The theatrical performance
Udine, Teatro Nuovo Giovanni da Udine - March 21, 2025

Marco Goldin
Curator of the exhibition

A flow of beauty, between images, words, and music. A journey through places and stories, between eyes and landscapes, in Europe and America. Between a garden and the sky. All converging on the magical space of a stage, because the space of a theater is the most desirable place to bring together—as a single substance—painting with words, painting with music. And so, each time, the miracle repeats itself.

This time, the grand Theater of Udine, sold out, hosted the narrative that preceded the exhibition Boundaries from Gauguin to Hopper, which will open at Villa Manin on the upcoming October 11. Above all, it was my desire to convey the wonder of well over a hundred works and their creators, and to do so also through the most modern technological tools. I have always loved using whatever contemporary means are available to bring new light to the colors of painting. So, yes, images of the paintings, but also videos and visual suggestions, in a flow between emotion and knowledge.

And then there is the matter of music, that inseparable relationship for me in the theatrical narratives I create about painting. I found in Remo Anzovino an extraordinary companion on this journey, a shared sensitivity in connecting colors, words, and notes. On this occasion, we worked together again, and the string section of the FVG Orchestra joined us for a collaboration that was greatly appreciated. Those present in the theater experienced this dimension of balance and fusion—of love for painting and for what it represents at its most authentic.

Remo Anzovino
Composer of the music

Working on the incidental music for the performance that introduced the exhibition Boundaries from Gauguin to Hopper was a true joy for both the eyes and the soul.
Having the orchestra at my disposal allowed me to translate into sound the multifaceted meaning of “boundary” as magically composed by Marco Goldin.
My task was to balance the colors of the sections in relation to my instrument, the piano, and thus create music that would transport the audience to elsewhere—into something that made the moments captured on canvas by the great artists on display palpably eternal—attending to the details as elements converging toward the universal.

Marco Goldin has always considered music not as a decorative element in his art projects for the theater, but as a true counterpoint, in constant dialogue with his narration.
For a composer, this is a great fortune—a remarkable opportunity.