Manzotti's spectacle on the triumph of progress debuted at La Scala in 1881 where and when it was a overwhelming success which toured the world and which has never been totally out of the repertory in Italy. As the only existing example of 19th Century Italian dance it is valuable beyond measure. As an (admittedly a recreation in many parts, and much, much reduced, as here we have only about 100 dancers - as opposed to the original 600! - entertainment, we can only regret that times have made an extravaganza like this virtually impossible to stage outside of special occasions.
With colors in keeping with the period, and also using appropriate stage machinery and painted drops, this production is a succession of marvelous precision mass dancing interspersed with a series of quite lovely pas for the two principle couples (and other equally fine principle dances too).
Some of the transformations via translucent scrims and drops are truly gasp inducing (though the first and best of the scene changes is slightly marred by the camera staying with the principles rather than cutting back as the stage transforms to Mt. Olympus (?) for the first big scene.
The material is illuminating - this is the beginning of art being itself transformed into overt propaganda. 'Progress' is light, and conservatism is darkness, and we all know how that turned out. Funny how Utopias always turn into something like our own spiritually, morally and intellectually bankrupt environments.
That is something to think about - and that the simplicity of the message is in no ways any simpler than that of our own time, is something else to maybe consider.
That is, if you have the time to think about anything as your eyes and ears are delighted and dazzled by the really fun music, the brilliant decors and the riot of color, fringed costumes and fine, enthusiastic dancing that never stops.
This is hard to find but really worth the effort. This isn't Giselle and it isn't Napoli either, but for what it is, it's near unique and a totally exhilarating experience.
With colors in keeping with the period, and also using appropriate stage machinery and painted drops, this production is a succession of marvelous precision mass dancing interspersed with a series of quite lovely pas for the two principle couples (and other equally fine principle dances too).
Some of the transformations via translucent scrims and drops are truly gasp inducing (though the first and best of the scene changes is slightly marred by the camera staying with the principles rather than cutting back as the stage transforms to Mt. Olympus (?) for the first big scene.
The material is illuminating - this is the beginning of art being itself transformed into overt propaganda. 'Progress' is light, and conservatism is darkness, and we all know how that turned out. Funny how Utopias always turn into something like our own spiritually, morally and intellectually bankrupt environments.
That is something to think about - and that the simplicity of the message is in no ways any simpler than that of our own time, is something else to maybe consider.
That is, if you have the time to think about anything as your eyes and ears are delighted and dazzled by the really fun music, the brilliant decors and the riot of color, fringed costumes and fine, enthusiastic dancing that never stops.
This is hard to find but really worth the effort. This isn't Giselle and it isn't Napoli either, but for what it is, it's near unique and a totally exhilarating experience.
