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Spagnoletta (Ballarino)
A couple begin facing one another, standing a few metres apart.
First verse: circling
1-2 Riverenza L
3-6 4 Spezzati LRLR in a wheel to the left (clockwise)
7-8 2 Passi LR forwards, Cadenza
Chorus: first part
1-2 2 Riprese RR, 2 Trabuchetti RL
3-4 Spezzato L turning left, Cadenza, end facing
5-8 Repeat first part of chorus, beginning with right foot
Chorus: second part
1-2 2 Trangi LR flankingly backwards,
1-4 2 Passi LR forwards, Cadenza
5-8 Repeat second part of chorus, beginning with right foot
Second verse: more circling
1-6 6 Spezzati LRLRLR in a wheel to the left
7-8 2 Passi LR forwards, Cadenza
Chorus: both parts
Third verse: Man's solo - "figure 8"
1-2 2 Spezzati LR turning left,
3-4 2 Passi LR forwards, Cadenza
5-8 Man repeats his solo, beginning with the right foot
Chorus: Man alone does first part; both do second part.
Fourth Verse: Woman's solo
As in the third verse, but that the woman dances while the man watches.
Chorus: Woman alone does first part; both do second part.
Fifth verse: finale
1-2 2 Passi LR to left, Cadenza
3-4 4 Trabuchetti RLRL facing
5-8 repeat verse, beginning with right foot, moving to right
Chorus: both parts
Complete the dance with a graceful Riverenza to your partner after the music finishes.
Reconstruction issues:
Caroso's description calls for the dancers to start at opposite ends of the room. It is clear from other dances that 'opposite ends of the room' need not put them more than a few steps apart - either Caroso expected a small dancing area, or he refers merely to the couple's orientation, without requiring them to move as far apart as possible. I find it very effective to have the dancers start a few metres apart, and to move a little closer in each verse (as each verse has an 'extra' two passi forwards that are not balanced by backwards steps).
Some reconstructors feel that the usual interpretation of in ruota (in a wheel) - to circle each other, as if around an imaginary point on the floor, mid-way between the dancers - cannot apply when they are so far apart, and so have them circle in place instead, turning over their own left shoulders. However, Caroso's language seems specifically designed to distinguish turning in one's own circle, and circling one's partner. I think it unlikely that such a common phrase as in ruota has vastly different meanings in otherwise similar dances, when one meaning can be made to serve throughout. (NB, I feel similarly about Chiara Stella - whatever 'in ruota' means here, it means always).
My favourite recording of Spagnoletta is that on Celeste Giglio. It's a good speed, but has six verses, so is the right length for the Spagnoletta Nuova for three and one verse too long for this Spagnoletta. The whole CD is a little quiet, though beautiful.
There are five-verse Spagnoletta recordings, but I tend to use this one anyway, because it's so lovely.
Translation 4/2004, updated 2006 [?].
The woman will stand at one end of the room, and the man at the other, without taking hands. They will do a Riverenza together, then four Seguiti spezzati in a wheel, with two Passi presti forwards, and a Cadenza à piedi pari. They will do two Riprese to the left, two Trabuchetti, and a Seguito spezzato turning to the left, beginning with the left, with a Cadenza with the right. Then they will do the same Riprese, Trabuchetti, and Seguito spezzato turning to the right, beginning with the right foot, and the Cadenza with the left. After that they will do two Passi trangati flankingly backwards, as in Barriera, with two Passo presti forwards, and a Cadenza, beginning with the left. They will do the same on the other side, beginning with the right.
In the second time [through the music] they will do six Seguiti spezzati in a wheel, with two Passi presti forwards, and a Cadenza à piedi pari. They will do the same things that they did in the first verse, beginning with the Riprese, with all the other things which follow, to the left and to the right.
In the third time the man alone will do two Seguiti Spezzati turning to the left, with two Passi presti forwards, and the Cadenza à piedi pari, beginning with the left foot. He will do the same things another time turning to the right, and beginning with the right. Then he will do two Riprese, two Trabuchetti, and a Seguito spezzato turning to the left, beginning with the left foot, with a Cadenza with the right. The he will do the same things another time on the other side, beginning with the right. Then they will do together two Passi trangati flankingly backwards, with two Passi presti forwards, and the Cadenza, beginning with the left, and they will return to do the same on the other side, beginning with the right.
In the fourth time the woman alone will do the verse that the man did. Then together they will do the Passi trangati backwards, and forwards, as was described in the verse above.
In the fifth time they will likewise do together two Passi presti to the left, and a Cadenza, beginning with the left foot, and four Trabuchetti facing, beginning with the right. The they will do another two Passi presti, with a Cadenza, to the right, beginning with the right, and four Trabuchetti, beginning with the left. Then they will do the aforesaid Riprese and Trabuchetti to the left, with the Seguito spezzato turning to the left, and the Cadenza, and the same another time to the other side. Finally, they will do two Passi trangati backwards, and two Passi presti forwards, with a Cadenza, beginning with the left foot, and the same beginning with the right. They finish the Ballo facing with a Riverenza.
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