The Four Seasons Choreography Aurelie Mounier

The Four Seasons

Choreography Aurelie Mounier

Choreography Aurelie Mounier
Artistic Direction Rosanna Brocanello
Production COB Opus Ballet Company
Music Antonio Vivaldi
Dancers Aura Calarco, Emiliano Candiago, Sofia Galvan, Stefania Menestrina, Giulia Orlando, Gaia Mondini, Riccardo Papa, Frederic Zoungla
Artistic Coordination Laura Pulin
Costumes Beatrice Laurora, Isabella Fumagalli, Maia Sikharulidze
Lighting Design Laura De Bernardis

As in a grand Renaissance polyptych, so The Four Seasons calls to our senses. Vivaldi, not only a composer, but a great expert in musical instruments, has created this work as an immense cinematographic screenplay.
In their narration, the elements composing the work lead us to meditate on the relationship between nature, man and time. And in the extraordinary Vivaldi piece, plants, animals, wind, stones, birds, water, shepherds, dances, heat and cold… the four seasons take shape in our thoughts.
The extreme seasons: nature, which manifests in various forms, sleeps and awakens, dies and is reborn, like the phoenix, like a breath in four movements matching a metronome. Man depends on nature in order to live, and he adapts to the various cycles until reaching old age and eventually death as in The Age of Man by Cranach.
Man lives his life parallel to nature in continuous movement, just as the musical instruments accompany us on this journey into the soul: Vivaldi invites us to uphold the highest respect and harmony with regards to nature, because, as we well know, man can also destroy and damage it.
Time determines not only the continuous cycle of nature but also the duration of man’s life, which is always full of surprises. Thus all natural elements live by their own uniqueness like musical instruments. In this panorama, the tree stands out as an element of the utmost importance, just as the “genealogical” tree is for the life of man.
In this “harmonious” journey, Vivaldi takes us back to the roots of his time through the “nature” that gave him immense notoriety confirming this work as a genuine and representative expression of Venetian musical history, just as Pietro Longhi did for painting.