ballet in two acts by Amedeo Amodio
from the story by Prosper Merimée
choreographer and director Amedeo Amodio
music Georges Bizet
adaptation and original musical pieces Giuseppe Calì
scenes and costumes Luisa Spinatelli
production Daniele Cipriani Entertainment
Eleonora Abbagnato (Carmen)
Alexandre Gasse (Don José)
Giacomo Luci (Escamillo)
Giorgia Calenda (Micaela)
Giacomo Castellana (The officer)
"Ah, Carmen! Ma Carmen adorée!"(Ah, Carmen! My adored Carmen!) The curtain closes on the last notes of the work. On stage, the dismantling of the scenes begins. Little by little, the staff and many others who have watched the show from behind the scenes are captured by the ghosts of the drama which has just ended and gradually, a gesture, a phrase, a glance induces them to identify themselves with each of the characters, by chance. Then it is by chance that Don Jose meets Carmen, who represent his only moment of authentic, intense life, but also his moment of death. At this point, everything is established, except the path or labyrinth of the two destinies which are now indissolubly bound. So, surreal and unpredictable stage combinations can be created, yet always aimed at an end with no alternative. It will be Carmen, who is acutely aware of the unavoidability of the final moment, that leads the transgressive and subversive game, finding herself in an impossible attempt to escape from her fate. The scene, just like the music, is emptied during the course of the story, until the final moment when it remains completely bare and desolate to express the "tragic and savage solitude" of a woman who tries to assert her right to inconstancy.
It is said that just before death, all the important moments of life re-emerge to show once again what is going to be irreparably lost; it is especially the great emotions, moments of love, which reappear to celebrate themselves in a last yearning of attachment to life or to what it represented in essence.
Carmen lives a tragedy, that of those who cannot outlive their own transgressions and even music at its time was considered transgressive and perhaps almost blasphemous; with an uncontrollable flow of sensuality brought to the most bourgeois and least transgressive place of the late nineteenth-century society: the theater. In this work of adaptation I wanted to remain as faithful as possible to the original by Bizet, keeping the passages of the existing suites and adapting the vocal parts in the most compliant way possible to the opera score.
Only at the end, when the tragedy becomes ours, and of any age, Bizet’s music returns in the form of memories, a look at the past, and the drama of the cancellation is consumed, it is told, and it is transformed into music in the form of progressive emissions from sound to silence; an abandonment of time ending in total immobility.
Reggio Emilia and its theater "Valli", Amedeo Amodio and his Carmen, a meeting on the empty stage in the charm of a space where its light and dark has hosted who knows how many Carmens in its long history - but Carmen, poetry, incantation, " magic formula" like the meaning of her name, is present once again. In our designed vision, this Carmen had to be able to move in a renewed context which led to the choice of the empty space, with its abstract magic, as an active container of the dramatic event. Empty space, filtered by a semi-transparent diaphragm, which proposes a reality (the empty stage) usually hidden to the viewer. Upon vision of this space we come to another filter which symbolically evokes the red curtain of the opera. Behind this curtain, the tragic end of Carmen has just ended, the show is dismantled and a new situation is reassembled which, recalling the words of Merimée ("energy, even when spent in sorrowful passions, always arouses astonishment and a kind of involuntary admiration"), will allow Amedeo to express the essence of his poetic vision through the depiction suggested by the dance, across shapes and colors. My contribution to the creation of this show is thus limited to the identification of styles for the characters who would find their reason for being in the innovation of the present day. The dramatic support is therefore entrusted to the essentiality of the void which becomes meaningful only in the sequences of the choreographic movements.