Uno Spettacolo Dal Titolo Emblematico, Ripar-Tänze, Che

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Uno Spettacolo Dal Titolo Emblematico, Ripar-Tänze, Che RIPAR-TÄNZE Uno spettacolo dal titolo emblematico, Ripar-Tänze, che unisce la necessità di ripartire, di trasformare le limitazioni in spunti per nuove idee, alla parola Tänze (danze in tedesco). È questo infatti il titolo della nuova coreografia di Davide Bombana, commissione del Teatro Massimo presentata oggi in prima assoluta, che conclude questa serata di danza. La prima parte dello spettacolo vede una sflata di passi a due dal grande repertorio classico/contemporaneo, dello stesso Bombana ma anche di coreograf come Kenneth MacMillan, Mauro Bigonzetti e Heinz Spoerli, affdati a ballerini del Corpo di ballo del Teatro Mas- simo e agli ospiti Martina Arduino, Marco Agostino, Nicoletta Manni e Timofej Andrijashenko, due coppie anche nella vita – quindi non soggetti alle limitazioni del distanziamento – dal Corpo di ballo del Teatro alla Scala di Milano. Lo spettacolo si apre con la scena del balcone da Ro- meo e Giulietta, con la musica di Sergej Prokofev e la coreografa del 1965 di Kenneth MacMillan. Quella di Giulietta e Romeo è forse la storia d’amore più celebre in assoluto: Shakespeare racconta un amore a distanza tra due giovani appartenenti a famiglie rivali, due in- namorati che non possono nemmeno toccarsi, che al primo incontro riescono appena a scambiarsi un bacio e a sforare le mani, nascosti da una maschera e che al secondo, appunto la scena del balcone, nella tragedia rimangono ancora lontani: una distanza che nel ballet- to viene colmata da un pas de deux, che è tra l’altro la scena dalla quale è partito MacMillan per la sua core- ografa. Cantus su musica di Arvo Pärt (In memory of Benjamin Britten) è invece un passo a due maschile, su coreogra- 16 fa di Davide Bombana, tratto dal balletto Galathea’s Myths, che ha avuto la sua prima rappresentazione a Paphos (Cipro) nel 2017. Il balletto in due atti Caravaggio di Mauro Bigonzetti è un omaggio al grande pittore italiano, ai suoi intrecci di corpi e di luci, che si sposano alla musica di Claudio Monteverdi riletta da Bruno Moretti, creato nel 2008 per lo Staatsballett di Berlino. Dal secondo atto provie- ne il sensuale Pas de deux eseguito oggi. Infne la coreografa di Heinz Spoerli con il quarto pas de deux che conclude la prima parte, la Variazione n. 25 dal balletto Goldberg Variations sulle note di Johann Sebastian Bach, creato da Spoerli nel 1993 per la Deu- tsche Oper di Düsseldorf. Una musica astratta, puris- sima, per una danza altrettanto astratta e concentrata, dove come ogni nota, così ogni gesto richiede un’at- tenta perfezione. La seconda parte della serata vedrà la prima rappre- sentazione assoluta della creazione di Davide Bomba- na che si intitola appunto Ripar-Tänze, pensata apposi- tamente per questo momento e per il Corpo di ballo del Teatro Massimo: il sottotitolo è infatti “Grossa Fuga ai tempi del Covid19”, con allusione alla Grosse Fuge op.133 di Beethoven che accompagna i movimenti dei danzatori. Tra la prima parte (sulle note della Ca- vatina dal quartetto op. 130, che in origine si doveva concludere appunto con la Grosse Fuge) e la seconda di questa “ripartenza”, Marco Pierin reciterà i versi della Pantera di Rilke, un poema che è stato un riferimento sempre presente per Bombana durante il lockdown, quando osservava in rete i video dei danzatori segre- gati in casa, inquieti come felini in cattività. 17 Scena del balcone da Romeo and Juliet Coreografa Kenneth MacMillan Musica Sergej Prokofev Interpreti Martina Arduino, Marco Agostino Cantus (In memory of Benjamin Britten) da Galathea’s Myths Coreografa Davide Bombana Musica Arvo Pärt Interpreti Alessandro Cascioli, Emilio Barone Pas de deux da Caravaggio Coreografa Mauro Bigonzetti Musica Claudio Monteverdi e Bruno Moretti Interpreti Nicoletta Manni, Timofej Andrijashenko Variazione n. 25 da Goldberg Variations Coreografa Heinz Spoerli Musica Johann Sebastian Bach Interpreti Martina Arduino, Marco Agostino “RIPAR-TÄNZE” (Grossa Fuga ai tempi del Covid19) Prima rappresentazione assoluta Nuova creazione di Davide Bombana Musiche Ludwig van Beethoven Costumi Santi Rinciari Luci Carlo Cerri Voce recitante Marco Pierin Cavatina Simona Filippone, Giada Scimemi, Valentina Zaja Daniele Chiodo, Fabio Correnti, Benedetto Oliva Grossa Fuga Annalisa Bardo, Francesca Bellone, Michaela Colino, Francesca Davoli, Lucia Ermetto, Noemi Ferrante, Giorgia Leonardi, Romina Leone, Carmen Marcuccio, Alessia Pollini, Francesca Riccardi, Jessica Tranchina Emilio Barone, Marcello Carini, Vincenzo Carpino, Alessandro Cascioli, Gaetano La Mantia, Gianluca Mascia, Diego Millesimo, Michele Morelli, Diego Maria Mulone, Riccardo Riccio, Giuseppe Rosignano, Giovanni Traetto Corpo di ballo del Teatro Massimo Assistenti alla coreografa e Maître de ballet Marco Pierin, Sabrina Vitangeli RIPAR-TÄNZE RIPAR-TÄNZE Il suo sguardo, per lo scorrere continuo delle sbarre, è diventato così stanco, che non trattiene più nulla. È come se ci fossero mille sbarre intorno a lei… L’incedere morbido dei passi fessuosi e forti, nel girare in cerchi sempre più piccoli, è come la danza di una forza intorno a un centro in cui si erge, stordito, un gran volere… Questi passaggi della meravigliosa poesia di Rilke La Pantera afforavano nella mia mente ogni volta che, nel periodo di lockdown, guardavo in rete i danzatori che facevano esercitazioni e trainings segregati nelle loro case, e mi ricordavano appunto felini in cattività. Mi sono immaginato così per la mia nuova creazione “RIPAR-TÄNZE”, una piccolo gruppo di creature solita- rie che, come risvegliandosi da un letargo, sono acco- munate e rese simili dalla disperata ricerca e bisogno dell’altro ma allo stesso tempo non arrivano, seppur desiderandolo fortemente, ad instaurare un rapporto o punto di contatto rendendo così, la loro, una danza furiosa di solitudine. Davide Bombana 28 Der Panther Im Jardin des Plantes, Paris Sein Blick ist vom Vorübergehn der Stabe so müd geworden, dass er nichts mehr halt. Ihm ist, als ob es tausend Stabe gäbe und hinter tausend Stabe keine Welt. Der weiche Gang geschmeidig starker Schritte, der sich im allerkleinsten Kreise dreht, ist wie ein Tanz von Kraft um eine Mitte, in der betäubt ein großer Wille steht. Rainer Maria Rilke 29 RIPAR-TÄNZE Davide Bombana Milanese, ha studiato alla scuola di Ballo del Teatro alla Scala. Nel 1977 ha debuttato nella parte principa- le nell’Uccello di fuoco di Béjart con la compagnia del Teatro alla Scala, dove è promosso solista e in seguito primo ballerino. Ha danzato tutti i ruoli principali del repertorio classico e neoclassico. Nome di spicco del- la danza internazionale, è stato primo ballerino anche del Pennsylvania Ballet di Philadelphia, dello Scottish Ballet di Glasgow, del London Festival Ballet di Londra. Dal 1986 al 1991 lavora con il Bayerische Staatsballett come primo ballerino. Dal 1991 al 1998 nello stesso teatro comincia la sua attività di maître de ballet e core- ografo, collaborando poi anche con l’Opera di Parigi, il National Ballet of Canada di Toronto, il New York Cho- reographic Institute di New York, il Queensland Ballet di Brisbane, il Maggio Danza di Firenze. Dal 1993 al 1998 a Monaco crea per il Bayerische Staatsballett di- versi balletti astratti e narrativi che vincono premi pre- stigiosi di danza come “Bayerischer Theaterpreis” a Monaco di Baviera e il “Benois de la danse” a Mosca. Nel 1998 è nominato direttore della compagnia foren- tina “Maggio Danza” dove ricrea diversi dei suoi lavori e crea in prima mondiale, per il 62° Maggio Musicale Fiorentino, Teorema tratto dal libro di Pasolini. Ha cu- rato anche la coreografa per il video clip “Ad ogni co- sto” di Vasco Rossi, interpretato dalla prima ballerina dell’Opera di Parigi Eleonora Abbagnato e le coreogra- fe delle parti danzate del Concerto di Capodanno dei Wiener Philharmoniker nel 2012, 2015 e 2018. Con la sua interpretazione di Romeo e Giulietta di Prokofev ha vinto il premio “Danza&Danza” come miglior produzio- ne italiana 2015. 30 Kenneth MacMillan Nato in Scozia, studiò al Sadler’s Wells, unendosi poi al Sadler’s Wells Theatre Ballet. Iniziò presto a creare co- reografe per la compagnia e due dei suoi primi lavori, Somnambulism (1953) e Laiderette (1954) portarono Ninette de Valois ad affdargli la realizzazione di un bal- letto quando aveva venticinque anni. Danses concer- tantes fu prodotto nel gennaio del 1955. Gradualmente si dedicò sempre più alla coreografa, nacquero così Solitaire (1956), The Burrow (1958), Le Baiser de la fée e The Invitation (1960), La sagra della primavera (1962), La Création du monde (1964), The Song of the Earth (1965) e nel 1965 il suo primo balletto di grande respiro, Romeo e Giulietta. Nello stesso anno fu nominato coreografo residente al Royal Ballet. Diresse il balletto della Deutsche Oper di Berlino dal 1966 al 1969, e fu nominato direttore del Royal Ballet nel 1970. Tra i titoli che seguirono ricordiamo Valses no- bles et sentimentales (1966), Anastasia (versione in un atto nel 1967, versione in tre atti nel 1971), The Seven Deadly Sins (1973), Manon e Elite Syncopations (1974), Requiem (1976), Mayerling (1978), Isadora (1981), The Prince of the Pagodas (1989) e The Judas Tree (1992). Nel 1977, assunse il ruolo di coreografo principale del Royal Ballet, che mantenne fno alla sua morte nel 1992, dietro le quinte del Covent Garden, durante una rappresentazione di Mayerling. Nel 1983 era stato no- minato cavaliere. I suoi balletti sono una pietra miliari della danza del ventesimo secolo. Al balletto classico ha portato una forte sensibilità morale. Nelle sue mani il balletto non era semplicemente un’arte da favola, ma si caricava di urgenza teatrale per rispecchiare la condizione umana nei modi in cui solo la danza riesce a fare. 31 RIPAR-TÄNZE Mauro Bigonzetti Nato a Roma, si diploma alla Scuola del Teatro dell’Ope- ra ed entra direttamente nella compagnia della sua cit- tà. Dopo 10 anni di attività presso l’Opera di Roma, nella stagione 1982-83 entra a far parte dell’Aterballetto.
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