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In 1881, La Scala Milan staged a magnificent ballet spectacle. The aim was to present by means of a ballet all the great discoveries and achievements which had illuminated the late 19th century. The result was ‘a choreographic, historic, allegoric, phantastic plot in two parts and eleven scenes’, i.e. this was not a ballet in the classical sense. Excelsior is a kind of choreographic composition, which sings the praises of progress in science and accomplishments, in keeping with the era of supreme optimism. The steam engine, the Brooklyn Bridge, electricity, telegraph, the Suez Canal and the tunnel between Italy and France are all technical achievements, which are shown on stage. Despite its seemingly dreary subject matter it was a huge success when first performed, and enjoyed a run of 103 performances during that year alone. This production from 2002 at the Teatro alla Scala brings a riot of colour to Manzotti‘s work. With 100 dancers on stage at a time, references to the golden MGM film era and Busby Berkeley-style dancing, it is guaranteed to intrigue and charm!



CAST:
Light – Marta Romagna
Obscurantism – Riccardo Massimi
Civilisation – Isabel Seabra
Slave – Roberto Bolle
Thunderbolt – Raffaella Benaglia
Indian – Elisabetta Armiato

Milan La Scala Ballet and Orchestra
David Coleman, conductor

Ugo Dell'Ara, choreographer (after Luigi Manzotti)

REVIEW:
FANFARE: Joel Kasow


Kitsch comes in many forms, from the repugnant pandering to audiences to amusing folderol that allows us to visualize the entertainment of an earlier era. Excelsior has a long history, emphasized by the fact that the name in largest type on the cover of the DVD is that of the original choreographer, Luigi Manzotti.

The version under review is a 20th-century re-creation by Ugo Dell’Ara, using—as best I can tell from the description in Cyril Beaumont’s Complete Book of Ballets —Manzotti’s original scenario. A spoken introduction sets the scene, followed by the battle between Light and Darkness (or Obscurantism, as he is called in the cast list).

A first dancing scene glorifies the genius that brings enlightenment, followed by the first steamboat invented by Papin with more dancing, this time more folk-like. An interlude shows us the Brooklyn Bridge, then Volta’s laboratory at Como where once again Light overpowers Obscurantism, and we see a polka danced by telegraph messengers in Washington, D.C.

As if this were not enough, act II opens in the desert and we then go to the opening of the Suez Canal, another opportunity for dancing, the meeting of the tunnel diggers under Mt. Cenis, and a final Festival of the Nations. It is all rather silly, but lots of fun, in addition to showing a type of spectacle that would find its apotheosis in 20th-century musical comedy or Las Vegas.

Romualdo Marenco’s music is modeled on two maligned 19th-century ballet composers, Ludwig Minkus and Riccardo Drigo, providing the choreographer with bouncy rhythms where required, and suitably eerie music for the battles between Light and Obscurantism. In a large cast, Marta Romagna and Riccardo Massimi set the tone as the opposing forces, she showing strength in her lyricism and he despair in his tortured movements.

Isabel Seabra’s Civilization is an imposing figure who shows no fear despite some fearsome choreography. Roberto Bolle once again displays his easy perfection, reminiscent in many ways of the young Peter Martins. Raffaella Benaglia’s Thunderbolt is perfect in its quicksilver execution, while the languor of Elisabetta Armiato’s Indian is virtually the sole moment of repose during the performance. David Coleman and the La Scala Orchestra seem to be enjoying themselves.

Works on This Recording
Excelsior by Romualdo Marenco
Conductor: David Coleman
Orchestra/Ensemble: Milan Teatro alla Scala Orchestra