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Rating: The choreographic representation of the "4" elements (in order: air, water, fire, earth plus the concluding act of cosmic generation and future projection from the meeting of the elemental entities), the movements choreographed by Cristiano Fagioli, the styling design by Cristiano Fagioli and Cristina Ledri, the execution of the entire choreographic work staged at the premiere held at the Teatro Accademico di Castelfranco Veneto on the evening of December 16th, 2009 by the Ballet Company of the RBR Dance Company project of Verona ("beauty in motion": a multimedia and multidimensional show with a cosmological imprint).
The music is by Stefano Pivato, Massimiliano Lupo, and Romina Salvadori. That is to say: the estAsia, although no longer under this name. The sublime vocalist (formerly of Antinòmia, then the mentioned estAsia, then Ran) was unusually incorporated into the choreography, singing over the recorded music. A perfect insertion: Romina "Momy" Salvadori seems not at all out of place within the scene, in which she enters five times, wrapped in a mother-of-pearl dress partially draped and partially fitted, with luminescent "stamens" designed by Gualti at her wrists. The initial weave of air-transformed bodies lightened by the constant "g" and immaterial in gray silk yet evidently linked to "mother earth" immediately offers the spare and "elementary" cut of the work: perfectionism and thematic clarification in a nevertheless complex crescendo, in a "pyramidal" sense: it's undeniable that the dramatic tension reaches the first climax with the entrance of R. Salvadori "we can't leave here..." are the first words that after a silence (in Italian, with that music) lasting 11 years at the re-encounter with the other "two" estAsia cannot fail to move.
The music? a bit played, a bit sampled, a bit programmed, a scenic background that is such only by implicit admission: the corporeality and beauty are traversed permeated at times disassembled and reintegrated by that voice that manages to overwhelm to enchant to move like the usual "surya" that inevitably settles from the "coldest skies" to the waves of a sea we do not control in its asynchronous motion yet so perfectly geometrized ("Oh, Wild West Wind..."). If in the water sequence the commentary retracts punctually to the sound of single drops (the early P.W.O.G. come to mind), the progressive rhythmic acceleration that follows (and which constitutes the most "electronic" part of the entire musical work) brings to mind certain works by William Orbit.
The second act opens with the most suggestive (de opinionibus) sequence: that of fire, agitated, marked by the dominance of red both in the splendid dancers' hair and by the driving rock chords of Massimiliano Lupo; it is also the longest dance sequence, ending with the symbolic elevation of ancestral stylized flowers in the hands: a meeting of water-earth-fire-air. The entrance of Romina, who as in all previous cases, blurs the thickened boundary between material and spiritual, rational and emotional, is the most spectacular: two completely different singing levels, no glissandi, an impressive elevation: the choreographic perfection is above all in her voice, the absolute center, along with the lights-colors of the representation. The "4+1" element, that is to say, what should follow the cosmic amalgam of the previous four, is a prefiguration of a future that crosses the present having started from a common remote archaic past, the almost deafening crescendo of music and stroboscopic speed projections of megalopolitan and hypermodern images on the screen at the back of the scene hints at the sense of space-time intersection that thickens the global meaning of the work.
It is also the most impressive stage phase: a monstrous creature on stage (death or... "Star Wars"? it matters little) and the disquiet of Future Nymphs with black and masked half-faces, prone in the vain attempt of holding back man from the abduction of this latter is one of the most unsettling phases.
The silence descends slowly, the colors return, Life resumes weaving its threads that intertwine with the cold cosmic antimatter.
Against a softly pink light "Momy" Salvadori remains alone at the front of the stage on the line that brings her so close to the front rows, and on the sweet unpredictably melancholic melody, she sings these words "no more roses will ever bloom, but only thorns, thorns, thorns again and only thorns..." and the curtain behind her opens to reveal the dancers and the inscription RBR DANCE COMPANY.
The rest is only the emotion of those who have found within themselves the light that from that smile has, like a "fifth element", been released.
svið dramur sonor .:N1:.
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