\n\t\t\t\tCINDERELLA\t\t\t<\/h1>\n\t\t\t\t\t\t\t\n\t\t\t\tan Italian story...\t\t\t<\/h4>\n\t\t\t<\/div>\n<\/div>\t\t<\/div>\n\t<\/div>\n<\/div><\/div>[\/vc_column][\/vc_row][vc_row row_content_width=”grid”][vc_column width=”2\/3″][vc_empty_space height=”50px”]\n\t\n\t\t\n\t\t\t\n\t\n\t\t\t\t\t\n\t\t\t\tShow Info\t\t\t<\/h3>\n\t\t\t\t\t<\/div>\n<\/div>[vc_empty_space height=”20px”][vc_column_text]Choreography<\/strong> by Claudio Ronda
\nChoreography Assistant<\/strong>: Federica Iacuzzi
\nMusic<\/strong> by Gioachino Rossini and Simone Pizzardo
\nLighting, Costumes, and Scenic Elements<\/strong> by Primo Antonio Petris
\nCostume and Scenic Elements Assistant<\/strong>: Giulia Zuolo
\nFabula Saltica Company<\/strong>: Lara Ballarin, Cassandra Bianco, Laura De Nicolao, Federica Iacuzzi, Manolo Perazzi, Claudio Pisa, Stefano Roveda, Chiara Tosti<\/p>\nProduction by Associazione Balletto \u201cCitt\u00e0 di Rovigo\u201d in collaboration with the Municipality of Rovigo \u2013 Teatro Sociale, Cen.Ser. \u2013 Rovigo Fiere, with the support of the Ministry of Culture \u2013 ArcoDanza Regione del Veneto<\/p>\n
<\/p>\n
In line with the sets and costumes by Antonio Petris, and for the dancers of the Fabula Saltica Company, which he leads, choreographer Claudio Ronda envisioned a restrained fantastical setting, stripped of excesses, set in 1960s Italy. In his production, Ronda turns the concept of achieving affirmation through suffering on its head, instead establishing a close relationship and resonance with personal sensitivity and achievements, capturing the spirit of our times. The essence of the story remains, although the fairy godmother becomes a skilled seamstress, and there are no pumpkins or Disney mice; instead of a glass slipper, there is a young woman more connected to the real world, no longer a victim but a self-aware woman in control of her own choices. It is a contemporary family story where a girl, oppressed by a stepmother and comically exaggerated stepsisters, and sidelined by a busy and ambitious society, finds her personal fulfillment with the help of dance and true love.<\/p>\n
<\/p>\n
The show, with inserts from and references to Gioachino Rossini\u2019s eponymous work and specially composed music, is also a heartfelt tribute to the composer\u2019s art. For the soundtrack, Ronda uses selected pieces from various comic operas, devoid of vocal parts but full of the irony and flair characteristic of Rossini\u2019s style, juxtaposed with other compositions by the same composer and interspersed with original music by Simone Pizzardo.<\/p>\n
<\/p>\n
PRESS REVIEWS<\/strong><\/p>\nIL GAZZETTINO<\/strong>
\n\u201cCinderella is highly enjoyable, with great rhythm, never banal, alternating between choral scenes, romantic solos, and elegant duets in a 1960s setting. Brio, exuberance, and a refreshing air alternate with moments of romantic solitude set to Rossini’s music.\u201d<\/p>\nMENTELOCALE.IT<\/strong><\/a>
\n\u201c\u2026Cinderella: An Italian Story is set in a restrained, stripped-down version of 1960s Italy. Claudio Ronda overturns the concept of achieving affirmation through suffering, instead creating a close connection with personal sensitivity and achievements. The essence of the story remains, but the fairy godmother becomes a skilled seamstress; there are no pumpkins or Disney mice, but a young woman closer to the real world, no longer a victim, but aware of her own choices\u2026\u201d[\/vc_column_text][vc_empty_space height=”45px”][vc_column_text]\n\t\t\t\n\t\t\t<\/span>\n\t\t\t<\/span>\n\t\t\t<\/span>\n\t\t\t<\/span>\n\t\t<\/span>\n\t\tTechnical sheet<\/span>\n <\/i><\/a>[\/vc_column_text][vc_empty_space]\t\t<\/div>\n\t<\/div>\n<\/div><\/div>[\/vc_column][vc_column width=”1\/3″][vc_empty_space height=”50px”]\n \n ![\"\"](\"https:\/\/www.fabulasaltica.com\/wp-content\/uploads\/2019\/12\/D5D2921.png\")
<\/div>\n<\/div>[\/vc_column][\/vc_row][vc_row row_content_width=”grid”][vc_column][vc_empty_space]\n\t\n\t\t\n\t\t\t\n\t\n\t\t\t\t\t\n\t\t\t\tWATCH THE TRAILER\t\t\t<\/h5>\n\t\t\t\t\t<\/div>\n<\/div>
\n\t\t\t\tShow Info\t\t\t<\/h3>\n\t\t\t\t\t<\/div>\n<\/div>[vc_empty_space height=”20px”][vc_column_text]Choreography<\/strong> by Claudio Ronda
\nChoreography Assistant<\/strong>: Federica Iacuzzi
\nMusic<\/strong> by Gioachino Rossini and Simone Pizzardo
\nLighting, Costumes, and Scenic Elements<\/strong> by Primo Antonio Petris
\nCostume and Scenic Elements Assistant<\/strong>: Giulia Zuolo
\nFabula Saltica Company<\/strong>: Lara Ballarin, Cassandra Bianco, Laura De Nicolao, Federica Iacuzzi, Manolo Perazzi, Claudio Pisa, Stefano Roveda, Chiara Tosti<\/p>\nProduction by Associazione Balletto \u201cCitt\u00e0 di Rovigo\u201d in collaboration with the Municipality of Rovigo \u2013 Teatro Sociale, Cen.Ser. \u2013 Rovigo Fiere, with the support of the Ministry of Culture \u2013 ArcoDanza Regione del Veneto<\/p>\n
<\/p>\n
In line with the sets and costumes by Antonio Petris, and for the dancers of the Fabula Saltica Company, which he leads, choreographer Claudio Ronda envisioned a restrained fantastical setting, stripped of excesses, set in 1960s Italy. In his production, Ronda turns the concept of achieving affirmation through suffering on its head, instead establishing a close relationship and resonance with personal sensitivity and achievements, capturing the spirit of our times. The essence of the story remains, although the fairy godmother becomes a skilled seamstress, and there are no pumpkins or Disney mice; instead of a glass slipper, there is a young woman more connected to the real world, no longer a victim but a self-aware woman in control of her own choices. It is a contemporary family story where a girl, oppressed by a stepmother and comically exaggerated stepsisters, and sidelined by a busy and ambitious society, finds her personal fulfillment with the help of dance and true love.<\/p>\n
<\/p>\n
The show, with inserts from and references to Gioachino Rossini\u2019s eponymous work and specially composed music, is also a heartfelt tribute to the composer\u2019s art. For the soundtrack, Ronda uses selected pieces from various comic operas, devoid of vocal parts but full of the irony and flair characteristic of Rossini\u2019s style, juxtaposed with other compositions by the same composer and interspersed with original music by Simone Pizzardo.<\/p>\n
<\/p>\n
PRESS REVIEWS<\/strong><\/p>\nIL GAZZETTINO<\/strong>
\n\u201cCinderella is highly enjoyable, with great rhythm, never banal, alternating between choral scenes, romantic solos, and elegant duets in a 1960s setting. Brio, exuberance, and a refreshing air alternate with moments of romantic solitude set to Rossini’s music.\u201d<\/p>\nMENTELOCALE.IT<\/strong><\/a>
\n\u201c\u2026Cinderella: An Italian Story is set in a restrained, stripped-down version of 1960s Italy. Claudio Ronda overturns the concept of achieving affirmation through suffering, instead creating a close connection with personal sensitivity and achievements. The essence of the story remains, but the fairy godmother becomes a skilled seamstress; there are no pumpkins or Disney mice, but a young woman closer to the real world, no longer a victim, but aware of her own choices\u2026\u201d[\/vc_column_text][vc_empty_space height=”45px”][vc_column_text]\n\t\t\t\n\t\t\t<\/span>\n\t\t\t<\/span>\n\t\t\t<\/span>\n\t\t\t<\/span>\n\t\t<\/span>\n\t\tTechnical sheet<\/span>\n <\/i><\/a>[\/vc_column_text][vc_empty_space]\t\t<\/div>\n\t<\/div>\n<\/div><\/div>[\/vc_column][vc_column width=”1\/3″][vc_empty_space height=”50px”]\n \n <\/div>\n<\/div>[\/vc_column][\/vc_row][vc_row row_content_width=”grid”][vc_column][vc_empty_space]\n\t\n\t\t\n\t\t\t\n\t\n\t\t\t\t\t\n\t\t\t\tWATCH THE TRAILER\t\t\t<\/h5>\n\t\t\t\t\t<\/div>\n<\/div>
IL GAZZETTINO<\/strong> MENTELOCALE.IT<\/strong><\/a>
\n\u201cCinderella is highly enjoyable, with great rhythm, never banal, alternating between choral scenes, romantic solos, and elegant duets in a 1960s setting. Brio, exuberance, and a refreshing air alternate with moments of romantic solitude set to Rossini’s music.\u201d<\/p>\n
\n\u201c\u2026Cinderella: An Italian Story is set in a restrained, stripped-down version of 1960s Italy. Claudio Ronda overturns the concept of achieving affirmation through suffering, instead creating a close connection with personal sensitivity and achievements. The essence of the story remains, but the fairy godmother becomes a skilled seamstress; there are no pumpkins or Disney mice, but a young woman closer to the real world, no longer a victim, but aware of her own choices\u2026\u201d[\/vc_column_text][vc_empty_space height=”45px”][vc_column_text]\n\t\t\t\n\t\t\t<\/span>\n\t\t\t<\/span>\n\t\t\t<\/span>\n\t\t\t<\/span>\n\t\t<\/span>\n\t\tTechnical sheet<\/span>\n <\/i><\/a>[\/vc_column_text][vc_empty_space]\t\t<\/div>\n\t<\/div>\n<\/div><\/div>[\/vc_column][vc_column width=”1\/3″][vc_empty_space height=”50px”] <\/div>\n<\/div>[\/vc_column][\/vc_row][vc_row row_content_width=”grid”][vc_column][vc_empty_space]\n\t\t\t\tWATCH THE TRAILER\t\t\t<\/h5>\n\t\t\t\t\t<\/div>\n<\/div>