one-act ballet by Davide Bombana
freely drawn from the tragedy by Euripide
L. Cherubini Medea with Maria Callas
A. Pärt Fratres version VI, 91; extracts Symphony no.4, extracts "Lamentate"
F. Romitelli Index of Metal: Intermezzo II, III, IV; Drowning girl, Cadenza
sound editing Silvio Brambilla
assistant to choreography Stefania Di Cosmo
Eleonora Abbagnato Medea
Rebecca Bianchi Glauce
Audric Bezard Jason
Benjamin Pech Creon
Giacomo Castellana Messenger of Death
corp de ballet
Elena Bidini, Giorgia Calenda, Virginia Giovanetti, Gloria Malvaso, Flavia Morgante, Flavia Stocchi, Arianna Tiberi, Giovanni Castelli, Giacomo Luci, Marco Marangio, Giovanni Perugini, Alessio Rezza, Michele Satriano, Alessandro Vinci
production Daniele Cipriani Entertainment
"Medea-Callas", with choreography by Davide Bombana, is a show which pays homage to the art of Maria Callas, 40 years after her death (16 September 1977).
At the Teatro Romano in Spoleto, the charisma of La Divina’s voice, recorded in the Medea by Luigi Cherubini, for whom she was an insurmountable main character, reveals a presence still very much alive for the listening, the mastery, the recollection which erases the passing of Time.
On stage, in Daniele Cipriani Entertainment’s production, Eleonora Abbagnato, flanked by the Paris Opera étoile Benjamin Pech, the Principal Male Parisian Dancer Audric Bezard and the Principal Female Dancer of the Rome Opera Rebecca Bianchi, explores the digging fulfilled by Maria Callas to reinstate the figure of the sorceress, ruthless murderer of her children.
Still today, as shown by the images and videos available, for that character, as well as all the others, Maria Callas induces her face and body to deeply feel the action, constructing her own vocal and gestrual lexicon, which unlocks intellect and features of the part with unmatched perception.
For Davide Bombana this is an exhilarating challenge: "My staging focuses on objective empathy with Maria Callas, intimately tied to Medea’s epos and among her most representative roles. Their destinies as women have points in common: Maria Callas, like Medea, for the sake of love lets herself be dragged out of her personal habitat into a world unknown to her; Maria Callas, like Medea, is betrayed by the man that she followed around blindly, and is abandoned by him to her own fate and to solitude. Differently from Medea, who commits her revenge upon Jason so savagely, by killing their children, Maria Callas has no possibility of revenge: she gives birth to a child who dies shortly after birth. My choreography selects a comparison mirrored with the voice of Maria Callas, emphasizing the peculiarity: it is a voice which is nourished, in every moment, by the same power and seduction which nourishes the music, within a dialectical and dramaturgical tension which naturally evokes dance – preceding it, inciting it and accompanying it".