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
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
drammaturgia
Mariachiara Michieli e Marco Castellani
musiche principali
Osvaldo Pugliese
luci
Chris Young
scene
Mariachiara Michieli e Marco Castellani
costumi
Alfredo Bologna
Felicina Dalle Piaggie
per dieci ballerini
musicisti
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
