Between the end of Eighteenth and the very beginning of Nineteenth century, Antonio Muzzarelli stages most of his “repertoire” titles in Vienna, arousing the admiration of the Austrian public who, in him, sees the rebirth of taste and Noverrian style conjugated – we add – with a more than twenty-year scenic practice in Italy. What then is the choreographic identity of Muzzarelli? What can we recognize as the French influence and what, instead, can we identify as “Italian style”? Through the analysis of his main productions in Italy and in Vienna, the paper aims to investigate this composite identity.
Between Italy and Vienna: Antonio Muzzarelli
Stefania Onesti
2022
Abstract
Between the end of Eighteenth and the very beginning of Nineteenth century, Antonio Muzzarelli stages most of his “repertoire” titles in Vienna, arousing the admiration of the Austrian public who, in him, sees the rebirth of taste and Noverrian style conjugated – we add – with a more than twenty-year scenic practice in Italy. What then is the choreographic identity of Muzzarelli? What can we recognize as the French influence and what, instead, can we identify as “Italian style”? Through the analysis of his main productions in Italy and in Vienna, the paper aims to investigate this composite identity.File in questo prodotto:
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