses his genius. (…). The Company, as usual, follows him brilliantly and proves its verve in a bizarre and amusing group dance that frames the entire ballet.”
Silvia Poletti – Danza&Danza, January/February 2008

“the virtual space that comes towards us, thanks to Angelo Davoli’s appropriate projections, is studded with romantic stars and capricious cirrus just like the intrigues of the restless Angelica, but it is mostly populated by mysterious, technological spacecrafts and cockpits with antennas. And so the 18 paladins that hurl themselves on the platform at the back of the stage to look more closely at the sky that is yet unnamed and reveal the need to discover a different place, the moon or the netherworld, besides the contingent infinitude…. Bigonzetti cuts and sews his ballet with his usual geometric skill, alternating ensembles, solos, pas de deux, trios or quartets, as when the hero, brandishing a rod, repudiates two rivals clutching a single ballerina…”
Marinella Guatterini – Il Sole 24 ore, 23 November 2008

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