Starting from Gershwin’s best music and inspired by the paintings of another great 20th-century American artist, Edward Hopper, Michele Merola has created Gershwin Suite, using as a soundtrack the most captivating of Gershwin's work, including, among others, Summertime and Rhapsody in Blue. The choreographer chooses Gershwin's music in its various facets, not only the most euphoric brilliant pieces, but also the most romantic and intimate, the most sensual and seductive. Some scenes are inspired by the connection between Gershwin's music and paintings by Edward Hopper. Many consider Hopper, thanks to his realism, an artist able to represent simple moments of life in a poetic and evocative way. "I was attracted - says Merola - by the painter's ability to construct atmosphere and nuance that reveal implications and secrets of the human condition. The scenes create characters and situations that are not pre-determined, but open to different endings and solutions". Inspired by these paintings, we see intimate duets and solos, plus group scenes where the desire to live and escape daily life jump out. The scene takes on the appearance of a film set, thanks to a scenography that changes continuously, and a choreography that touches many keys.


Enrico Morelli wanted to entrust his new work to Franz Shubert's extraordinary music: no one other than the Viennese composer has been able to interpret the contrasting feelings of love, tension, melancholy, regret, but also hope. A collage of famous pieces by Schubert composed two centuries ago - extracted from masterpieces of real beauty, that still amaze today for their great relevance - these are the soundtrack of this work devoted to the many souls of contemporary man, where love is replaced by disillusionment, where separation gives way to sharing, where passion cedes to fear and vice versa, in a backwards-forwards process between growing and decreasing, revealing entire universes and secret ties. Morelli’s work has no pretension or descriptive ambition, his choreography is an abstract account of solitude and twinned souls, in an era like ours, that is tired, pale, disenchanted, tormented by a malaise that hangs in the air itself, but that also anxiously seeks meaning and a hope of happiness. It is a tale in which we focus especially on the moment of return, because happiness is where we can return, maybe changed, unconcerned about the accelerated scary speed of the present, and the future that maybe we are afraid to explore. The problem is not to arrive, but to come back. To learn each time to love again. To have the courage to recognize our fragility, and so our generosity in tenderness.
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