I loved the exquisite costumes and rich architecture; along with the slow pacing which sharpened the impact of unexpected turns.
Primavera is a historical drama set in early 18th-century Venice and inspired by the novel Stabat Mater by Tiziano Scarpa.
The story is rooted in the real history of the Ospedale della Pietà, where abandoned girls received musical training if selected to join the renowned orchestra. The real Antonio Vivaldi worked there from 1703 onwards. The film follows Cecilia (Tecla Insolia), a gifted young violinist living in the orphanage. Although she is a brilliant musician, her life is confined within the orphanage walls. When Antonio Vivaldi (Michele Riondino) arrives, everything changes. A composer in search of artistic recognition, he recognises Cecilia’s extraordinary talent, and their relationship forms the emotional and creative heart of the film. Of course, his music also carried enormous emotional weight.
In the scene where the girls first perform for Vivaldi, the intensity of their playing conveys desperation, longing, and frustration far more effectively than words ever could. As director Damiano Michieletto so eloquently notes “my expressive world cannot be separated from music, whose narrative and emotional power has fed into my work in directing opera for 20 years”.
Director Damiano Michieletto has led productions for some of the world’s top opera houses, and his work has won numerous international theatre and opera awards, including the Laurence Olivier Award. Primavera is his first film as a director but his remarkable talent shines through.
Thematically the film constantly questions whether music is an expression of the soul or simply another form of labour demanded by those in power. Looking into the history behind the film, this perfectly reflected the reality at the time. The girls are given the opportunity to learn and perform, yet the film never lets the audience forget that their musical talents are also a source of income, attracting audiences and thus, donations.
The visual contrast between wealth and the austerity of the orphanage reinforces these themes. The upper classes are surrounded by gold, decoration, and excess, while the orphanage operates within strict emotional and material limits. Being largely set in the dark interior of the orphanage, the film strained my eyes a bit yet is befitting of the time. Besides, the constant visual imbalance is one of the film’s most effective elements, reinforcing the broader social divide, through the work of production designer Gaspare de Pascali and costume designer Maria Calderon.
Led by a strong cast in Insolia and Riodino, the portrayal by Andrea Pennacchi as Governor should also be noted as he really got under my skin! I also found Fabrizia Sacchi well portrayed the role of Prioress, expressing well the constraints she lives in despite having a form of power. In a similar vein, Valentina Bellè as the bored rich wife Elisabetta Parolin.
The film highlights the limited choices available to women, and the near absence of choice for orphans in particular as they are effectively sold for dowries, only learning to play because it attracts audiences and donations or makes her more desirable in the marriage market. This patriarchal power structure is normalised in the film’s narrative as part of life rather than something to be questioned.
Of course, there is always hope. There is a coded system in the orphanage, in keeping half an emblem when a baby is abandoned so they can potentially be claimed at a later date when the mother brings in the other half. Most of these emblems are religious symbols, and there are strong religious themes throughout.
If you love music, history, highly thematic films, or films with unexpected twists, this film has it all! In any case, who doesn’t love a film set in Italy!
Reviewed by Rebecca Wu
Rating 4.5 out of 5
Distributor: Warner Bros. Pictures
