La Ritirata was not a box office success. In a 2009 market hungry for the fast-paced thrills of Cell 211 or the fantastical violence of The Last Circus , this meditative, tragic character study felt almost perverse. Critics were divided; some praised its brooding atmosphere, while others dismissed it as "slow" or "claustrophobic to a fault."
What follows is a masterclass in tension via dialogue. The camera barely moves. The two men argue about hierarchy, soccer, and the exact percentage of the loot. By minute forty, Tony has barricaded the door, accusing Franz of planning a “finta ritirata” (fake retreat). The film ends with a silent, ten-minute static shot of Franz eating a cold plate of pasta while listening to the radio announce a police blockade. We never learn if the car arrives.
The ensemble was born from Obregón's desire to create a flexible collective of top-tier soloists who could tackle diverse musical projects. Since its inception in 2009, La Ritirata has evolved from a small chamber group into a versatile orchestra, often collaborating with renowned vocalists and guest conductors. Key Milestones and Achievements Discography:
The director, Claudio Lazzaro, disappeared from filmmaking after 2011 to run a hardware store in Fiumicino. Michele Di Mauro reprised his monologue in a 2018 stage adaptation at Teatro Vascello , but the original master tapes remain in a private collection. A 480p rip with hardcoded Greek subtitles floats on obscure trackers.
Valery Usai (Rosa), Julian Siravo (Friedrich), Romano Talevi (Occhiulì), Federica Dezi (Lucia), and Leonardo Caneva (Dumì). Duration: Approximately 18 minutes. Genre: Period Drama / Short Film. Plot Overview
Over the past decade and a half, La Ritirata has become a cornerstone of the European early music scene. They are particularly noted for their technical precision, expressive depth, and their role in reviving the works of the "Neapolitan school" and Spanish court music, ensuring these works reach modern audiences with their original vitality intact.
The album focused on the transition between the Baroque and Classical eras, featuring works that were rarely heard in modern concert halls. The centerpiece was arguably the music of Luigi Boccherini, but the ensemble also mined the archives for works by composers who were contemporaries of the Spanish court. They explored the sonatas and trios that utilized the cello not merely as a basso continuo support, but as a melodic voice of growing importance.
