/ from chaos, the body
DANZA&DANZA 2015 AWARD “BEST ITALIAN PRODUCTION”
3rd step of the project Transiti Humanitatis
20 | 21| 22| 23| 24| 26| 27 May 2015
Opera Theatre Massimo Bellini of Catania
music Ludwig Van Beethoven 9th Symphony op.125,
in the transcription for 2 grand pianos by Franz Liszt
choreography and direction Roberto Zappalà
dramaturgy Nello Calabrò
pianists Luca Ballerini, Stefania Cafaro
countertenor Riccardo Angelo Strano / soprano Marianna Cappellani
dance and collaboration
Maud de la Purification, Filippo Domini, Alain El Sakhawi, Alberto Gnola,
Marco Mantovani, Sonia Mingo, Gaetano Montacasino, Gioia Maria Morisco Castelli, Adriano Popolo Rubbio, Fernando Roldan Ferrer, Claudia Rossi Valli, Valeria Zampardi
project Transiti Humanitatis
a production by
compagnia zappalà danza / scenario pubblico international choreographic centre Sicily
in collaboration with:
Teatro Garibaldi / Unione dei Teatri dEuropa (Palermo)
ImPulsTanz – Vienna International Dance Festival
Teatro Comunale di Ferrara
Teatro Massimo Bellini di Catania
Following the success of Invenzioni a tre voci, a work dedicated to women, and Oratorio per Eva, a tribute to the symbolic figure of Eve, Compagnia Zappalà Danza presents a new project, La Nona (The Ninth), a work for eleven dancers, inspired by Beethovens Ninth Symphony. The music used is not the original score for orchestra, choir and soloists, but Liszts transcription for two pianos, accompanied by a countertenor.
Zappalàs reflections on humanity always take as their starting point the body and its stories, its perennial conflicts, and its hopes for solidarity and universal brotherhood.
Humanity in transit is humanity in movement, and movement is the opposite of immobility, immutability, fixed ideas and the absence of doubt. Movement, like Beethovens spirit and music, is secular, and secularism in thoughts and behaviour is the basis of creation.
The humanity displayed in La Nona develops by means of a process of accumulation, a condition of primordial chaos (as the composer Salvatore Sciarrino calls the first movement of the symphony), a multitude of intertwining, conflicting, almost negative micro-stories that then find peace in the adagio and end in a joyful fourth movement.
Beethovens Ninth, even in this chamber version, is music par excellence. And an important part of music is silence, which is also a vital first step in listening and therefore acknowledging others: the means by which Beethovens longed-for resolution is achieved.
In Beethovens time, the words world and humanity had a much narrower meaning than they do today. Although the Schillers Ode to Joy, the text on which the fourth movement is based, says This kiss is for the whole world, the world at that time was understood to refer broadly to the Europe that had risen from the ashes of the Napoleonic wars and been reformed by the Congress of Vienna. Todays world is more globalised, and if there is a division, it is in rather brutal terms the division between the Muslim/Arab world and the rest. If the universal conciliation that Beethoven hoped for were alive today, this would be its focus. Today, more than ever, this kiss needs to be for the whole world.
It was the first classical music concert that had ever been held there [Ghana]. There were 2000 people in the audience, five or ten of whom had studied in London and had some knowledge of classical music. (
) For the first time in my life, I spoke to people who had never heard so much as a note of Beethovens Ninth Symphony. After the concert, I asked them what they thought, and one of them replied, I felt Beethoven was making a declaration of great importance to humanity. And I cant think of any better description of Beethovens music.