created in 1997
MICHELE ABBONDANZA and ANTONELLA BERTONI
MICHELE ABBONDANZA, MARCO BALDAZZI, ALESSANDRO BEDOSTI,
ANTONELLA BERTONI, ANDREA CALEGARO, MARIATULLIA PEDROTTI,LAURA SCUDELLA
W. A. MOZART
direction and dramaturgic collaboration
LETIZIA QUINTAVALLA and BRUNO STORI
GIACOMO SEGA and BARBARA FRIZZI
collaboration with set
acoustic and sonorous elaboration
ARMUNIA-FESTIVAL DELLA RIVIERA, FESTIVAL ORIENTE-OCCIDENTE, COMPAGNIA ABBONDANZA-BERTONI
with the support of
COMUNE DI NAGO-TORBOLE, COMUNE DI ROVERETO
SHOW CURRENTLY NOT IN PROGRAMMING
Esiste una versione da strada dello spettacolo, Mozart Strasse, con l’esecuzione delle musiche dal vivo per banda o per orchestra sotto la direzione del maestro Gianfranco Grisi.
The hotel is a place of eroticism which seems to encourage creation and shake the soul out of its lethargy. It is a creative sanctuary with consenting victims, a sort of Pandora’s Box that all good and evil springs from and at the bottom of which lies hope.
Lick my ass
and let’s be merry
no sense in grumbling
no sense in grumbling and grousing
this is the crucifix of life;
no sense in grumbling
so let’s be merry and have fun
What is genius if not that productive force from which all things worthy of showing themselves to God and Nature, and which therefore continue and are lasting, are born? All works by Mozart are so. They harbour a creative force that continues to have effect from generation to generation, from generation to generation.
Moustaches and bosoms, niceties and cruelty for obscene, anti-depressive theatre. Actions and fixations. An old hotel. A group of people. Time is neither good nor evil, but good and evil can become time. Disadornment. Relationships that arise from niceties and cruelty, with nothing in between. If one is drinking wine, the other is drunk. If they smile by day, by night they grind their teeth.
Michele Abbondanza and Antonella Bertoni
Original, fast-paced, full of energy and unexpected solutions, Mozart Hotel is a work with undeniable inventive freshness, very well performed by a group of young dancers who know how to convey fluid, deliciously surreal movements in a sparkling, ironical interpretative vein.
Maurizio Veladiano, “Il Giornale di Vicenza”, 19 August 1997
The parts underlining individual talents are noteworthy - Antonella Bertoni is splendid as usual. Fine moments together, […] original ideas.
Luana Bombardi, “Il Resto del Carlino”, 19 August 1997
The main theme of the Festival Oriente Occidente ’97 seemed to be eroticism in its passionate […] and playful forms, with the street dance of the Compagnia Abbondanza-Bertoni. Their itinerant Mozart Strasse in the streets of Rovereto, which the Saltzburg genius visited three times, is the biggest success of this year’s line-up.
Elisa Guzzo Vaccarino, “Il Giorno”, 15 September 1997
Oriente Occidente […] had its highlights in Trisha Brown and in the new, unusual staging of Antonella Bertoni and Michele Abbondanza’s Mozart Strasse […]. This garden of bodily delights is evidence of irony and intelligence in a choreographical context.
Gianfranco Capitta, “Il Manifesto”, 20 September 1997
Wonderful musical backing, then, for an ironical, irreverent, funny and sparkling performance. Sweet and inviting enough to evoke enthusiastic applause from even a damp, chilly audience, and not only to get warm. It couldn’t have been otherwise. The show is tasteful but above all it’s new, fresh and rich in inventiveness.
Aurora Marsotto, “Il Sole-24 ore”, 21 September 1997
Mozart Hotel is the first work for a rather large group […] led by the Abbondanza-Bertoni duo, choreographer-interpreters who have decided to leave behind their ‘sweethearts’ of dance image to display an acquired maturity and originality that stands out in the panorama of contemporary Italian dance.
Elisa Guzzo Vaccarino, “Balletto Oggi”, November 1997
The game is often irresistable and the lessons in love given by a fine Bertoni and an intriguing Abbondanza are sensually captivating.The eros is in the familiarity of bodies and intellectual freedom.
Valeria Crippa, “Corriere della Sera”, 10 July 1998
Innkeepers Abondanza and Bertoni are good, powerful and quick, with a well-established language of their own rich in precious annotations. With the inhibited motorcyclists they create openly sensual entertainment.
Aurora Marsotto, “Il Sole-24 ore”, 26 April 1999
Witty and enjoyable, the show draws on a repertoire of so-called “vulgar” gestures repeated insistently. These gestures lose the enormous weight of common morality and become innocent and harmless, like certain children’s games.
M. M., “Corriere Adriatico”, 28 January 1999
[…] ironical, sensual, infantile, like the divine boy […].
Elisa Guzzo Vaccarino, “Il Giorno”, 2 April 1999
The stereotype of Mozart the libertine is the pretext for a show that is mischievous but not at all vulgar, ironical and rich in moods, bolstered by great rhythm and energy.
Cesare Fertonani, “Amadeus”, July 1999
The event, little more than an excuse and with a good dose of tension, is marked by highly theatrical, violent dance underscored by the notes of Concerto no. 25 in sol minore by Mozart, at times “blasted” at full volume. A dance capable of conveying moments of anguished suffering, the real strong point of the show, which even at its most ironical reveals deep awareness of the ambiguity and contrasts of the human condition.
Daniela Cecchini, “Giornale di Sicilia”, 29 April 2000
1997. Festival della Riviera - Castello Pasquini - Castiglioncello (LI) (1° nazionale); Bassano Opera Festival - Teatro Astra - Bassano (VI); Arena all’aperto - Brisighella (RA); Festival Oriente/Occidente - Teatro Zandonai - Rovereto (TN); Passeggiata coperta di Cagliari - Cagliari.
1998. Teatro Auditorium - C.S.C. S. Chiara - Trento; Festival Adda Danza - Castello Visconteo - Trezzo d’Adda (MI); Gardadanza - Piazza - Sirmione sul Garda (BS); Ascoli Piceno Danza - Ascoli Piceno; Arena di Verucchio (RN).
1999. Teatro Annibal Caro - Civitanova Marche; CRT Teatro dell’Arte - Milano; Palazzina Sabatelli - S. Ippolito;
2000. CRT Teatro dell’Arte - Milano; Teatro Libero - Palermo.
1997. Danse à Lille - Opéra - Lille (Francia); Salzburg - (Austria)