Dal 5 novembre al 5 dicembre, il Museo Fondazione Roma presenta la mostra “Il teatro alla moda. Costume di scena. Grandi stilisti”, curata da Massimiliano Capella e realizzata sotto l’alto patronato del Presidente della Repubblica Italiana. L’esposizione riunisce cento costumi originali, accanto a bozzetti, figurini made during the famous theater, opera and dance from the big names in fashion.
The costumes by Gianni Versace, Roberto Capucci, Emanuel Ungaro, Fendi, Missoni, Giorgio Armani, Antonio Marras, Romeo Gigli, Alberta Ferretti, Valentino, Enrico Coveri are exhibited in the halls and, in many cases, combined with video documentaries that allow to admire them worn by stars and by the greatest performers of the show, during theater performances and, therefore, in the context for which they were born. The viewer may thus relive the greatest moments in the history of theater, opera and dance, and discover the quality of "Made in Italy" through clothing of extreme refinement. The fashion thus becomes the protagonist of the scene, as well as key to review shows and performances, which were the result of a harmonious blend of the arts, merged to create magical illusions.
no coincidence, the very title of the exhibition is copied from the text by Benedetto Marcello, the Theatre in the fashion of 1720, a treaty from the humorous tone that precedes the issue of contamination between the arts and the overcoming of segmentation between the different disciplines , typical of the twentieth century. In fact, in the nineteenth century the fashion scene appears in Worth, Poiret, but in 1924 with the costumes for Le Train Bleu Cocteau created by Coco Chanel Sergei Pavlovich Diaghilev's invitation that will create a real correspondence between the arts. In the wake of Chanel in the early eighties, the names of the major Italian designers will appear on billboards of the most prestigious opera companies and ballet: a few of their works will be exhibited in Rome, where you can admire a selection of theatrical costumes from the collections of Teatro alla Scala, Piccolo Teatro di Milano, the Teatro dell'Opera di Roma, Teatro Regio di Parma, the Teatro San Carlo di Napoli, National, Opera in Washington DC, as well as the house involved and the collections of actors and singers.
The route winds through eight exhibition sections, from the first, entitled "Fashion, theater and great performers," which traces the history of the theater since the eighties of the twentieth century, to the final, dedicated to passion for the theater Versace, under which they were created masterpieces, from the costumes for the ballet Josephlegende Richard Strauss (Teatro alla Scala, 1982), those for Don Pasquale by Gaetano Donizetti (1984), Strauss's Salome for Bob Wilson (Teatro alla Scala, 1987) and Doktor Faustus, presented with the same director two years later. Outstanding among the works of Gianni Versace, those made for Strauss's Capriccio (on stage in San Francisco, Opera House, and London, the Royal Opera House, 1990), the suit made for Dame Kiri Te Kanava interpreter of the Countess, whose multi-colored crystal embroidered with geometric motifs are inspired by the graphic of Sonia Delaunay.
A path, therefore, that opens with The Magic Flute Gigli, Missoni, the Lucia di Lammermoor, Salome and Capriccio for Versace, Armani of the fan tutte, the costumes created by Genny Katia Ricciarelli, by Capucci for Raina Kabaivanska, from Missoni to Luciano Pavarotti and Cecilia Gasdia for Fendi, and then go to discover the feel and taste of each designer: Fendi, for example, can be admired in one of eight sections, "The work in fur: fur costume with inserts, sleeves, cloaks, among which the pink fur coat powder color, created in 1984 and indossatoda Kabaivanska for Traviatadi Mauro Bolognini, Sferisterio of Macerata. The exhibition also features three of the sixty costumes created by Fendi for Bizet's Carmen, directed by Pier Luigi Pizzi (Arena di Verona, 1986).
follows the section in honor of "Missoni. From the mists of Scotland in the light of Africa, which has seven dei120 designed costumes for Donizetti's Lucia di Lammermoor, directed by Pizzi (Teatro alla Scala, 1983). Still, costumes with stripes, zig-zag and geometric primitives made to Africa by Missoni, Italy at 90.
Best known for his debut in 1986 on the stage of the Arena Verona, with its 500 meters of white taffeta, silver and ice, used for the twelve habits of the vestal virgins who marched to the tune of Casta Diva, Roberto Capucci lateatralità stood out for their creations have become an indispensable sign of the prima donnas of bel canto.
Since its debut in 1980 as a theatrical costume designer, Giorgio Armani best expresses your creative inspiration in the costumes created for the dance and the musical, costumes for Bernstein Dances of Neumeier, hopeless love for Tosca (2003) by Lucio Dalla and Above all, the spectacular bata de cola, the flamenco dress with strascicoindossato by Joaquin Cortes Joaquin Cortes in Show (2002), never before exhibited in Italy before.
The mystery and magic of Shakespeare's theater is a great source of inspiration for Antonio Marras, which in 2008 created the costumes on display for the Dream of a midsummer night, presented at the Piccolo Teatro of Milan, directed by Luca Ronconi and Margherita Palli scenes.
Still, the seventh section, entitled "Made in Italy becomes a theater," shows how, since the mid-nineties, some designers have demonstrated some of their art masterpieces: Romeo Gigli in 1995 designed the costumes for Die Mozart's Zauberflöte at the Teatro Regio di Parma, displayed in this section; Alberta Ferretti designs for Bizet's Carmen, 490 costumes, including five in the exhibition (Terme di Caracalla, Rome, 2001); Enrico Coveri as the protagonists of the Great Gatsby (Teatro alla Scala, 2000), Valentino creates costumes for the contemporary opera in two acts The Dream of Valentino, presented in 1994 world premiere at the Kennedy Center in Washington DC
The exhibition is sponsored by
Altaroma, by Fondazione Roma and Brescia Musei Mazzucchelli, is produced and organized with Arthemisia Group and has the support of the Presidency of the Council of Ministers, the Ministry of Foreign Affairs, the Ministry of Heritage and Activities Culture, the Ministry of Tourism and National Institute for Foreign Trade, also boasts the award of High Representative of the Presidency of the Chamber of Deputies, the contribution Region of Lazio, the support of the City of Rome and the collaboration of the Fondazione Cinema per Roma and Fondazione Musica per Roma. Main sponsor is Barclays Wealth, in addition to sponsor American Express, Enel, FPC Partners LLP, the sponsor and Fnac.
A fraction of the tickets to the exhibition will be devoted to the Association of the Community of Sant'Egidio. In Network Connections
"Museo del Corso
Related Multimedia
'" The theater-fashioned, the costumes of the great designers
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