February 14-15, 2015
by Leigh Witchel
copyright © 2015 by Leigh Witchel
Bringing “Napoli” to America is at once a slam dunk and a hard sell. The choreography is magni- ficent, intricate in both content and form. But the libretto – with a medallion of the Madonna as a miraculous plot device – seems to hinge on superstitious and outdated beliefs. On top of that, the original Act 2 is lost. Later attempts were confused enough that it was nicknamed the “Brønnum” act – after the Copenhagen restaurant you’d visit to sit it out.
Nayon Iovino in “Napoli” Photo © by Alexander Iziliaev