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Luigi Ceccarelli



Anihccam – Reviews

by admin
Nov , 27
Anihccam – Reviews


“Anihccam”, ie machine. Lightning-fast sound, camera that unrolls backwards, violent intuition … ..and the machines on stage are the scene itself, the mobile boxes and the proscenium that flips through like the pages of a book, offering itself to multivision games, arrows, to the bursts of light …… The protagonist is the assembly, the assembly of overlapping materials, as if they were on video, guided by a non-existent remote control. Transmission belt, the splendid music of Luigi Ceccarelli.
In the end, the pleasure of entering a perfect machine remains, less ephemeral than expected, a game of quotes and references, disenchanted and light as a wink.

Ella Baffoni —Il Manifesto 5/9/89

… Luigi Ceccarelli’s music is based on sounds constructed by computers and the highly skilled electronic processing of Stravinsky’s compositions and it is not the last merit of the show … ..

Alberto Testa – the Republic 10/18/91

What has remained of the plastic theater and the rigid geometric shapes indicated by Depero? The hardness of the structure here has magically transformed into fluid choreographies amalgamated by the splendid electronic music of Luigi Ceccarelli

Giulia Bondolfi – The Messenger 10/18/91

…. Luigi Ceccarelli’s music, based on electronically elaborated themes by Stravinsky, becomes a bit of a catchphrase, beautiful and evocative.

Vittoria Ottolenghi — Paese Sera 18/10/91

However, what a swing this “Anihccam”! It is strange that no one has thought about the concept of swing, as linear as it is indecipherable about the dance show conceived by the choreographer Lucia Latour and the composer Luigi Ceccarelli … .. If the voiceover says: “let’s drink a Bitter Campari”, the music seems to say “let’s go away conscious and light with the newfound progress”. Ceccarelli denies having married the idea of progress with futurism: “I don’t really care much about the thought of the futurists. I like the idea that any sound can be used in music, their unlimited openness”.
This 40-year-old composer has just suspicions: the idea of progress has caused a lot of trouble. Not so the dream of progress with which Ceccarelli and Latour play in Anihccam with graceful daze.

(Mario Gamba — Il Manifesto 20/10/91)

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