fashion is a central component of contemporary culture and the context of increasingly frequent and reciprocal influences between Fashion and Art, an exciting new exhibition, entitled The Teatro alla Moda. Costume. Great Stylists, will be in the spotlight in Rome, bringing together for the first time the creations of top Italian designers, Our excellence in the world, for the Theater, Opera and Dance.
One hundred costumes, together with sketches, sketches and rare documentary video of its shows, will be set up in the spaces of the Museum of Rome Foundation, Via del Corso, by 5 November 5 December 2010. Under the High Patronage of the Italian President, The exhibition is sponsored by Altaroma, by Fondazione Roma and Brescia Musei Mazzucchelli, is produced and organized with Arthemisia Group, and sees it implemented an unprecedented partnership between the world of art and fashion.
The exhibition has the support of the Presidency of the Council of Ministers, Ministry of Foreign Affairs, Ministry of Heritage and Culture, Ministry of Tourism, the Province of Rome and the National Institute for Foreign Trade; also boasts the award of High Representative of the Presidency of the Chamber of Deputies, the contribution of Regione Lazio, Department of Culture, Arts & Sports, support of Cultural Policies and Communication in Rome Capital and collaboration of the Fondazione Cinema per Roma and Fondazione Musica per Roma. Main sponsor is Barclays Wealth in support of, together to sponsor American Express, Enel, FPC Partners LLP, Fnac and sponsors technical and Samsung, made possible this extraordinary event in Rome.
The opening night will also be a charity event with the involvement of Sant'Egidio Agenda, a non-profit organization that works to promote and encourage the support of all activities against poverty and support promoted by the Community of Sant'Egidio. In fact, a fraction of the tickets to the exhibition will be donated to.
Edited by Massimiliano Capella, The exhibition at the Fashion Theater is an opportunity to see clothing and costumes made famous for theatrical performances, operistiche and coreutiche, by some of the most important Italian designers, such as Gianni Versace, Roberto Capucci, Emanuel Ungaro, Fendi, Missoni, Giorgio Armani, Antonio Marras, Romeo Gigli, Alberta Ferretti, Valentino, Enrico Coveri.
Through careful selection of their creations, from prestigious collections theater (Teatro alla Scala and the Piccolo Teatro di Milano, Teatro dell'Opera di Roma, Teatro Regio di Parma, Teatro San Carlo di Napoli, National Opera in Washington DC), well as the Maison involved and from the collections of actors and singers, you go over one of the most glamorous of modern international theater and will harness the undisputed artistic quality of "Made in Italy.
The title is a tribute to the text "La Moda" by Benedetto Marcello; treatment in the form of tasty comment humorous opera, appeared in the first edition in 1720. You will have to wait, however, the twentieth century to see intermingling between different "worlds"; beyond the sectoral disciplines in favor of sharing the arts: from painting to sculpture, architecture and design, the theatrical gesture in singing and dancing. The theater is a privileged language of this revolution and, right on the stage, artists have found a place to express their creativity more freely, the service of royal, innovative sets and costumes.
Even high fashion, enters the "place theater" and accesses in the nineteenth century with Worth, Poiret e, especially, In 1924 When Coco Chanel, Sergei Pavlovich Diaghilev at the invitation of (1872-1929), designed the costumes for Le Train Bleu, Cocteau.
After this important debut, during the twentieth century, liaison between the charming fashion and theater is strengthened. Since the early eighties in the signage of the most prestigious opera companies and ballet contains a number of major Italian designers whose extraordinary creations can be admired today in the Roman route of exposure, divided into eight sections.
FIRST SECTION: fashion, Great performers and theater
Since the eighties of the twentieth century the great names of Italian fashion are combined with those of directors, designers and, especially, to major international performers of the theater: Luciano Pavarotti, Montserrat Caballé, Katia Ricciarelli, Cecilia Gasdia, Luciana Savignano, Carla Fracci, Kiri te Kanawa, Teresa Stratas, Raina Kabaivanska, Luciana Serra, Lucia Aliberti, Sesto Bruscantini. Each time a fashion designer approaches the theater gives you its own brand of uniqueness, going beyond its accurate reconstruction of a real costume. The designer imposes its own brand and therefore we speak of The Magic Flute Gigli, Lucia di Lammermoor Missoni, the Salome and Capriccio Versace, All of Così fan of Armani. In this section you can see some important examples out the Atelier of Gianni Versace, among which, for Strauss's Capriccio (on stage in San Francisco, all’Opera House, and London, al Royal Opera House, In 1990), the suit made for Dame Kiri Te Kanava interpreter of the Countess, entirely embroidered with multicolored crystals that form geometric patterns inspired by the graphic Sonia Delaunay; embroidered dress, the dancer Luciana Savignano interpreter of Eva Peron in Patrice Chéreau, become dancer, rule meet Eva Peron Michima e di Béjart, presented at the Théâtre de la Monnaie in Brussels in 1988.
They are presented here also for the costumes created by Genny Ricciarelli, by Capucci for Kabaivanska, by Missoni and Fendi to Pavarotti for Gasdia.
SECOND SECTION: Fendi. The work in Fur
The second section of the exhibition is dedicated to the love of the Fendi sisters for opera. The work you put in fur: costumes with fur inserts, Sleeves, mantelle; all the elegance of Fendi is performed in many productions, from Verdi to Puccini, from Mozart to Bizet, with a continuity that has no equal. One of the top performances in fur coat is the color pink powder, exhibited here, made in 1984 and worn by Raina Kabaivanska Mauro Bolognini on Traviata, with costumes by Piero Tosi, Sferisterio of Macerata.
The commitment of more complex operatic Fendi, however, is represented by sixty-three costumes (of which three examples show) designed to Bizet's Carmen at the Arena di Verona in 1986, directed by Pier Luigi Pizzi, in a reinterpretation of high-impact color, essential and modern. A story where everything is dance, Passion, movement and color, story of a life of poverty and free, where the costumes of Fendi creates an astonishing modernity: jeans with fur inserts in an explosion of colors mixed.
THIRD SECTION: Missoni. From the mists of Scotland in the light of Africa
The Missoni occur in 1983 the general public of the Teatro alla Scala 120 designed costumes for Donizetti's Lucia di Lammermoor, directed by Pizzi. Seven of these dresses are on display and reveal a fascinating fusion of lines and materials used for the models with the music and the history of opera, comes from Walter Scott, set through the mists of Scotland. On the other hand, in the theatrical experience, Missoni always respect the essence of their creative. And so it is nell'happening Africa Missoni, designed to Italy '90. We can admire the costumes in which rows, zig-zag, primitive geometry, explicit references to the Masai culture, Mali, Atuna, Dogon, Chad, Senufo, Bantù, are intertwined with artistic symbols more educated, inspired by Klee and culture metaphysics.
SECTION FOUR: Roberto Capucci and the prima donnas of bel canto
This section explains the theatrical activity in that Roberto Capucci 1986 makes its debut on the operatic stage of the Arena di Verona, with its 500 meters of taffeta white, Silver and Ice, used for 12 costumes of priestesses in solemn procession to the tune of Casta Diva, a tribute to Maria Callas. The theatricality of Capucci's creations become indispensable sign of the bel canto prima donnas who wear his clothes at major recitals. Dresses shaped the character of the interpreters, their repertoire and their attitudes on stage: the elegance of the actress-singer Kabaivanska, sweetness of the voice of purity Ricciarelli, the airy lightness of Bonfadelli and the solemnity of Tragedienne Antonacci.
In 2002 are presented at the Teatro San Carlo in Naples two costumes made for a new Capriccio by Strauss, with sets by Arnaldo Pomodoro. June Anderson in the first act is wearing a dress in taffeta pleated shades of red and nine in the second act of a suit-coat in taffeta and lame in nine shades from yellow, beige, gold. This is one of the rare cases in which fashion, theater, art and music come together masterfully, and of course is staging the expressive and communicative ability Apparel-costume, through the eloquence of the fabrics, describes a character, proposes and constructs a female character that can only be.
FIFTH SECTION: Armani
The first commitment of Giorgio Armani as a designer of theatrical costumes dating back to 1980. For Janis Martin Schönberg's Erwartung at the Teatro alla Scala, Draw a white tunic-dress, a shining beacon in a dark scene and bare. Commitments in the next stage, the designer works as pure fashion designer, with adjustments to the color of his clothes scenes. Signs of its production of Richard Strauss are nell'Elektra for the Teatro alla Scala in 1994, Les Contes d'Hoffmann in Offenbach's La Scala always in 1995, Verdi's Rigoletto in the Opera in Los Angeles 2000 with the royal and filmmaker Bruce Beresford, especially, in Cosi fan tutte by Mozart, submitted on 18 January 1995 at the Royal Opera House Covent Garden in London the following month in Rome.
The theatrical production of Armani, however, is his land of choice in dance and musical as is well demonstrated by the costumes for Bernstein Dances of Neumeier, Tosca Love You Anyway (2003) Lucio Dalla, loosely based on the work of Giacomo Puccini, and above all the spectacular Bata de Cola worn by Joaquin Cortes Joaquin Cortes in Show (2002), never before exhibited in Italy.
SIXTH SECTION: Marras Dream
Suggestions, the mystery and magic of Shakespeare's theater Antonio Marras lead in creating in 2008 costumes, outlined here, for the Dream of a Midsummer Night, set up at the Piccolo Teatro of Milan, directed by Luca Ronconi and the scenes of Margherita Palli. history, imbued with freedom and imagination, the love of Titania and Oberon, Elena, Lisandro, Hermia and Demetrius, Ronconi is transposed to a sort of urban setting, a wood-city, an enchanted forest, where the costumes of the designer seek the visionary world of the text, alternating dark fairy tulle and white crumpled gauze of the four lovers, uniforms and elegant, for the elves, look Victorian-dark.
SEVENTH SECTION: Made in Italy becomes a theater
Since the mid-nineties, next to designers that maintain continuity in the commitment stage, there are solitary appearances, but amazing, as in the case of Romeo Gigli in drawing 1995 costumes for Mozart's Die Zauberflöte at the Teatro Regio di Parma, presented in this section; in a game of plots among colors, surreal styles, with references to the past and an idea of the future, designer highlights the theme of transformation of the human spirit, amplified by the movement of the dancers and the human voice. In a sign of Carmen is the theatrical experience in Alberta Ferretti 2001 draws 490 costumes (five of which are magnificent examples in the exhibition) for the opera by Bizet at the Baths of Caracalla in Rome, Reinventing a Spain where essential, all played on white, red and black.
The climate of the twenties of the twentieth century, with references to Art Deco, the culture of jazz and the Charleston, is recalled in costumes instead of Enrico Coveri for the protagonists of The Great Gatsby, was performed in 2000 Teatro alla Scala, especially, in the costumes designed by Valentino for contemporary opera in two acts The Dream of Valentino, presented in 1994 world premiere at the Kennedy Center in Washington DC. The story of Rudolph Valentino is recounted in his American stage, between 1913 and 1926, with creations ranging from eighteenth-century re-enactment for the costumes à la française Monsieur Beaucaire, the model by gauchos in the summons of the film Blood and Sand, to female role models that refer to the lines and decoration typical of the twenties.
EIGHTH SECTION: Versace Teatro
"Theatre is my true love…"So said Gianni Versace, speaking of his passion for opera and dance. Theatre for the Versace fashion house has an ongoing commitment, by creating costumes that express the full triumph of his baroque style, in a sense of pure theatricality seventeenth-century. The look of Versace opens up to a total freedom of creativity and collaboration with Maurice Béjart, Bob Wilson, Roland Petit, John Cox, Twyla Tharp and William Forsythe offers you the opportunity to reinvent the past to combine it with this. We are gathered here masterpieces, the costumes for the ballet to Richard Strauss Josephlegende, performed at the Teatro alla Scala in 1982, those for Don Pasquale by Gaetano Donizetti's 1984; year that meets even the choreographer Maurice Béjart and creates costumes for the ballet Dionysos. And especially those created in 1987 for Salome by Strauss, staging by Bob Wilson at the Teatro alla Scala di Milano, when it reaches one of its top creative: velvet, taffeta and silk crepe de chine, organza, writes, cords of silk threads, with a clear tribute to Elsa Schiaparelli, styles in the forties, Roberto Capucci and the sleeves in box. The direction splits the characters on two floors, models with highly theatrical singers, and mimes and dancers, coated structures that summarize the spirit of the main costume.
The commitments for the theater to become more and more Versace; works closely with Béjart, but also with Roland Petit and the American Ballet Theatre. The connection between art and fashion reaches its peak in 1989 in the invention for Doktor Faustus, presented at the Teatro alla Scala, directed by Bob Wilson: interweaving of color combinations and freedom informal lines, clothing and headgear sculptures, with bold graphic signs, Web, inspired by the inventions of Miro.
Each section is accompanied by a video with images taken from the main theater, in which the costumes designed by fashion designers can be seen worn by the performers, enjoying so full of beauty and art in the context of these creations that were born.
- Address:Via del Corso 320 Data:by 5 November 5 December 2010 Hours:daily hours 10.00 – 20.00 Ticket:Full € 8,00 – Schools € 4,00 (The ticket office closes at 19.30)
- site: www.teatroallamoda.it