Franco Zeffirelli, centenary between fame and controversy

(ANSA) - ROME, 04 FEB - Destiny had in the name FrancoZeffirelli that on February 12 he would have celebrated one hundred years.

   Born illegitimate son of the cloth merchant Ottorino Corsi (related to the heirs of Leonardo Da Vinci) and of the Florentine Alaide Garosi Cipriani, little Gian Franco was registered in the registry office with a fantasy name, according to the laws of the time (1923, the first year of the fascist era): the mother, narrated the artist, was inspired by the "zeffiretti", the spirits of Mozart's Idomeneo and those twenty rogues were a sort of sign of destiny that, with pride, Zeffirelli would never leave even when his father wanted to recognize him , at 19 years old.

Raised in boarding school with authoritative tutors such as Giorgio La Pira, a graduate of the Academy of Fine Arts, he immediately put himself on display as a refined set and costume designer, so as to attract

attention of Luchino Visconti who wanted him with him for a staging of Shakespeare.

Thus was born an artistic and human partnership that would mark the entire life of the young Tuscan, who from the early 1950s proved to be an authority in the world of theater and opera, thanks to the numerous productions signed by set designer, costume designer, director.

Long opposed at home for political (anti-fascist but fiercely anti-communist) and religious (intransigent Catholic despite a never concealed homosexuality) convictions, Zeffirelli has never had an easy life at home, unlike his acclaimed successes in the world.

It is therefore difficult to re-read his artistic parable today without taking into account the prejudices - but also the objective criticisms - which have often accompanied his work, especially in the cinema.

Blood tempered, ardent fan of "his" Fiorentina, parliamentarian and personal friend of Silvio Berlusconi, Zeffirelli remains an exemplary scion of the best Tuscany.

The museum in Florence which today houses the treasures of his collection and his artistic parable remains a rare example of "Renaissance" culture.

Of him it could be said that "few have loved Italy and its culture like him, even fewer have been able to be exalted and vituperated as much as he".

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Of him it could be said that "few have loved Italy and its culture like him, even fewer have been able to be exalted and vituperated as much as he".

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Of him it could be said that "few have loved Italy and its culture like him, even fewer have been able to be exalted and vituperated as much as he".

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