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SPRING

Introdans

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SPRING
Introdans

To celebrate spring and life, Introdans presents SPRING, a programme centered around the work of Mauro Bigonzetti. The Italian master choreographer's creations are characterised by exceptional diversity, but in SPRING the exuberant and lively side of his oeuvre is particularly highlighted. Besides two of the greatest audience favourites from Introdans' repertoire - Cantata and (three movements from) Rossini Cards - Bigonzetti also creates a new, vibrant choreography for SPRING, especially for Introdans. In many theatres, Cantata will be accompanied live by Italian women's folk group Assurd.

Run time 110 minutes, incl. intermission
Genre dance
Language language no problem

SPRING


Bambù
(new creation)
Bambù is an abstract ballet full of pure dance. Bigonzetti: “The bamboo is a very beautiful plant, which is originally common in China, Japan and Vietnam. There is a lot of symbolism in it, the outside of the bamboo plant is beautiful, but even more beautiful is the structure of the roots underground. The roots of the bamboo seek each other out, work together and intertwine to withstand rain, wind and snow. Moreover, they become increasingly stronger because of this connection. This fascinates me. Especially if you draw a parallel with the turbulent times we live in now. A time when it seems increasingly difficult to really ‘connect’ with each other despite our differences; in culture, in views, in religion. This seems to go against our nature, because as humans we want to ‘connect’ with each other.”

Rossini Cards
Spring kicks off with a festive opening section, which in addition to an entirely new creation by Bigonzetti - an extremely physical work for a large ensemble of dancers - consists of three sections from his acclaimed Rossini Cards, the first two of which are also new to Introdans. For this ballet, Bigonzetti was inspired by the work of his compatriot Gioacchino Rossini (1792-1868), who besides being a famous Baroque composer was also an excellent cook. In the opening movement, Bigonzetti also clearly refers to this: at a long table, the entire dancers tableau feasts on a copious dinner in a tight, grotesque choreography. -|-
The duet that follows initially appears to be very moody and romantic, but soon turns out to require quite a bit of acrobatics from the dancers, with a big wink here and there. In the farcical finale, it’s no holds barred. Dressed loosely in suits, the dancers sway around in pairs, forming new patterns while running around and jumping up like fleas. Everything is timed to the second, because Rossini Cards stands or falls with a perfect performance.

Cantata
After the break, Spring continues with Bigonzetti's rousing masterpiece Cantata. In this earthy and passionate 'power piece', the choreographer beautifully brings to life the various characters of an Italian village, inspired to do so by the infectious, raucous vocals of the southern Italian women's folk group Assurd. Men and women compete in powerful ensemble dances and meet in beautiful duets, which are at times dramatic or wistful and at other times light and humorous. As a spectator, it is hard to remain unmoved by this exuberant ode to southern folk culture, love, and perhaps above all madness.

Dance company Introdans performs SPRING in Internationaal Theater Amsterdam (ITA).
Dance company Introdans performs SPRING in Internationaal Theater Amsterdam (ITA).
Dance company Introdans performs SPRING in Internationaal Theater Amsterdam (ITA).

ABOUT MAURO BIGONZETTI

Mauro Bigonzetti (1960, Rome) led, among others, the famous Ballet de la Scala in Milan and works as a freelance choreographer for ballet companies in and outside Europe, including leading companies such as Moscow Bolshoi Ballet, English National Ballet, Stuttgarter Ballett, New York City Ballet and Les Grands Ballets Canadiens. Introdans director Roel Voorintholt: "At Introdans, we aim to release an annual programme focusing on the work of one choreographer; someone who is of great importance to our company. That way we can also show the line in someone's development. But in Bigonzetti's case certainly also because we know we are doing our audience a great favour with this special ode. Bigonzetti's work is hugely 'uplifting', it gives you energy, a desire to dance yourself and to celebrate life."

REVIEWS

Het Parool (about Cantata)

'In Cantata, the men and women entertain themselves by seducing and challenging each other (...) here, all the life force sweeps across the stage through the space.'

De Gelderlander (about Cantata)

'Cantata is enervating, exuberant, at times deliciously bizarre and makes the audience gasp especially towards the end.'

De Volkskrant (about Rossini Cards)

'As dashing as they rise in pairs, they veer sharply in tightly alternating rows (...) The bright patterns make the tingle of Rossini's opera music visible and palpable. Get that candlelit table from the beginning of Rossini Cards on too!'

Dance Review (about Rossini Cards)

'A positive and uplifting reaffirmation of the endurance of the human spirit (...) The scene in which the company sat down to a conversational candlelit dinner felt like a live-action renaissance painting of The Last Supper.'

Credits

Rossini Cards

choreography Mauro Bigonzetti
music Gioachino Rossini La Cenerentola / Act: "Questo è un nodo avviluppato" Péchés de Vieillesse: Ouf! Les Petits Pois La gazza ladra – Overture
costume design Helena de Medeiros
set and light design Carlo Cerri
costume atelier Atelier Introdans
decoratelier Atelier Introdans
rehearsal Béatrice Mille
repetitor Jorge Pérez Martínez, Marlena Wolfe

Bambù

choreography Mauro Bigonzetti
music Federico Bigonzetti
costume design Hul le Kes
light design Carlo Cerri
costume atelier Hul le Kes Manufacturing Studio
repetitor Jorge Pérez Martínez, Marlena Wolfe

-|-

Cantata

choreography Mauro Bigonzetti
music Assurd (Lorella Monti, Cristina Vetrone), Enza Pagliara en Enza Alessandra PrestiaStu core mio (gecomponeerd door C. Vetrone - C. Oliviero); Nonna nonna, Tango e vai, Cantata Mpruvvisata, Christ addore, Miez a na via (gecomponeerd door C. Vetrone); Girasole (gecomponeerd door E. A. Prestia); Pizzica
costume design Helena de Medeiros
light design
Carlo Cerri
costume atelier atelier Introdans, with special thanks to Ballett Dortmund
repetitor Jorge Pérez Martínez & Marlena Wolfe

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