milonga boulevard (1997 - 1999)

non è per restarcene in casa

che facciamo una casa

non è per rinchiuderci nell'amore

che amiamo

e non moriamo per morire

abbiamo sete e

pazienze da animale

Juan Gelman



Milonga Boulevard

Ballare in palcoscenico è trovare quello che manca al reale per essere vero, la coreografia è farne un mondo abitabile. Tutti gli elementi di Milonga Boulevard rispondono alla concezione unitaria tipica del ballet d'action, dalle musiche di Pugliese eseguite negli arrangiamenti originali dell'epoca d'oro, alle coreografie basate sui passi e sulle figure del tango salón di Villa Urquiza, dai costumi ispirati alla moda urbana di allora all'affresco di Luca Signorelli appeso sul fondale. La struttura drammaturgica è articolata intorno all'amore semplice di Mauro e Celina, raccontato da Julio Cortazar ne Las puertas del cielo. Imbastita al filo bianco, la storia si dipana lungo 25 brevi episodi collegati fra loro come in una novela. Non tutte le unità aristoteliche vengono quindi rispettate: sono i sentimenti dei protagonisti attraverso le loro azioni a trasmetterci la pienezza della vita danzata dei milongueros.

dalla stampa

Tango in this world and the next

In some ways, Milonga Boulevard was no ordinary tango show. In others, it was the tango as usual. Most theatrical adaptations of tangos resemble cabaret acts. A couple comes out and dances, then another couple, and so on for an evening. Such show can be unthralling. But other formats were explored by Nueva Compañia Tangueros, Buenos Aires, the argentine group that appeared on saturday night at Brooklin Center for the Performing Arts. Mariachiara Michieli and Marco Castellani, creators of Milonga Boulevard, sought to tell a story in a tango ballet in two acts. They based their narrative upon Las Puertas del Cielo by Julio Cortazar. The fact this production had a plot to thicken, which Ms. Michieli choreografed, made the show unusual... Suave and sexy, Milonga Boulevard remains a fascinating attempt to provide the tango with a new look.

Jack Anderson, The New York Times - 1998

liberamente ispirato al racconto

Le porte del cielo di Julio Cortazar


concezione e coreografia

Mariachiara Michieli


Mariachiara Michieli e Marco Castellani

musiche principali

Osvaldo Pugliese


Chris Young


Mariachiara Michieli e Marco Castellani


Alfredo Bologna

Felicina Dalle Piaggie



per dieci ballerini



Orquesta Color Tango

Roberto Alvarez, bandoneón
Horacio Romo, bandoneón
Gustavo Mulé, violino
Diego Lerendegui, violino
Gustavo Hunt, tastiere
Cristian Zarate, pianoforte
Amilcar Tolosa, contrabbasso


Sexteto Canyengue

Carel Kraayenhof, bandoneón

Eva Wolff, bandoneón
Martijn Van der Linden, violino

Willem van Baarsen, violino
Sanne Van Delft, contrabbasso

Sebastiaan Van Delft, pianoforte

debutto italiano

Teatro Verdi, Trieste 1997


debutto usa

Brooklin Center for the Performing Arts

New York 1998


teatri principali

Staatsoper Festival, Zurigo

Théâtre du Passage, Neuchatel

Atwood Concert Hall, Anchorage Alaska

Hering Auditorium, Fairbanks

Civic Center, Valdez

Luther Burbank Center, Santa Rosa

College of DuPage, Chicago

Pantages Theatre, Tacoma

Meany Hall, Seattle

Santa Fe Stages, New Mexico

Wilkins Theatre, Newark, New Jersey

City Center, Coral Springs

Ruth Eckard Hall, Clearwater, Florida

Escondido Center, San Diego

Lila Cockrell Theatre, San Antonio, Texas

Bass Hall, Fort Worth, Texas

Tango re-education at Bass Hall

The Tangueros, one of Argentina's premiere international tango ensembles, lit a carefully stoked flame of couples-dancing in their presentation of Milonga Boulevard, an innovative dance hybrid flavored with opera and ballet. The star of the performance is the dance hall itself and the lusted yet calibrated Ms Michieli's choreography offered by all five couples. Together, they completely re-educated a packed Bass Hall to the subtle virtues of the true tango. As practiced by the Tangueros, the tango is hardly an abrupt dip across the floor, rose-stem in mouth, but a balletic movement giving off controlled heat.

Andrew Marton, Fort Worth Star Telegram - 1999

Nueva Compañia Tangueros dances up a storm

The evening was more than a series of dances. It was a satisfying and well-rounded theatrical event. The precision and passion displayed on the Greer Garson Theatre stage were breathtakingly poignant and provoked a spontaneous standing ovation from the enthusiastic and appreciative audience. The power of tango comes into full focus in the second act. The passion and seduction of the first act transforms into grieving and sorrow without missing a beat. The entire production seduces – costumes, music, even the set which is a work of art, literally. A huge copy of 15th-century muralist Luca Signorelli's fresco The Resurrection of the Flesh from the San Brizio Chapel in the Orvieto Duomo dominates the procedings. Everything conceals and reveals, simultaneously. Sexteto Canyengue provided the extraordinary live music.

Joseph Portal, The New Mexican - 1999

Follow Milonga Boulevard to superb tango

Argentine tango is one of the most difficult and dazzling forms of dance, with the power to truly transport the viewer to another time and place. When it is performed by those as skilled as Compañia Tangueros' members. it looks easy. Those couples evinced all the fire and flair that we have come to love and expect in tango. Their soulful playing of Mariachiara Michieli's daring coreographies reminds us that the dance and the music are inextricably intertwined and depend on each other to create the power that is tango.

Alice Kaderlan, The Seattle Post Intelligencer - 1998

With this troupe it's 10 to tango

It's billed as tango ballet and it delivers the goods. Mariachiara Michieli and Marco Castellani, the creators of Milonga Boulevard, use the classic partnering of argentine tango to tell a simple story and suggest a variety of emotions. All of the five couples are superb tango dancers, moving with virtuosic speed and sensuality on Ms Michieli's overwhelming coreographies. But when the lead couple falls in love, the heat goes up several notches and it is a reminder that the true mood of tango is formal, teasing and flirty, not purely sensual. The musicians Sexteto Canyengue offered zingy, moody tango melodies that were an essential part of the evening's success.

Mary Murfin Bayley, The Seattle Times  - 1998

Tango troupe strong on technique, light on passion

Tango is not for the faint-hearted. Friday evening's audience at the Atwood Concert Hall saw tango in its most elegant, pure form. Milonga Boulevard, performed by Argentina's Nueva Compañia Tangueros, elicited a variety of emotions within the control fire that is tango. Milonga Boulevard created by company directors Mariachiara Michieli and Marco Castellani, was meant to be the tango's answer to Romeo and Juliet. The plot, tough, was so thin and the dancing so technically strong that it was really a two-hour display of refined and devilishly intricate tango variations. The dancers were less real individuals than superb athlets who have mastered the physical intricacies of this social/ethnic dance form. Emotions seemed to merely whisper their presence even in the most physically demanding and quick-tempoed movements. Mariachiara Michieli's troupe offered a sophisticated and wonderfully executed evening of tango at its finest.

Anne Herman, Anchorage Daily News - 1998

Magic realism

The audience’s excitation grows several notches the moment that Mauro takes Celina in his arms in "Para dos". The dance is actually pure sex. As a matter of fact all the choreographies are artistic and to see them, so cast in antique gold as they are, is a breathtaking experience.

Simone Meier, Tages Enzeiger - 1999


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