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"Ah, Carmen! Ma Carmen adorée!" On the last notes ofopera the curtain closes.
On stage, the dismantling of the scenes begins. to little to little the staff and those others who have witnessed the performance from Behind the scenes , are captured by the ghosts of the drama that has just passed, and as they do so, a gesture, a phrase, a glance prompts them to identify with each of the characters, purely by chance. It will be, therefore, by pure chance that Don José meets Carmen, who will represent for him the only moment of authentic, intense life, but also that of death. to this point is all established, minus the path or labyrinth of the two destinies now inextricably linked. Thus unpredictable and surreal scenic juxtapositions may be created, but always directed toward a single end. It will still be Carmen, deeply aware of the inevitability of the final moment, to leading the transgressive and subversive play, in an impossible attempt to escape her fate. The scene, like the music, empties out as the story unfolds, until to it remains in the final moment completely bare, desolate to express the "tragic and savage loneliness" of a woman trying to assert her right to inconstancy.
Amedeo Amodio
It is said that at the moment of death, all the important moments of life resurface to make present once again what is about to be irretrievably lost; especially the great emotions, the moments of love, return to celebrate themselves in a last yearning for attachment to life or to what was the essence of it.
Carmen lives a tragedy, that of those who cannot survive their transgressions and even the music, to its time, was felt to be transgressive and perhaps almost blasphemous; an uncontrollable flow of sensuality brought to the most bourgeois and least transgressive place in late 19th-century society: the theater. In this work of adaptation, I wanted to remain as faithful as possible to Bizet's original, keeping the pieces from the existing suites and adapting the vocal parts as closely as possible to the score ofopera.
Only at the end, when the tragedy becomes ours, and of any era, does Bizet's music return in the form of a memory, a glimpse into the past, and the drama of erasure is consummated, narrated and transformed in the music in the form of a progressive exhalation from sound to silence; an abandonment of time to utter stillness.
Joseph Calì
Reggio Emilia and its "Valli" theater, Amedeo Amodio and his Carmen, a meeting in the empty stage in the charm of a space that with its chiaroscuros has welcomed in its long history who knows how many Carmen - but Carmen, poetry, enchantment, "magic formula" as the meaning of its name, is once again present. In our design vision, this Carmen had to be able to act in a renewed context, which led to the choice of empty space, with its abstract magic, as the active container of the dramatic event. Empty space, filtered through a semi-transparent diaphragm, which re-proposes a reality (the empty stage) usually hidden from the spectator. The vision of this space is reached through another filter that symbolically evokes the red curtain ofopera. Behind to this curtain the tragic end of Carmen has just come to an end, the show is dismantled and a new situation is reconstituted that, recalling Merimée's words ("energy, even if spent in baleful passions, always arouses astonishment and a kind of involuntary admiration"), will allow Amedeo to express, through shapes and colors, the essence of his poetic vision through the figurations that dance suggests. My contribution to the creation of this performance was, thus, limited to the identification of fashions for the characters that in the modernity of the contemporary would find their reason for being. Therefore, the scenographic support is entrusted to the essentiality of the void that acquires meaning only in the sequences of the choreographic action.
Luisa Spinatelli
Eleonora Abbagnato
ballet in two acts by Amedeo Amodio
from the short story by Prosper Merimée
choreography and direction Amedeo Amodio
music Georges Bizet
adaptation and original musical interventions** Giuseppe Calì**
scenes and costumes Luisa Spinatelli
with
Alexandre Gasse
**Giacomo Luci **
**Giorgia Calenda **
and with
James Castellana
John Castles
Virginia Giovanetti
Walter Maimone
Gloria Malvaso
Marco Marangio
Marta Marigliani
Valerio Marisca
Flavia Morgante
John Perugini
Valerio Polverari
**Susanna Salvi **
Flavia Stocchi
maître du ballet** Stefania Di Cosmo **
Daniele Cipriani Entertainment production
Born to Palermo, she began to studying ballet at the age of 4 with Marisa Benassai. She continued her studies to Monte Carlo, Cannes and, to 14 years old, she was the first Italian to be admitted to the prestigious school of the Paris Opéra, where, thanks to an overwhelming passion and an iron will, to only 22 years old she became Première Danseuse, interpreting the creations of the greatest masters of choreography such as Roland Petit, Pina Bausch, William Forsythe, John Neumeier, who favored her for her versatility and interpretative intelligence. She made her television debut to 12 years old in a program hosted from Pippo Baudo. She later appeared in several television shows, in 2007 she made her debut as a lead actress in the film _Il 7 e l'8 _di Ficarra e Picone, and in 2009 she joined Paolo Bonolis in hosting the Sanremo Festival. In the fall of the same year, Vasco Rossi chose her as the ideal performer to evoke the different facets of the female figure in his new video "Ad ogni costo," which became a cult hit in just a few weeks. Rizzoli Publishing House presents to November 2009 her autobiography Un angelo sulle punte, in which Eleonora recounts her extraordinary path built with enthusiasm and tenacity that "led her right where she wanted to be." The book quickly reached its third edition. On Dec. 31, 2009, Eleonora crowns another dream: dancing at the to Vienna New Year's Eve concert broadcast worldwide with costumes designed especially for her from Valentino. Curious and eclectic she is from also involved in the fashion world for years: discovered from Karl Lagerfeld as a photographer, she is linked from a friendship with fashion designers Dolce & Gabbana. President Sarkozy appointed her in May 2010 by decree "Chevalier dans l'ordre national du mérite" to reward her for her commitment to the service of the Opéra and France. On March 27, 2013, at the suggestion of Brigitte Lefèvre Director of Dance, Nicolas Joel Director of l'Opéra National de Paris appointed her Danseuse Etoile de l'Opéra de Paris, on the occasion of the last performance of Roland Petit's Carmen, precisely a creation by the great choreographer who had chosen her to 12 years old to be Aurora as a child in The Sleeping Beauty. In April 2015 she was appointed Director of the Corps de Ballet of the Teatro dell'Opera in Rome.
He was born in 1940 to Milan where he studied at the Ballet School of La Scala Theater, thus joining to the Ballet Company in which he played many solo roles. to 24 He leaves La Scala because he is chosen as first dancer in the television program "Studio Uno." He then worked as a guest artist atOpera in Rome, where in 1970 he made his version of Petroushka (1970). Among his other choreographies: for the Spoleto Festival Escursioni (1967), Variazioni (1969), Après-midi d'un faune (1972); for La Scala in Milan: Ricercare to nine movements (1975), Oggetto amato (1976), Actus III (1977); for the Carlo Felice in Genoa: Il flauto danzante (1978); for the Comunale in Bologna: Parsifal (1980) and the direction of Tristano e Isotta (1981) to live music by Area. Many of his performances alongside to Carla Fracci, including _Il gabbiano _(1968), Il bacio della fata, Pelléas et Mélisande, La figlia di Jorio. On film he is among the principal performers in Liliana Cavani's The Night Porter (1974) and Beyond Good and Evil (1977). In 1979 he was entrusted with the artistic direction of the fledgling Aterballetto, recognized under his leadership as Italy's first ballet company. Set up as choreographer-director, he created Berlioz's Romeo and Juliet and Tchaikovsky's The Nutcracker, which won him the Danza & Danza award for best performance of the year in 1987 and 1989. Many of Amodio's creations for Aterballetto, some of them to music specially composed from authors such as Berio, Corghi, Sciarrino, Eugenio Bennato, Garbarek, Vasconcelos, and Calì. He signed the choreographies for many operas such as La Vestale at La Scala (1993), Carmen (1995). In 1996, with his last creation for Aterballetto, _The Strange Case of Dr. Jekyll and Mr. Hyde _he leaves the Direction of the Company to direct the Corps de Ballet of the Teatro dell'Opera in Rome until 2000. In 2001 he signs the choreography of Kiss me, Kate at the Regio di Torino; in 2002 he remounted _Carmen _for the Tulsa Ballet and the Maggio Fiorentino. In 2003 he is Director of Ballet at the Teatro Massimo in Palermo, where he signs the choreography for Lakmè and Romeo and Juliet and the new creation We like Mozart. He then signs the choreography forAida at the Regio di Parma. In 2006 he signed the choreography for Sakuntala atOpera in Rome and Macbeth at the Regio in Parma. In 2009 he is among other things choreographer and director of the show Napoli zompa e vola staged at the Teatro San Carlo and to Moscow. In November 2010 he was awarded the "Anita Bucchi" Lifetime Achievement Award. Also at the San Carlo he signed the choreographies for I Vespri siciliani.
Born to Milan, he studied set design at the Brera Academy of Fine Arts, where he taught design methodology for the Performing Arts. He made his debut as the youngest set designer in 1965 at Teatro alla Scala in Milan with Francesca from Rimini with Carla Fracci and choreography by Mario Pistoni. As assistant to Ezio Frigerio, she has the opportunity to meet Giorgio Strehler with whom she collaborates and acquires the way of "doing Theater" that has accompanied her throughout her career. She practiced her professional activity dedicating herself alternately to Prose, Opera and Ballet and worked in Italy and abroad with directors and choreographers who involved her in prestigious shows. She won the 1990 Quadrivio Prize. In the prose sector, her credits include: directed by Giorgio Strehler, De Filippo's The Great Magic at the Piccolo Teatro, 1985/86; Corbeille's L'Illusion (costumes) at the Odeon in Paris, 1984; _Faust part I-II at Goethe Teatro Studio from 1988 to 1992; Marivaux's The Island of Slaves at the Piccolo Teatro in Milan, 1994/95. Established an artistic partnership with the Carla Fracci/Beppe Menegatti couple, producing numerous challenging productions for them, debuting as "prima donna scenographer" at the Arena di Verona in 1976 with Tchaikovsky's Nutcracker _by Tchaikovsky. She won the Positano "Léonide Massine" Prize for the art of dance in 1989. Stimulating collaboration with Roland Petit in very special productions, including: DIX oder Eros und Tod for the Staatsoper unter den Linden in Berlin in 1993, Le Guépard at the Teatro Politeama in Palermo in 1995, _Cherì _at the Teatro alla Scala Milan in 1996, La Dame de Pique at the Bolshoi in Moscow in 2001. For Patrice Bart's choreography they include: Tchaikovsky's Schwanensee at the Barenboim Staatsoper Unter den Linden Berlin in 1997, thanks to which he received a nomination for the Benois de la Danse in 1999. For Amedeo Amodio, they remember: Stravinsky's Se n'è gghiuto to Venezia, Teatro Malibran, Venice 1982, Berio's Naturale, Festival delle Ville Vesuviane, Naples 1984, Berlioz's Romeo and Juliet 1987, Bizet's Carmen , 1995 Reggio Emilia, Maggio musicale Fiorentino, Florence 2002, Teatro alla Scala, Milan 2005, Tulsa Ballett 2006. Also: Kiss me Kate, Teatro Regio Turin 2001, We like Mozart, Teatro di Verdura Palermo 2005. Among the many ballets performed are also the titles: Orlando, choreography R. North, Teatro dell'Opera Rome 1997, Paquita, choreography P. Lacotte, Opera Garnier Paris 2001, The Sleeping Beauty, London 2003, to Midsummer Night's Dream, choreography G. Balanchine, Teatro alla Scala Milan 2003, Raymonda, choreography to. Maki 2004, New National Theatre Tokyo, with which he won the Akiko Tachibana Award as best performance of the year to Tokyo on May 11, 2005.