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VADIM MUNTAGIROV peo pl e
ALESSANDRO STAIANO a dir ec to r r efl ec ts
IGOR ZELENSKY close u p
YUMIKO TAKESHIMA dance couple s
WANG RAMIREZ
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HENRI DE TOULOUSE-LAUTREC Jane Avril, 1899. Lithograph, Bibliothèque Nationale de France, Paris. This is one of the many lithographs which ToulouseLautrec made of his friend and model Jane Avril, a dancer at the Moulin Rouge and at the Jardin de Paris. All of them feature in Il mondo fuggevole di Toulouse-Lautrec (“Toulouse-Lautrec. The Fleeting World”), the fascinating exhibition at Palazzo Reale, Milan, on now until 8 February 2018. Visitors can also admire many works in which the bohemian painter portrayed the Belle Époque milieu of dance and theatre: from his beautiful lithographs inspired by Loie Fuller’s Serpentine Dances, to those depicting audiences and dancers at the Moulin Rouge, the actress Yvette Guilbert, or the English dancer May Milton.
E D I TO R I A L This edition includes the video-photo reportage from the Danza&Danza Awards Gala Evening, the two-yearly ceremony at which our jury presents its awards, held this year at the eighteenth-century Teatro Carignano in Turin.
© Bill Cooper - ROH
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We then flew to London to meet the Principal Dancer at the Royal Ballet, Vadim Muntagirov, and on to Munich to hear Igor Zelensky take stock of his first year as director of the Bavarian State Ballet. We introduce you to Alessandro Staiano, the rising star of the Teatro di San Carlo Ballet in Naples; and the amazing couple – in art and in life – who have breathed new life into international hip hop: Honji Wang and Sébastien Ramirez. Dancer and fashion designer Yumiko Takeshima creates ballet costumes, blending movement with her passion for textiles, something she inherited from her Japanese grandparents. There’s also a calendar with the main international events, and our reviews of this autumn’s most noteworthy premieres. Browse through, and you’ll find plenty more of interest! Maria Luisa Buzzi
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VADIM MUNTAGIROV Astonishingly ironic and notoriously reserved, he’s the embodiment of the fusion between Russian and English style. We’ll soon be seeing him on the Italian stages.
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Yumiko Takeshima
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THE DANCE SCENE
HONJI WANG SEBASTIEN RAMIREZ
ALESSANDRO STAIANO
The new star of the Teatro di San Carlo is as exuberant and generous as all Neapolitans.
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She is German-Korean, he is Franco-Spanish. Together for over six years and as many works, the couple in art and in life have given new blood to hip hop.
CLOSE UP
YUMIKO TAKESHIMA
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WHAT’S ON 53 SHOPPING_FITNESS_ TIPS
32 R E P O R TA G E / DANCEWORDS IN MOTION
Ballerina and costume designer, she’s united her two passions. We tell you her story.
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IGOR ZELENSKY A peek at Zelensky’s projects for the Bavarian State Ballet. © Christopher Duggan
DA N Z A & DA N Z A I N T E R N AT I O N A L No. 4 - November/December 2017 (Italian Edition No. 277) Editor-in-Chief Maria Luisa Buzzi Editor’s Assistant D&D International Silvia Poletti Editorial Enquiries redazione@danzaedanzaweb.com
Contributors Rossella Battisti Valentina Bonelli Elisabetta Ceron Giuseppe Distefano Francesca Pedroni Silvia Poletti Jessica Teague Sergio Trombetta Carmelo A. Zapparrata Multimedia Content Francesca Pedroni Translators Catherine Salbashian Joelle Williams Art Director Walter Almici
Advertising Manager Sara Prandoni ads@danzaedanzaweb.com Publisher DNZ MEDIA srl Via Passeroni n. 1 20135 Milan – Italy ph. +39.(0)2.58308433 Website www.danzaedanzaweb.com D&D International APP-only Edition Annual subscriptions or single issues available on App Store, Google Play, Pocketmags, Kindle Fire, Blackberry, Windows 8
DANZA&DANZA Magazine Bi-monthly Italian print edition Overseas subscription: € 90 for 10 issues www.danzaedanzaweb.com/ subscription paypal or credit card Registro Nazionale della Stampa n. 4377 del 28/09/1993 Tribunale di Milano n. 526 del 2/11/1985 On the cover Vadim Muntagirov (ph. ASH)
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Shy and ironic, he is one of the most interesting talents of his generation. And he’s conquered Britain.
VADIM
MUNTAGIROV “I’m not losing my Russian roots, I’m gaining British spirit”
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francesca pedroni
Vadim Muntagirov, Royal Ballet Principal Dancer, is one of the most interesting talents of his generation. He was born in 1990 in Chelyabinsk, Russia, and has been awarded twice by Critics’ Circle National Dance Awards (2011 for the category Outstanding Male Classical Performance and 2015 as Best Dancer) as well as the Benois de la Danse (2013). Between November and January he will be dancing in London and in Italy at Teatro Lirico in Cagliari and at the Auditorium Parco della Musica in Rome for the Les étoiles Gala. In May he is among the star guests at La Scala Theatre in Milan for the gala evening dedicated to Rudolf Nureyev. A dancer to discover. You grew up in Russia, in a family of dancers. Was becoming a dancer the obvious choice? My parents didn’t really push me, it was a natural choice. My dad, my mum and my sister are dancers. Going to Perm Ballet School came automatically, my dad graduated from there and my sister was about to graduate. I just packed my suitcases, without giving a thought to how hard it would be. I was very attached to my family and learning to be completely independent at the age of nine was very difficult. I spent six very tough years at Perm Ballet School. I had great teachers and I’m grateful to them but when I saw my classmates through the window, playing football outside and I was in the studio I’d sigh and wish I was out there with them. I was always studying, rehearsing, preparing competitions.
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When I won a silver medal, I was given a laptop as a reward. I felt so cool because I was the first boy at school to have a computer, all my friends were queuing up to play games on it. Then I won the Prix de Lausanne and the prize was a one-year scholarship to any school in the world, I chose the London Royal Ballet School. It was only meant to be for one year but I liked it so much that the director, Gailene Stock, told me I could stay there and graduate.
The Royal Ballet’s Lauren Cuthbertson and Vadim Muntagirov in Ashton’s “The Two Pigeons”. Opposite, Muntagirov in David Dawson’s “The Human Seasons” (ph. Kristam Kenton/ROH).
From Russia to London at the age of fifteen. How did you feel? I really loved London, but it wasn’t easy here either. When I went to Perm I had to learn to be independent and not rely on help from my parents, wash my own clothes, cook for myself and so I thought I was ready. But when I moved to London it was the start of a completely new chapter, I couldn’t speak a word of English. It took me a year to feel settled. When I finished school three years later I went to the English National Ballet. It was a lot of work straight away, on stage every day, ballet after ballet. It was very exciting. What kind of preparation did you have at Perm? Was it different from the English approach? In Russia there was a different style of studying. The male dancers did technically very difficult classes with a lot of jumps, manèges and pirouettes, we were prepared for becoming soloists in our theatres. At the Royal Ballet School I discovered an approach that paid
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more attention to detail, to the cleanness of the steps. When I graduated I was ready to partner and do any type of ballet, all I had to do was learn the repertoire and learn how it had to be danced. Experience and repetition, doing roles time and time again, make all the difference. At 19 you became Principal at the English National Ballet. There you formed a special partnership with the Czech dancer Daria Klimentova. An age difference of 19 years. What did that partnership teach to you? When I met Daria, she was already a very experienced dancer, for me it was like going back to school. Our first show together wasn’t planned. One of her partners was injured so our director asked me to step in. The title was Giselle. I didn’t know at the time but when she found out I’d be partnering her she burst into tears and said, “I won’t dance with that boy, he’s just out of school”. But it went well and we danced together for five years right up to her farewell performance in Romeo and Juliet. We enjoyed dancing together, she taught me the importance of creating a good atmosphere in rehearsals, we used to have fun, we trusted each other completely and so there was no fear when we went on stage. She retired in 2014. And you joined the Royal Ballet. How did it happen? I moved to the Royal Ballet after five years at the English National Ballet. I had been dancing with Daria less and less and also it was quite difficult to get permission to dance in other places. The new director Tamara Rojo was quite strict about it. The English National Ballet’s repertoire is quite simple, if The Nutcracker is being staged then you dance that for six
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VADIM MUNTAGIROV WHERE AND WHEN 23 November, 1, 6 December 2017 London, Royal Opera House SYLVIA by Fréderick Ashton 15, 18 December 2017 London, Royal Opera House THE NUTCRACKER by Peter Wright 5 January 2018 Cagliari, Teatro Lirico, LES ETOILES GALA 19 January, 1 February 2018 London, Royal Opera House, GISELLE by Petipa from Coralli-Perrot 27, 28 January 2018 Rome, Auditorium Parco della Musica LES ETOILES GALA from 24 to 26 May 2018 Milan, La Scala Theatre NUREYEV EVENING
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months and it’s the only title you’ll do unless you dance elsewhere as well. I said to myself: “You’re young, you’re only 24, is dancing the same ballet for six months really what you want?” I wanted new challenges, new ballets, more dramatic titles. I decided to move to the Royal Ballet and a day later I was there. I immediately danced Sleeping Beauty, a creation by Christopher Wheeldon, The Winter’s Tale, and then Manon and other titles by MacMillan and Ashton. Kevin O’Hare is an amazing director; I’m very lucky to work with Tamara Rojo and him. He’s very understanding, he lets me Vadim Muntagirov guest around the world. I came to Italy in “Sleeping Beauty” with the English to dance in the Roberto Bolle and Friends National Ballet and Gala in Milan partnered with Marianela Vadim at The Royal Opera House, Nuñez. It’s wonderful to see other dancDes Grieux, in ers and experience different stages and “Manon” (ph. Alice Pennefather). different audiences.
But you’ve danced “Giselle” many times. Giselle is one of my favourite ballets. It has an amazing balance between happiness and sadness. In the first act you have absolute joy, in the second you experience the tragedy of losing everything. I never think about jumping higher or turning for longer in this ballet, I just try to live the story. It’s the first full evening ballet I danced and it always feels very special for me. What’s your partnership with Marianela like? You’re dancing many titles together in London and you’ll be performing with her in Rome in January then later at La Scala in Milan. Yes, in January at the Les Etoiles Gala in Rome we’ll be dancing together the pas de deux from Ashton’s Sylvia and Giselle. I love dancing with Marianela. She’s an amazing dancer and a hard worker. At the Royal Ballet we almost always dance together. Every show it gets even better. So with every show there is more and more enjoyment. In London we’re dancing Sylvia in November, The Nutcracker in December, and Giselle in January. What about Ashton style? Ashton ballets are among the hardest I’ve danced. It’s not just about steps and technique, for his choreography you have to be able to act. In La Fille mal gardée, for example, you have to concentrate on acting every second! The first time I danced it, I was dying. After that I went back to dancing Giselle and it felt so easy. Every time I work on Ashton’s ballets they are really challenging. In November I’m dancing Sylvia in London, but I can’t tell you much about the role yet because it’ll be my debut and we haven’t done many rehearsals yet. But one thing’s for sure: with Ashton you won’t get away with just good technique. You have to be good actor, too.
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In May 2018 you’ll appear on stage at La Scala Theatre in Milan for the Gala dedicated to Rudolf Nureyev. What’s his greatest legacy? I love Rudolf as a dancer and a choreographer. I’ve danced in his productions of Romeo and Juliet, Raymonda and Swan Lake. They’re the hardest productions I’ve ever done but they’re also so wonderful to dance. Nureyev pushes you beyond your limits, and after performing his titles you feel much stronger from the experience. I wish I’d had the chance to work with him. There aren’t many legendary artists left, so if I ever I have an opportunity to work with them I’ll try to absorb as much as possible. Nureyev is definitely one of my idols and it’s an honour to participate in the gala dedicated to him. They say you’re a combination of Russian blood and English training. What does this mean to you? I try to maintain my Russian training and add English technique. My teachers in Russia gave me a solid base; it makes it easier to dance the classics. It’s a great help. •
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• elisabetta ceron He loves his theatre. His grandfather, Lurico, was the caretaker of the Teatro San Carlo and the top floor of number 98 on the street of the same name, was second home to him until the age of six. This story is told in respectful tones by Alessandro Staiano, the most promising figure on the Neapolitan dance scene. He is as virtuoso and dazzling on stage as he is reticent and cryptic in private. His charisma is not something he likes to show off in person, but he knows how to make the most of his natural appeal when the curtain rises, and every time he approaches a new role. For example, Actaeon the hunter, a role he performed at the Carignano theatre in Turin, on the occasion of the Danza&Danza Awards Gala where he received the prize as “Best Newcomer 2016”. After his early days at the dance school run by his father, who was his first teacher, Alessandro soon got noticed by Anna Razzi. She taught him the discipline to follow a daily training routine, an aspect with which he has always struggled. It was Razzi who moulded his approach to his work as a dancer, ever since his third year at the San Carlo Theatre School. Between graduating from there, and being accepted into the corps de ballet, he had a series of important encounters. From the former director of the ballet company Alessandra Panzavolta, who cast him in the lead in Nacho Duato’s Without Words, to ballet master and subsequent director Lienz Chang. “He gave me that something extra, the confidence to attack the stage”, he says. Not to mention the current director, Giuseppe Picone, whom he speaks of with immense gratitude.
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Alessandro Staiano photographed by Federica Capo.
Staiano, what has changed for you under Picone’s directorship? Picone has invested in young people and in talent. Today, the San Carlo Ballet appears at festivals, and its soloists are invited to galas and receive awards; the company’s productions are covered by the press, along with La Scala Ballet or the Rome Opera Ballet. That hadn’t been the case for years! In just one year under Picone, everything has changed for me: I’ve been given the opportunity to stand out. I’d been dancing principal roles for some time, but now I’m being chosen to perform on first nights, and to partner with guest ballerinas. Picone believes in me, and counts on me. Is it an overhaul that covers every aspect of the profession? He brought in a breath of fresh air right from his first day: there was a sense of calm in the theatre and more work to do, which led to a greater sense of confidence. Let’s be clear: we went for two years without a director, there were rumours that the ballet was to shut down. All of that had a massive impact
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and detracted from that set of stimuli that are fundamental to our work. Personally, I will be eternally grateful to Picone. His managerial skills were just what we needed; not everyone with a background in theatre or dance would necessarily have been capable of turning around such a difficult situation. And would you say that your ‘Neapolitan-ness’ has played a part in all this, in the sense of that almost ‘binding’ attachment to your birthplace and traditions? Yes, our outgoing, generous nature is certainly something that’s brought to the fore in art and it’s both a resource and a very strong bond with our city: in 2012 I ranked eighth out of those applying to join the Paris Opera Ballet, but I ended up not going… At each audition I’d have to specify that I came from Naples, Campania, Italy; it was as though nobody knew there was dance at the San Carlo, and that really bothered me. Eventually I decided to stay here, because in this kind of environment it actually seemed the most difficult choice.
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ALESSANDRO STAIANO WHERE AND WHEN 8 December, Italian Red Cross Gala, Teatro Nuovo Giovanni da Udine, Udine 23-30 December, The Nutcracker, choreography by Giuseppe Picone, Teatro di San Carlo, Naples
Two beautiful shots of Alessandro Staiano. Above with Annachiara Amirante, Teatro San Carlo Ballet (ph. Federica Capo).
You’ve had some great satisfactions since, with principal roles and roles designed for you in productions such as “Alice in Wonderland”, by Gianluca Schiavoni, dancing alongside Alicia Amatriain; “Giselle”, directed by Anna Razzi and Giuseppe Picone; Charles Jude’s “Nutcracker”, and most recently “Cinderella”, in which the role of the prince was created for you. That’s right, three pas de deux and a very challenging variation dancing with Maria Eichwald. In this new interpretation by Picone, the moments of self-reflection allowed me to move away from a role that is generally standardised, because that’s how it was created in the classical repertoire, making it rather monotonous. That’s another reason why I love contemporary dance, it allows me expressive depth, releasing emotions and moods that I like to explore.
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Your partnership with Maria Eichwald has brought you luck… That’s right. Maria contacted me to accompany her to the Les Etoiles Gala in Barcelona, where the guest of honour was Ivan Vasiliev. I danced Drigo-Petipa’s The Talisman for the first time with her. I was really impressed by her quest for perfection through attention to detail. After that gala, I also danced for Bolle&Friends at the Festival dei Due Mondi in Spoleto. Roberto asked me to dance with him in the male duet Le combat des anges from Petit’s Proust, and I love all of that choreographer’s work. What is success, in your opinion? Freedom of expression, and a sense of sharing and understanding with the audience. Does it include winning an award? If the award is given to an Italian dancer, it’s three times as important to me! •
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jessica teague
Brought up in rural Japan, in awe of the precious kimono materials that her grandparents sold, Yumiko Takeshima (Hokkaido, 1970) has never lost her passion for fabrics. Following a brilliant career as a dancer at the Dutch National Ballet and as Principal at Semperoper Ballett in Dresden, she turned her attention to the world of costumes and designing. Since 2001 she has created a line of leotards, and she collaborates with today’s major choreographers as costume designer. Two parallel passions, as she tells us in this interview.
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DANCER AND COSTUME DESIGNER What were some of your earliest childhood influences growing up in Japan? My great grandparents had a kimono shop in rural Japan, so I grew up surrounded by beautiful kimono fabrics. My parents would often take me to Kyoto where the kimono fabrics were made and I’d just stare at the fabrics all day long. I was always fascinated to touch them. Of course my parents would say ‘Don’t touch them: they are very expensive!’ This definitely inspired me later in life to work intimately with fabric, touching and feeling it. My mom also practised the art of ikebana flower arrangement. I would watch her doing that for hours, it’s really beautiful. I don’t know the rules of it well, but it’s about creating life and always tells a story. It’s a visual practice about simplicity and minimalism. How did you get started with ballet? From the age of 4, I was enrolled in dance classes, because my sister already went. Ballet was simple in those days in Japan. We danced on tile floors and used piled up chairs as barres. It was just a fun thing for girls to do. It only became serious when I went to San Francisco. You began training at the San Francisco Ballet School when you were 13. How did you adjust to the cultural changes at such a young age? It was hard to communicate with people and make friends, as I didn’t speak any English at the time – but oddly enough I didn’t really mind. Going to America was always a big dream of mine and the school was the biggest challenge for me.
Yumiko Takeshima in David Dawson’s “A Sweet Spell of Oblivion” and during rehearsals for“Giselle”.
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Was it a smooth road from San Francisco Ballet School to having a professional dance career in Europe? Not at all! I moved around a lot and was in a few different companies before I got to Europe. It started one summer while I was home on break from SF Ballet School, and I did an audition for the Universal Ballet in Korea. In many ways it felt like it was destiny, I was only 16 and suddenly I had my first professional job. In that company I met my future husband and many life long friends. I worked there for a few seasons and then moved to NYC. There I took classes with David Howard every day, until one day the director of the Alberta Ballet was watching and offered me a job in Canada. From there I really wanted to go to Europe and was able to get a job in new company opening up in Paris. Unfortunately the French company closed after 6 months. Then the director of the Dutch National Ballet asked me to come to Amsterdam to audition. After I auditioned he told me that he might have an opening for me in Amsterdam, but only in a year’s time! I was of course very happy but needed to go somewhere until then. So I went back to NYC and danced with Feld Ballet until a contract in Amsterdam opened up. Once I was in Amsterdam I stayed for 10 years, and then went on to dance in Germany at the Semperoper Ballett.
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You have been referred to as one of the most intriguing Ballerinas of our time. What are some of the most defining moments of your career? Meeting David Dawson was definitely one important moment. We started off as colleagues at the Dutch National Ballet. He left to join the Frankfurt Ballet, but then returned years later as a choreographer. At that moment I was going through a tough time, I don’t know why, but I was beginning to loose interest in dancing. When David made The Grey Area he started working with us in a way that was so interesting: it brought me back. It was like my second career started. You career as a dancer and designer are closely intertwined. How did you create a balance between your two passions? Did one organically lead to the other? Both are an important part of my life, but ballet was there first. Designing leotards developed because I was absorbed in the dancing world. I would imagine styles that would look great on all the beautiful dancers surrounding me. So when these people asked me to create things for them, I was totally inspired. However, if I hadn’t been in the ballet studio that might not have happened. How did your first leotard designs come about? They just kind of happened. When I moved to Amsterdam, I didn’t have much money but one day I went into an Amsterdam fabric store and couldn’t resist buying a leotard fabric. The very first leotard I made was for myself. I spent a long time working on it and it turned out quite cool – very simple but nice. When I wore it to work at the company a lot of people asked ‘Can you make me the same?’ That is how it started and it hasn’t really stopped since [laughing]! By 2001 I was starting to get orders from all over the world. So we registered as a business and set up a small operation in our apartment in Amsterdam. I hired a fantastic assistant. She would sew in the house while I was at work rehearsing and then I would come home and take over. We did that for one year and it just got out of hand - you couldn’t move in the house! My husband then had the idea to set up a workshop for us in the small village in Spain where his mother was born. We hired 4 people from the village to work with me in that workshop. That was 2002 and it’s grown since then. Do you think being a dancer helps when designing dancewear? Absolutely, it’s a big advantage! Having danced in my leotards myself and seeing my colleagues wearing my designs has given me a very clear idea of what is lacking or working. Over the years dancers have told me straight to my face what works and what doesn’t. Most people say my leotards feel really nice and last forever – and that is what I want. But it does take a lot of work to produce one good style. When I was still dancing I used to test all the new styles by wearing them to rehearsals myself. Now, I always ask a professional dancer to wear it, wash it and use it without being careful. Then I ask for their honest feedback. I’ll also go to watch rehearsals to see how the style is working. I do have a lot of design ideas but only about 2 out of every 10 designs really become part of my collection.
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One of the costumes for “The World According to Us” designed by Yumiko.
You also design costumes for many of today’s leading choreographers. Can you tell us a bit about that? It started when David Dawson asked me to design the costumes for his first ballet A Million Kisses to My Skin. ‘Why me?’ I asked and he answered ‘because you know how to make people look good.’ I never considered calling myself a designer…but that’s how he saw me. We did those first costumes together, he gave his input but also let me have my freedom. We went to the Amsterdam flower market and bought lots of flowers. He said ‘if you follow nature’s colour patterns it always works.’ So we laid out all the flowers and put together many different combinations to see what worked and what didn’t. I put forward a few different designs and he chose the ones he liked. Since then he has asked me to design all his costumes. I’ve also worked with William Forsythe to create the costumes for Neue Suite and remake Issey Miyake’s original designs for The Second Detail. I also reworked the costumes for Balanchine’s Apollo in Dresden. Working together with the Balanchine Trust on that was a real honour. Plus it’s been great to design costumes for Alexei Ratmansky, Jorma Elo and Annabelle Lopez Ochoa’s choreographic creations. How do you choose materials for your costume designs? The more costumes I design the more I learn about the materials. I experiment a lot and don’t follow a specific set of rules; the material has to fit the piece and the choreographer’s idea. Although sometimes I do pick materials that the company costume departments don’t immediately approve of. For example when working on David Dawson’s The Grey Area I chose a material that had never been used before and the costume department at the Dutch National Ballet felt it might not be suitable for long-term storage and upkeep, but they trusted me and we worked together on it. After all these years the costumes have lasted and they still use them, so it worked out.
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Yumiko Takeshima, You danced in most of those ballets. Odette, in “Swan So what was it like it to wear your own Lake” with the Dutch National Ballet (ph. designs on stage? Oh yes, I certainly Angela Sterling) wore them too! As a dancer, I know anand in “The World According to Us” with ything that can make dancing more difDresden Semperoper ficult, like a costume for example, is not Ballett (Costin Radu). Below, Yumiko and something you want. I try to think about David Dawson with how I would want the costume to feel on the costume for “Giselle”. stage if I was dancing a difficult ballet. I had an idea for the Wilis to all wear a veil over their face in David Dawson’s Giselle. David really liked that idea, he felt it fit the role and portrayed all the Wilis as a version of Giselle with their own anonymous story. But the costume wasn’t easy to dance in! However, because I was wearing it too as Giselle people didn’t complain as much! It was hard choreography and we had to really get used to the costume, so that was one costume that we had to work for.
Much of your current team is made up of former professional dancers whom you’ve helped in their career transitions. How has this affected your business? I grew up in the dance world and have always been surrounded by dancers, so I’m used to working with friends and colleagues on a very close level. Even after work, I like being with creative people, so if I can continue working with former dancers and artistic people I feel very comfortable and open. I would love to involve even more dancers in the future.
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People who know you well say that you are a bit of a rebel. Would you agree? I’m terrible with that! It’s true, I don’t follow rules. Also in ballet companies, I often wanted to focus on different things not just the things that you are supposed to focus on. Some teachers let me do it, but not all of them. While working on Balanchine’s ballets with Patricia Neary she would always say ‘Yumiko makes her own rules!’ •
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After a year as head of the Bavarian State Ballet, the process of renewal is already evident: new Principals and a new repertoire
IGOR
ZELENSKY valentina bonelli After just a year as Director of the Bavarian State Ballet, today the Russian Igor Zelensky seems perfectly integrated into the German system. On the back of his first season that has proved to be a success, the former dancer greets us with a stern politeness at his large high-tech studio and tells us about day-to-day life with a renewed dance company that doesn’t have space for artistic illusions but aims to establish itself further on the European stage. With German rigour and Russian flair. What were your first impressions of the company? When I arrived Ivan Liška had been director for over 20 years, he had his taste, his dancers and his vision. I’m obviously different, if only in terms of my experience, I can’t judge, all I can say is I feel lucky to be here, it’s a beautiful city and a beautiful theatre and the company has a great legacy. What’s more, I’m perfectly in tune with Mr. Bachler, the General Director, who has provided me with everything he had promised.
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Igor Zelensky (ph. Wilfried Hoesl).
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THE NEW 2017/18 SEASON The two new Bavarian State Ballet 2017/2018 season productions are Christian Spuck’s Anna Karenina (in fact bought from Ballett Zürich) which premieres in Munich on 19 November, and the programme comprising three titles (in this case created especially for the Bavarian company) Portrait Wayne McGregor, which opens Ballett Woche on 14 April 2018. Meanwhile, a monographical festival dedicated to John Cranko is planned for the month of February, featuring three titles: Romeo and Juliet, Onegin and The Taming of the Shrew, that will also run throughout the season. Two successful productions that were championed by Zelensky last season, Grigorovich’s Spartacus and Wheeldon’s Alice’s Adventures in Wonderland, make a return, as do the repertoire classics Don Quixote, Raymonda and La Bayadère, as well as Ashton’s version of La Fille mal gardée and Neumeier’s Midsummer Night’s Dream. For Zelensky’s second season as Director he is on a recruitment drive to bring new Principal dancers to Germany: the British Laurretta Summerscales and the Cuban Yonah Acosta, life partners, have been pulled away from the English National Ballet and Matthew Golding, the former Principal of the Royal Ballet, will appear as a Guest with the Bavarian State Ballet.
You’ve replaced many dancers, haven’t you? I brought eighteen new dancers with me and this season I’m replacing another fifteen. It’s not a revolution though, it’s an evolution, and it needs to be brought about gradually. How’s it going? I’ve been directing ballet companies for over fifteen years and I know it takes time to see the results you have in mind. You can’t do everything you want straight away, you have to consider the roots of a company, the time restrictions, the daily reality of preparing shows for the stage. Of course, I have my own heritage and every year I want to do things I like, my ballets. But slowly, slowly… the dancers and I have to get to know each other first. The coming season will be easier because the dancers will have already absorbed my energy and they’ll know how to convey it to the new dancers.
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Bavarian State Ballet Has the ticket office seen results, in Christopher too? We think globally but we live locally. Wheeldon’s “Alice’s Adventures in According to the numbers the theatre is Wonderland”. almost always sold-out. This is the aim; Opposite, Sergei Polunin it’s not easy given that the Bayerische in Grigorovich’s Staatsoper has 2100 seats, one of the big“Spartacus” (ph. Wilfried Hoesl). gest theatres in Europe. So even if I did have wild fantasies in mind I wouldn’t be allowed to fulfil them because first you have to fill the hall. I’m at the theatre’s service, I have to think of business first, selling the titles I produce and performing them for the right amount of runs, understanding how people live here and what reactions German audiences have. The city is small but ambitious, it has a large theatre but unlike Moscow, Tokyo or New York it doesn’t have 10 million inhabitants and your sums have to add up. This is the director’s most important business.
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The audience rightly always wants to see the best. So this is the director’s task, to show one side and hide the other. I have to balance things, keep things on an even keel and even adopt strategies to achieve what I want to achieve. What’s the existing repertoire and how would you like to reformulate it? The repertoire is very varied here; we have many of the classics and big titles from Cranko, Neumeier, Balanchine, Kylián and Forsythe. But it can be very difficult for the dancers to keep the quality high with such different styles. Apart from the Stuttgart Ballett, we’re the only company to have three John Cranko titles in our repertoire: Onegin, The Taming of the Shrew and Romeo and Juliet, masterpieces all of which we’ll perform this season for the Cranko festival. In the first season we had nine different programmes, for the second season there’s as many as fifteen. I can do two new productions per season. Last season these were Grigorovich’s Spartacus, that I bet will remain part of the repertoire for twenty years at least, and Wheeldon’s Alice’s Adventures in Wonderland, a very expensive production for which I received a part of the budget of the opera. The new titles this season will be Christian Spuck’s Anna Karenina and Wayne McGregor’s Portrait with three new titles created for us. Obviously, I’d like to do more but I’ve got a limited budget, it wouldn’t make sense to stage a Russian version of La Bayadère, for example, because there’s already one in the repertoire.
And do you like this business? Honestly, my greatest pleasure comes from being on stage. I loved life as a dancer, I would put my costume on and enjoy it. I danced with many companies and I performed until last year. If you were to ask me today “would you like to go back to being a dancer or go on being a director?” I’d have no doubt; I’d choose to be a dancer. But that’s life. What role does the director play in the company’s day-today life? I am faced with people’s lives daily and I have to understand them. I don’t have to be a dictator but I have to keep order. I give classes myself because I want the dancers to improve then in the evening they have performances and some get injured or ill, some go on maternity leave, there can be problems because there aren’t many of them, only sixty-five. But what does that matter to someone who’s paid one hundred euros for a ticket?
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Male dancers of Bavarian State Ballet in rehearsal for ”La Bayadère”. Below, Yana Zelensky rehearses “Giselle” with Ksenia Ryzhkova and Osiel Gouneo (ph. Silvano Ballone).
We also managed to get Svetlana Zakharova, Natalia Osipova, Vladimir Skljarov and Osiel Gouneo, star of one of the best performances of Spartacus I’ve seen. What sort of dancers come to your auditions? Young dancers from all over the world, lots of Italians, Russians and Chinese. It’s a hard market, everyone’s looking for young talent and it’s not easy to secure them. It also makes it impossible to have the same style in the company, this is why I’m building up the School, I see it as one of my duties.
Do you like experimenting? Of course I do but I can’t spend money on taking risks. I could at the Prinzregententheater, in the summer, for a programme dedicated to young, new choreographers. It’s not that expensive but there isn’t money for that here. Was it difficult to get the big stars? Yes, they receive many invitations, everyone wants them, they have to be booked well in advance and they cost a lot. But I managed it. The first season, for example, Sergei Polunin did eight performances here.
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How are you doing this? The Academy Director, Jan Broecks, leads a good team of teachers but the problem is that, not having a residence, when students come to study here at 15 they’re already too old. Our neighbours at the John Cranko Schule in Stuttgart, on the other hand, have a nice school with boarding and various other facilities. We should too, to make the school and the company one single organism, a united and joined system. We need to find the money for boarding so that children can come from the age of 9 and stay for 7 years and have time to fall in love with the company, the repertoire, the dancers and become so involved that they don’t want to find work elsewhere as is the case at the moment. Why should I import dancers from China or Russia? Wouldn’t it be better to find them here? The system needs to be renegotiated with the Ministry for Culture and I’ll do whatever it takes to have our voice heard, ballet in Munich is depending on it. What response have you had to your directing? Everyone has an opinion but I’m doing my best. The numbers on my desk say the theatre is selling well. And even the critics like what I’m doing. To be honest there’s still a lot to do before we start seeing the quality I have in mind but I’m happy with the way things are going so far. •
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SEBASTIEN
RAMIREZ Wang Ramirez (ph. Johan Persson).
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HONJI
WANG sergio trombetta She, Honji Wang, was born in Germany to Korean parents. He, Sébastien Ramirez, is French with a Spanish father. They began working together in Germany. They are partners in life and at work, both thirty-five years old with a variety of successful shows to their names. But the title they’re best known for is undoubtedly the Monchichi duo that tells the story of their lives through gestures and images. Their dance is based on a refined sort of hip hop tinged with many other styles. The special quality of the piece lies in the blend of his soft Mediterranean sensuality and her icy and rigorous charm. They’ve collaborated with Akram Khan and Madonna. Their most recent piece, Dystopian Dream, which premiered at the end of September, gives visual form to musician Nitin Sawhney’s album of the same name.
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It’s thanks to hip hop in Berlin. It’s thanks to their passion for dance, they explain, that Honji Wang and Sébastien Ramirez met in the German capital. Sébastien: It was an underground space, a meeting place for youth culture and hip hop in the centre of Berlin. I used to go to practise with my dance partner who was from Berlin. All the kids who had the same kind of interest in music gravitated there, to see who the new graffiti artists were. It was 2004 or 2005. Honji: I ended up there after disappointments with classical dance. I wanted to be a ballerina and I’d started studying classical ballet at the Frankfurt Conservatory but I was forced to give up because they told me I didn’t have the right physique, I was the wrong height and the wrong shape, nothing was right. So I took a great leap, I loved hip hop culture and the music. Moving towards that kind of dance might seem a big change of direction but it actually came about very naturally. The rehearsal rooms fascinated me, watching certain dancers improvise, letting themselves be led by never-ending imagination. I was only thirteen when I began to admire it from a distance. This new passion took hold of me. In “Monchichi”, an inextricable and perfect blend of contemporary vocabulary, elements of martial arts can be seen in silhouette… Sébastien: We started getting involved together, without going too deep to begin with. Honji’s oriental features recall those of the heroines of the Kung Fu films. Then we came into contact with the practice of Tai chi, we made it our own, it be-
Wang and Ramirez in “Monchichi” (ph. Fabio Melotti).
came a sort gestural jargon for us. It was a pleasure to see Honji practising martial arts. At the root of it is an aesthetic that suits her physique perfectly. Honji: When we start work on a new piece we begin with the most abstract sort of hip hop because that’s our imprinting. When we get on stage to see what we want to do it becomes a piece of dance and that’s it, there’s no sort of connotation. Sébastien: It has to be a piece that tells a story, that describes an atmosphere.
WANGRAMIREZ WHERE AND WHEN 4 November, Borderline, Festival Trans Urbaines, Clermont Ferrand, France 6,7 November, Monchichi, Montpellier Danse, France 11 November, Borderline, Ludwgshafen, Germany 15 November, Monchichi, Karlsruhe, Germany 11 January, Borderline, Lannion, France 24,25 February Borderline, Zellerbach Hall, Berkeley, USA 25 January - 4 February, Dystopian Dream, Théâtre de la Ville, Paris, France 3 March, Borderline, University of Minnesota, Minneapolis, USA 7 March, Borderline, Bayhan Theater, Pittsburgh, USA 9,10 March, Borderline, University of Michigan, Ann Arbor, USA 15-18 March Monchichi, Prince Theater, Philadelphia, USA 23 March, Monchichi, Espace Treulon, Bruges, France
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“Dystopian Dream� Artwork (ph. Johan Persson). Original painting reproduced with permission of Paul Benn.
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Honji Wang and Sébastien Ramirez in “Monchichi” (ph. Grant Halverson).
Honji: A creation develops through the work, you don’t decide sitting round a table, you follow ideas that come from improvisation. We love taking inspiration from things that are real, things we’ve experienced. How did “Monchichi”, nominated for a 2017 Bessie Award, come about? Sébastien: In Monchichi reflection turned to our culture, our origins, the languages we speak. Honji: The piece is based on our relationship so we automatically put a lot of ourselves into it, from the workshops to the creation. Then with our dramaturg we concentrated on what we considered to be the most important points. Any arguments about artistic choices? Honji and Sébastien: No, it’s always a common idea, we sometimes talk about it but there’s always agreement. Did the first spark happen in real life or in art? Sébastien: Life. We met and we got together, we were a couple in life before becoming dance partners. Back then Honji wasn’t a professional dancer, whereas I already had my company. Honji: I was the one to approach him after his first work. I said why don’t we try to do something together? That’s how the adventure began. Where is home? Sébastien: In our suitcases, to be honest. We’re real wanderers at the moment. We have a house together in Berlin, the company is based in Montpellier, in France. But we’re thinking of settling in Paris next year.
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When you’re together outside of work who organises your daily life? Sébastien: The woman, of course. Very Latin… Honji: No, no, we’re so busy planning work that in actual fact daily life becomes the least of our worries. Sébastien: And I let Honji decide. How important are your multicultural backgrounds to your work? Sébastien: It’s an advantage and an inconvenience at the same time. It’s how you grew up. Today it’s quite common to meet people with mixed backgrounds like ours. It’s something that enriches you; you have different values and ways of being. Honji: Dance is our common ground; it’s the language we use to communicate ideas. At the start our verbal exchanges were in English, that’s a foreign language for both of us. Let’s talk about “Dystopian Dream”, your new work to music by Nitin Sawhney. Sébastien: It’s a collaboration that was originally commissioned by Sadler’s Wells, London. It premiered at the Théâtre de la Ville in Luxembourg on 29 September. Honji: He’s a composer that we love, so this time we readily accepted to work with music that was already known and published. It’s an album of tracks by Nitin that were inspired by the death of his father. The atmosphere is already set. We’re on stage with a singer. •
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R E P O R T A G E
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EVENING
DANZA&DANZA AWARDS
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A gallery of images and photos that conjure up the excitement of the Danza&Danza Awards Gala Evening, held at the eighteenthcentury Teatro Carignano in Turin on 16 September to coincide with the prestigious Torinodanza festival. On stage, the Italian and international dance scene’s finest, the winners of last season’s Danza&Danza awards. A celebration of talent and beauty through pas de deux and variations from the classical repertoire, alongside contemporary choreographies. There were performances from Martina Arduino and Nicola Del Freo (from La Scala Ballet) in the pas de deux from II act of Petipa-Ivanov’s Swan Lake; Susanna Salvi, Rome Opera Ballet, partnered by Claudio Cocino, Principal at the same company (suite from Act II of Giselle); the Fondazione Nazionale della Danza/ Aterballetto with an excerpt from Bliss by Johan Inger; Rosario Guerra and Luke Prunty from Gauthier Dance, Stuttgart, in the duet from Marco Goecke’s Nijinski; Alice Mariani and Thomas Bieszka from the Dresden SemperOper Ballett with the impassioned In the Middle Somewhat Elevated by William Forsythe; Alessandro Staiano (Teatro di San Carlo Ballet) in the male variation from Diana and Actaeon by Vaganova; Rachael Osborne and Ian Robinson, unsurpassable dancers from the Batsheva Dance Company with a duet from Mabul; Dario Rigaglia of les ballets c de la b. dancing a contemporary solo he created himself, called Dietro l’angolo; Timofej Andrijashenko from La Scala Ballet with the astonishing contemporary solo No more one by Francesca Frassinelli.
Alice Mariani and Thomas Bieszka in Forsythe’s “In the Middle Somewhat Elevated” at the Danza&Danza Awards Gala in Turin (ph. Viola Berlanda).
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The award categories considered by the jury each year included also the Life Achievement Award, which went to Cristina Bozzolini; the award in memory of Mario Pasi – critic on Corriere della Sera, senior writer for Danza&Danza and the first president of the Jury – for contributions to the dissemination of dance culture, granted to Nexo Digital for the Royal Ballet live cinema broadcasts in Italy. The gala was opened by two budding talents from La Scala Ballet School, Camilla Cerulli and Alessandro Cavallo, in Le Corsaire pas de deux. Thanks to our partners La Perla Cioccolato Torino, Consorzio Colline Monferrato Casalese, Probios, MBun, Viridea, Atelier Sangalli.
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La Scala Ballet’s Martina Arduino and Nicola Del Freo in “Swan Lake”. Opposite from top: Danza&Danza’s dance critic Ermanno Romanelli presenting the Award to Susanna Salvi, Roma Opera Ballet Soloist; dance critic Silvia Poletti with Johan Inger and Aterballetto; Rosario Guerra and Luke Prunty in Marco Goecke’s “Nijinski”; dance critic Rossella Battisti presenting the Award to Alessandro Staiano; Camilla Cerulli and Alessandro Cavallo, guests of the evening from La Scala Theatre Academy; Dario Rigaglia, les ballets c de la b, in “Dietro l’angolo”; Rachael Osborne and Ian Robinson, Batsheva Dance Company, in Ohad Naharin’s “Mabul”; dance critic Valentina Bonelli with Timofej Andrijashenko; the President of the Jury Maria Luisa Buzzi and the dance critic Francesca Pedroni presenting the “Mario Pasi Special Award” to Nexo Digital (ph. Viola Berlanda).
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Opposite, Rome Opera Ballet’s Soloist Susanna Salvi and Principal dancer Claudio Cocino in “Giselle”. Above, Aterballetto in “Bliss”. From left to right: dance critic Elisabetta Ceron with Rosario Guerra; Timofej Andrijaskhenko in “No more one”; dance critic Giuseppe Distefano with Dario Rigaglia; Francesca Pedroni and Maria Luisa Buzzi with Cristina Bozzolini, Life Achievement Award; dance critic Carmelo A. Zapparrata with Alice Mariani, Dresden Semperoper Ballet First Soloist; dance critic Sergio Trombetta with Martina Arduino, La Scala Ballet dancer. (ph. Viola Berlanda).
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THE DANCE SCENE
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IN SASHA’S SECRET LABORATORY ROME If
you thought you’d find Sasha Waltz back in the kitchen, where she made her name as a choreographer with Travelogue I–Twenty to Eight in 1993, or in the drawing room, perhaps replicating the dazzling operatic aquarium of Dido and Aeneas, then think again: Sasha’s gone into the cellar. The secret laboratory where she went to create the movements of her dancing golems, the collective Kreatur of her latest work, which opened the Romaeuropa Festival. Where are we now? This was the question posed by the REF, to which the German choreographer’s answer is a fresco of ancestral movements, refined black-and-white lighting (by Urs Schönebaum) and designer Iris van Herpen’s ingenious costumes, which mould the bodies of the “creatures”, set against the evocative ambience of “concrete” sounds by Soundwalk Collective. Here we are in a world suspended between high technology and barbaric throwbacks. It is aquatic, as in the striking opening sequence with luminescent jellyfish floating
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Above and in space, and gradually gets more opposite, “Kreatur” terrestrial, crowded by people by Sasha Waltz at Romaeuropa Festival wandering, lost, from one side of (ph. Piero Tauro). the stage to the other. They reflect each other as doppelgängers, or form clusters of desperate bodies balanced precariously on a platform suspended in the void. The packaging is wonderfully elegant, as befits a figure such as Waltz who (along with Johannes Ohman) is slated to take over as director of the Staatsballett Berlin, at the end of Nacho Duato’s mandate. The result is rather weak. In her “desire to take back ownership of the body” as she puts it, Sasha resorts to a post-modern framework (in her case, it can also be defined post-Bauschian) which has been done to death. She does so, moreover, with a certain formality of composition; it is almost crystallised, and has nothing in common with the alienated, shattering reinvention of Papaioannou, for example, or the quest for sincerity in the minimalist movements of many choreographers, from Gat to Soulier. In short, the state of contemporary research on bodies appears to escape her. Bodies which, it must be said, are beautifully lit and inventively clad in Kreatur. Rossella Battisti
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ENZO COSIMI COMPANY
LATTANZI EMBODIES PASOLINI’S SOUL MILAN A pioneer of Italian Nuova Danza movement in the Eighties, Enzo Cosimi has been known for his ability to balance drama and dance. Now, nearly three decades into his career, the artist received the tribute of a retrospective at the MilanOltre festival. Four different works, including the recent Estasi and Corpus Hominis, along with the reprise of Bastard Sunday, a 2002 production restaged in 2015, and here performed for the first time in Milan. Watching these works again all together bears out the choreographer’s talent for transporting the viewer from an initial “slice of life” to original, dreamlike scenarios. This happens in Bastard Sunday, with a dramatic theme based on the life/death of murdered poet and intellectual Pier Paolo Pasolini, which takes the form of a solo for the dancer who embodies him, Paola Lattanzi. The show begins with a male figure seated at the front of the stage before a basin. He smears his face with black, before sitting to the side to observe. We imagine this is Pasolini’s murderer, Pino Pelosi, the rent boy whose story we can hear in an interview playing in the background. “Why did I kill Pasolini? I don’t know, it was self-defence.
If I’d killed just anyone, a Mr Whoever, everyone would have forgotten about me immediately”, he says. Then suddenly she enters: Paola, the essence of Pier Paolo, holding a football. We imagine the five-a-side field in Ostia where the poet used to spend time, while in the background a video is projected, obsessively replaying a Seventies car hurtling towards the viewer, as though trying to knock him over. The incident has already taken place. We are, most probably, in a meditative-symbolic afterlife, enveloped in Robert Lippok’s nervy electronic score; through it wanders this androgynous figure, with a disarming expressivity and power. Totally nude, in her abstract movements made up of vibrations, rolls and overturned perspectives Lattanzi is a soul who gives herself, prostrates herself, lets herself be manipulated, rebels, and dies once more. Only to rise again as a fatal black Venus – a reference to Pasolini’s passion for Africa – standing upon a tattered chair. She laughs down mockingly from on high, in glittery stilettos. She exudes a rebellious power, and stands serene before a mediocre, bourgeois society. A remarkable performance by Lattanzi, an impeccable feat of directing and choreography from Cosimi. Maria Luisa Buzzi
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ROMA OPERA BALLET
IN PETIT’S FOOTSTEPS ROME It’s a huge plus for the dancers of the Rome Opera Ballet to gain familiarity with the works of Roland Petit, and so a repertoire which – although it has undoubtedly entered the realm of classical ballet – has modern syntax running through its veins, along with an acute sense of theatricality and some razor-sharp central roles. What’s not a plus, and in fact is a huge weakness, is that a Soirée Petit has been staged at the Costanzi theatre with a recorded score. And not just because here we have three masterpieces, namely L’Arlesienne, Le Jeune homme et la Mort and Carmen, which don’t deserve to be musically stifled: while that would be bad enough in itself, the point is that the orchestra is a fundamental element of this theatre, a Maginot line that mustn’t be crossed with recordings (what next, Above, Natasha Kush opera sung to a karaoke machine?). and Michele Satriano The piece which suffers most from in Petit’s “Carmen” (ph. Yasuko this lack of live music is L’Arlesienne. Kageyama). Paola It tells the tale of a couple of soon-toLattanzi in Enzo be-wed Provencal peasants: Frederi Cosimi’s “Bastard (an intense Alessio Rezza) and Vivette Sunday” (ph. Marco Caselli Nirmal). (a meek and mild Rebecca Bianchi, who was appointed étoile after Giselle, a week later. Indeed, Bizet’s score is a true counterpart to the choreography, partly as it accompanies the ensemble folk dances and punctuates their rhythm, but mainly because it becomes a partner for Frederi, evoking with its leitmotif the ghost of the beautiful girl from Arles with whom the young man is obsessed. Meanwhile, Le Jeune homme et la Mort remains a magnificent existentialist manifesto. It was written by Cocteau, who godfathered Petit’s choreographic genius in 1946 (the ballet was very quickly created, and only afterwards set to Bach’s score). Eleonora Abbagnato attacks the role of the femme fatale with nervy impetus; Stéphane Bullion uses his body’s plasticity to interpret a restlessness that’s more form than substance. Lastly, we come to the stirring Carmen, where an elegant Michele Satriano stands out in the role of Don José, having matured greatly from an artistic perspective. Dancing alongside him with lively verve is Natasha Kush, a Carmen who makes up with grace what she lacks in seductiveness. Rossella Battisti > On Tour 10 December Soirée Petit, Festival de Danse, Cannes, France
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Marianela Nuñez and Roberto Bolle, Tat’jana and Onegin; Agnese Di Clemente and Claudio Coviello, Ol’ga and Lenskij, in Cranko’s “Onegin” (ph. Brescia-Amisano/La Scala).
LA SCALA BALLET
HEARTBREAKING “ONEGIN” Back on the Piermarini stage after a five-year hiatus, John Cranko’s Onegin, Sixties masterpiece that requires stars with great performing finesse, presented the audience with the new partnership formed by Roberto Bolle and Marianela Nuñez, Principal of the Royal Ballet, and also honed a spotlight on some of the dance corps’ resident talents. Puškin’s drama in verse sees the lives of the romantic and indecisive dandy Onegin and the enamoured and rebuffed Tat’jana unfold with the resident duo Nicoletta Manni and Marco Agostino in the roles for the first time, as well as three other pairings of young talents in the roles of Ol’ga and Lenskij: Alessandra Vassallo and Timofej Andrijashenko, Agnese Di Clemente and Claudio Coviello, Martina Arduino and Nicola Del Freo. All the runs have proved to be a success for everyone involved and a great test for the company. The Argentine star from the Royal Ballet, in the role for the first time at La Scala, comes across bright and expressive and presents a Tat’jana whose affairs of the heart aren’t the full-blown romantic heartache of a tragèdienne. The naturally expressive Nuñez builds a more balanced but still impressive character. She shines in the acrobatic pas de deux in the dream sequence in act I where free reign is given to Cranko’s style of academic vocabulary that meets modern, new dynamics and
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‘attacks’ of movement. Her extremely solid technique gives momentum to the South African choreographer’s sequences full of juxtapositions and pauses. The partnership with Bolle is perfect for the lifts and for telling the story through dance; the home-grown étoile has really made Puškin’s complex character his own. He appears bored, distant and insolent and is convincing in the final scene of repentance in which that wonderful duet of circling embraces unfolds, an expression of untranslatable sentiments. Agnese Di Clemente, still a seasonal corps de ballet member, performs an Ol’ga deserving of applause. She produces a fresh, carefree and then distraught character in a game of clean lines punctuated with theatrical gestures of which the post-duel scene between Onegin and Lenskij (Claudio Coviello) is a shining example. The company’s Principal dancer shows off his lyricism in his heartrending version of Lenskij, where the vibrant arabesques held beyond measure are interspersed with moving gestures, his outstretched arms making clear his desperation in a last attempt to save himself when faced with the inevitability of death. Maria Luisa Buzzi
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TP HE NE S DI EA RN OC E C RS ICT EI NC EO
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THE NEW ITALIAN DANCE SHOWCASE RAVENNA The Vetrina della giovane danza d’autore - showcase for the youngest generation of choreographers in the making –takes place every September in Ravenna, as the national culmination of the regional selections made by Anticorpi XL, an artistic network created by more than 30 organisers from the Italian dance scene, set up for scouting and promoting young, homegrown dancemakers. This year, a more discriminating selection process and the decision to present a smaller number of shows made the event more enjoyable, and offered a more relevant perspective. Especially in terms of the performance skills of the dancers, their preparation and training – which is informed by neo-classical style, or at least elements taken from a solidly twentieth-century tradition – thus shaking off certain often baseless conceptualisms displayed by choreographers in previous editions. Judging by the works seen, there seems to be little interest in research in the strictest sense, that artistic reconnaissance which ventures into unexplored, risky territory with more transversal performances. Perhaps there is still a lack of research into a more personal style which might reveal originality and new languages. Overall, solo pieces have been overtaken by ensemble dances, which is a good sign. If asked to sum up a few of the eight choreographies I saw out of twelve, many of them are commendable for their quality of execution and ideas. Among these is the weighty Human, by the Italian-
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Spanish duo Mattia Russo and Antonio De Rosa of the Kor’sia collective: an excerpt of three scenes about universal human rights, inspired by a work by the visual artist Umberto Cicera. Camilla Monga, with her Quartetto per oggetti, uses said objects to define a series of physical actions, determined by the way they are constantly moved by the performers, and by a live DJ set. With MF/Chenapan, Francesco Colaleo and Maxime Freixas create an amusing, whimsical sequence of physical games which are constantly changing, generated through the relationship between the pair, who are at once complicit and in conflict. The performers in Angelo Petracca’s Studio sulla purezza are sculptural, fluid, mechanical in their movements, in a piece inspired by Bill Viola’s slow motion: Petracca starts with
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DADA MASILO’S “GISELLE”
REVENGE IS REDEEMING
an arrangement of swimmers, using them to compose painterly tableaux of pure, geometric lines which make for stirring viewing. Jart is by Ginevra Panzetti and Enrico Ticconi; although repetitive, it hints at some interesting developments. Clutching police truncheons and stamping their bovver boots, they beat time to the action in an imaginary Garden of Eden, which turns into a fight between the two figures and everything around them. As an aside, this brings up just how important it is for choreographers to know how to pick the right excerpt from a completed work to show to the audience and to industry experts. Chopping up a piece into twenty minutes is no easy task, and the choice does not always do justice to the creative and original potential which it may already possess. Davide Valrosso presented a beautiful work, We are not alone, for the Prove d’autore XL section. In a semi-dark space, with faint light sources, the very young dancers explore the awakening of the senses through a study of their own bodies and in relation to the others. Their constantly mutating, budding, barely-there movements turn them into a single, distinct, pulsing organism. Giuseppe Distefano Above, “Jart” by Panzetti-Ticconi; “MF/Chenapan” by Francesco Colaleo and Maxime Freixas. Opposite, “Studio sulla purezza” by Angelo Petracca and “Quartetto per oggetti” by Camilla Monga.
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REGGIO EMILIA Giselle without Dance Factory in Dada Masilo’s romanticism, is that possible? It is if the “Giselle” (ph. Alfredo remake of the nineteenth-century ballet is Anceschi). in the hands of Dada Masilo, one of today’s most original choreographers. If a new moral is introduced to the timeless and impossible love story between a peasant girl and a duke, the moral being that we pay for our mistakes. This is how the South African choreographer’s Giselle takes shape, maintaining just some of the libretto’s fil rouges. We’re not in Silesia but in rural South Africa and to prove it two of William Kentridge’s brilliant drawings, both essential and thrilling, are used for the backdrop. A choice of great elegance in a show without scenery where it’s the bodies, with their unparalleled vigour and physical language resulting from a unique mix of afro, modern, classic, contemporary and capoeira styles, that do the talking. As tradition dictates the ballet (as seen at the Teatro Ariosto) opens in a farming village where the harvest is being celebrated, all the villagers dance to the rhythm of traditional percussion instruments, the youngsters are laughing, joking and falling in love. Duke Albrecht is there in disguise and he seduces Giselle, whose drunkard mother immediately admonishes her, telling her not to succumb to love but to settle for her suitor and equal Hilarion and be proud. Even though she’s been warned by a premonition Giselle doesn’t see what’s going on until she discovers the betrayal and comes up against the coarse vamp Bathilde (rendered masterfully in a kind of caricature with classical ballet movements). She is admonished by Myrtha, a sort of shaman, who imperiously enters the scene to the music of Adolphe Adam, leitmotiv of the drama and the revenge. Only at this point and in the final tableau does the original score recognisably emerge, for the other hour of the show Philip Miller’s brilliant sound track unfolds to African rhythms, spiritual song, bells, drums, electric violins and a shrill cello in moments of fighting. The dream is a prelude to the revenge. What follows is a stunning scene of madness in which a bare-chested Dada is in the grip of shudders and convulsions and the funeral procession, after which Giselle is a new spirit. She has turned into a Wili, vindictive and embattled like her betrayed companions. Erinyes in beautiful blood-red costumes who have nothing virginal about them, they whip Albrecht, they tear him to bits in a cathartic rite that leads to their healing only by returning ills to those who caused theirs. Once the redemption is complete ashes are scattered and a blessing is made over the traitor’s body. Masilo’s most successful and mature work yet, a real gem. Maria Luisa Buzzi
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Aterballetto in Hofesh Shechter’s “Wolf”. Below, in Cristiana Morganti’s “Non sapevano dove lasciarci...” (ph. Viola Berlanda).
A THEATRICAL AND ROUSING
ATERBALLETTO WITH MORGANTI AND SHECHTER TURIN A fresh challenge for Aterballetto. The new diptych by Cristiana Morganti and Hofesh Shechter, requested under Bozzolini’s directorship and presented as a premiere at Fonderie Limone for the Torinodanza festival, sees the dancers of the great company from Reggio Emilia immersed in two poetics never tackled before. A step that is undoubtedly a precursor to the new artistic course that will be taken by Pompea Santoro and Gigi Cristoforetti and we’ll begin to see soon. So, with Cristiana Morganti, a former pivotal dancer with Tanztheater Wuppertal and now choreographer in her own right, an inevitable plunge into the styles of Bauschian dance theatre for the nine dancers selected by the choreographer (with a second cast from February) in the construction of Non sapevano dove lasciarci…, a bitter-sweet
piece about the life of a dancer and the artistic choice ‘to dance’ in which Ardillo, Artale, Budlla, Forioso, Lyell, Longo, Mastroviti, Pighini and Vergnano lay themselves bare, starting with their own personal experience. The title phrase returns during the show in a theatrical moment in which they all, excitedly talking over each other, tell their stories of when they started dance school. An acute scream interrupts the reminiscing to return to the sequence of danced tableaux, alternating playful atmospheres, rewarding moments of applause, cigarette breaks, frenzied rushing and disappointments. A sequence of compulsive events, with comic effect, is held fast by a minimal stage design and positioned white lights with the backdrop raising and lowering to symbolise the dividing line between being in or out of the performance. Morganti’s first choral and commissioned work, Non sapevano dove lasciarci…, may make the mistake of wallowing in a few tanztheater clichés but is sure to grow in intensity in its successive runs, just as the performers will be able to perfect the introspective and theatrical work that is unusual for them and that is championed by Morganti. Meanwhile, Shechter’s work is a journey into the bowels and the master is instinctiveness on the verge of deformation. Wolf, the reworking for sixteen Aterballetto dancers of his previous work Dog that was created for seven performers of the Scottish Ballet, demands an effort to strip away the aesthetic layers of the dancer. The real challenge is crushing any trickery, as well as the pounding rhythm, in this rousing choreography that is built around animalism, primitivism and the struggle fought between the pack and the individual (or couple). The percussion music, created as always by the choreographer, fuels the bodies that, once ignited, move forward powered by a sort inertia with a blinding instinctiveness, a model way of immediately communicating with the viewer a sensational track for bigger spaces than Fonderie Limone. This diptych brings new blood to an ensemble always open and willing to take on different poetics, always with excellent results. Maria Luisa Buzzi > On Tour 10 November, Teatro Valli, Reggio Emilia, Italy 24 February, Teatro Comunale, Ferrara, Italy 11 May, Teatro Comunale, Modena, Italy
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ROME It just might be the event of the autumn: a
NEW “DON QUIXOTE” AT THE ROME OPERA
HILAIRE TAKES HIS CUE FROM BARYSHNIKOV
new Don Quixote is set to open the 2017/2018 season of the Rome Opera Ballet on 15 November (with performances until the 23/11). An event indeed, as it is the first, much-anticipated choreography by Laurent Hilaire, former étoile of the Paris Opera Ballet, and current director of the Stanislavski and Nemirovich-Danchenko Ballet in Moscow who is also in charge of reproducing many of Rudolf Nureyev’s productions. An event because Hilaire is taking inspiration from Mikhail Baryshnikov’s famous 1978 production for the American Ballet Theatre, which has been never performed in Italy. And an event because, in addition to Iana Salenko and Isaac Hernandez, respectively Principals at the Berlin Staatsballett and the English National Ballet, who will dance the first performances, the production will also feature Italy’s Angelo Greco. For Greco, currently Principal at the San Francisco Ballet, this will be his first return home in a leading role since he left the La Scala Theatre Ballet in 2016 to fly to America. He will be seen in three performances, dancing opposite the new étoile of the Rome Opera, Rebecca Bianchi, on 18, 19 and 21 November. The title will also have a new set, created by a new team chosen by Baryshnikov himself: Vladimir Radunsky for scenery and costume design, with lighting by A.J. Weissbard, who has previously worked with Bob Wilson. Traditionalists fear not: it seems that the steps and choreography of the main roles remain unchanged, and that Hilaire has intervened in the ensemble parts danced by the company, and in some of the bridesmaid variations. m.l.b.
SOLIDARITY FOR THE RED CROSS UDINE The dance Gala directed by Elisabetta Ceron is 37 years old. Every 8 December it brings together art, shows and charity and sees the biggest international ballet names unite in support of the Italian Red Cross. The Gala, which Danza&Danza is partner of again this year, will be on stage at the Teatro Nuovo in Udine with star guests such as Renato Zanella who presents his creation to Beethoven’s Opus 73 for Cristina Dijmaru and Bogdan Canila, Principals of the Romanian National Opera Bucharest. Among the other guests are Ludmila Konovalova from the Wiener Staatsballett, Istvàn Simon the virtuoso Hungarian artist resident at the Dresden Semperoper, Sara Renda, étoile of the Opéra National de Bordeaux, Karina Sarkissova and Jevgenij Lagunov, respectively Prima ballerina and Soloist of the Hungarian National Ballet, Annachiara Amirante and Alessandro Staiano from the San Carlo of Naples. Also to perform are the rising stars from the Académie Princesse Grace of Monte Carlo, directed by Luca Masala: the Japanese Yuri Isaka and the Canadian Shale Wagman. As well as the very classic pas de deux such as Flamme de Paris, Diana e Atteone and Don Chisciotte, the evening opens with a work by Roberto Cocconi in collaboration with the Music and Arts University of the City of Vienna directed by Nikolaus Selimov. www.teatroudine.it
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WELCOME BACK MARIINSKY
The Mariinsky Ballet’s Ekaterina Kondaurova, Odette, in “Swan Lake” (ph. Irina Tuminene) .
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The Mariinsky Ballet in “Swan Lake” (photo Valentin Baranovsky).
TURIN When the Mariinsky Ballet goes
on tour it’s always big news, especially as the company rarely comes to Italy these days, given the significant costs for our theatres. So it’s worth noting their only date of the season: Swan Lake at the Teatro Regio in Turin, from 13 to 19 December. Given the troupe’s fame they could have dared to perform a lesser known classic from their many repertoire titles but it’s certainly nice to have the chance to once more enjoy the trademark ballet of the Saint Petersburg company, presented in the poetic Russian version by Konstantin Sergeyev. After being away from our stages for a few years it will be interesting to see the new talents of the troupe, which has in truth been suffering recently due to the competition posed by their mighty rival, the Bolshoi Ballet, company of choice for the best graduates of the Vaganova Academy. In any case, the Principal dancers will be a guarantee, they have had little exposure on the international stage but are wonderful custodians of the Saint Petersburg style. It’s too early to announce the cast as the Mariinsky tends to make it known with short notice but in the role of Odette-Odile we could see the star Viktoria Tereshkina, the feisty Ekaterina Kondaurova, Oxana Skorik who is just back from injury or Alina Somova following her second break for maternity leave. As Siegfried, with Vladimir Sklyarov on loan to the Bavarian State Ballet, the job could be entrusted to danseur noble
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Timur Askerov, to the veterans Danila Konsuntsev and Evgeny Ivanchenko, or to the two foreign members of the company the elegant Englishman Xander Parish or the Korean virtuoso Kimin Kim. Also to note is that the Italian leg is preceded by two dates, 9 and 10 December, at the LAC in Lugano. For those who want to venture across the border in search of lesser known titles, without going too far, the company’s Christmas part of tour continues (joined by its Orchestra) from 21 to 27 December in residence at the Festspielhaus in Baden Baden, Germany. As well as the traditional Nutcracker by Vasili Vainonen (25,26), there’s Romeo and Juliet in its original version by Leonid Lavrosky (21, 22), a rarity in the West, and Paquita by Yuri Smekalov (23 and 27), a European premiere and the Mariinsky’s most recent production. A tribute to the late romantic grand ballet that, in the Grand pas of the final act presented in Yuri Burlaka’s philological reconstruction, adds a new summary of the previous acts based on the novella La Gitanella by Cervantes. v.b.
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Svetlana Zakharova in Neumeier's "La Dame aux Camélias", opening title of the new ballet season at La Scala. Below, right, The Taming of the Shrew by Jean Christophe Maillot.
DANCE FORUM, A MAJOR SHOWCASE MONTE CARLO This December, as always, Monte Carlo will feature a lively calendar of dance-related events. The schedule kicks off with the Monaco Dance Forum, a traditional ‘showcase’ which, along with special projects for promoting dance, hosts international companies and shows selected by Jean-Christophe Maillot as the current curator of the event. This year, he has picked one of the most popular productions of recent seasons: Nijinski, the version created by choreographer Marco Goecke for the Gauthier Dance Company, starring the breathtaking Rosario Guerra (Danza&Danza Award 2016 for Best Performer) in the lead role (14 and 15 December). Straight after this come the suitably festive, fantastical creations of Moses Pendleton for Momix, in a show celebrating more than three decades of the much-loved, hugely successful company (18 and 19 December).
LA SCALA
THE “DAME” IS BACK MILAN Ten years have passed since La Dame aux Camélias premiered at La Scala. Back then the (memorable) occasion was Alessandra Ferri’s farewell, and for her (momentary) final role she asked to step into the shoes of Marguerite Gautier. Now John Neumeier’s ‘classic’ returns to La Scala for the start of the season, from 17 December to 13 January 2018 (on 15 December the preview for the under 30s), giving the new generation of Milanese artists the chance to demonstrate their maturity as performers thanks to the rich array of characters and personalities that Neumeier has brought to life as an essential accompaniment to the story of Marguerite and Armand Duval. In fact, in the rich and dense dramaturgic and emotive tissue created by the American choreographer after Dumas’ novel, all the characters are of fundamental importance because they act as a ‘mirror’ to the exterior and intimate lives of the protagonists: from Manon and Des Grieux, who are real doubles where the two characters identify with one another, to the tart Olympia and Count N., role of such a refined chiselling that is often entrusted to first class artists. That’s the case of the Principal dancer Vyacheslav Lopatin, who we’ll see in the cinema screening of the ballet, from the Moscow Bolshoi, courtesy of Stardust Classic on 4 February. In Moscow, just as at La Scala, Marguerite will be played by Svetlana Zakharova. In the Moscow cinema screening the star is joined by Edvin Revazov from the Hamburg Ballet in the role of Armand; at La Scala, for four dates, by Roberto Bolle, who reprises the role after having performed it alongside Ferri for the Italian premiere in 2007. s.p.
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On 28 December (until 5 January) the Ballets de Monte Carlo premieres its new version of La Mégere apprivoisée-The Taming of the Shrew, which Maillot decided to restage for his dancers after the immense success that the production enjoyed with the Bolshoi Ballet (we’ll be seeing it in Italy at La Scala next September, when the Moscow company comes on tour, and at the cinema on 26 November this year). Set to a beautiful selection of music by Shostakovich, the story of Katharina and Petruchio plays out like a musical comedy, lighthearted and ironic, theatrical and fun. s.p.
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Akram Khan in his new work “Xenon” (ph. Nicol Vizioli).
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AN EXHIBITION OF NEVERPRODUCED SOVIET-ERA BALLETS MOSCOW A new exhibition titled Experiments 1917-1932, at the historic location of the Bolshoi Theatre Museum, gives the public a chance to view for the first time sketches for several Sovietera ballets which never made it to the stage. These include The Masque of the Red Death by Nikolay Tcherepnin (costumes by Grigory Podzhidawev and choreography by Kasyan Goleizovsky), a version of Swan Lake and La Bayadère with costume designs by Fyodor Fedorovsky; and Nikolai Rimski-Korsakov’s opera, The Snow Maiden. Open until the end of January 2018, the exhibition also contains sketches for little-known ballets that were performed in that period, such as Whirlwind by Boris Ber, with choreography by Kasyan Goleizovsky and set designs by Grigory Podzhidaev. Meanwhile, the Bolshoi Ballet directed by Makhar Vaziev has announced two promotions: Vyacheslav Lopatin has been promoted to Principal Dancer, while Alexander Vodopetov has gone from being a Soloist to Leading Soloist.
AKRAM’S LAST PERFORMANCE LONDON Akram Khan has announced his latest production, and his farewell as an dancer. It is a solo piece, XENOS, and will be the last full-length piece in which audiences can admire the British choreographer as both creator and performer, feted the world over for his appealing blend of kathak and contemporary dance. Commissioned by 14-18 NOW, the UK’s arts programme to mark the centenary of the First World War, and co-produced with various international institutions including Sadler’s Wells and Romaeuropa Festival, this solo piece, with a live accompaniment by five musicians, takes its title from the Greek word for “foreigner”. It will be presented in a world premiere from 21-27 February 2018 at the Onassis Cultural Centre in Athens. Its score was created especially, by London-based Italian composer Vincenzo Lamagna, who previously wrote scores for Khan’s Until the Lions and Giselle for the English National Ballet, and the piece is based on a text written by Jordan Tannahill. XENOS tells the story of an Indian soldier trapped in the trenches of Europe, seen through the lens of the Ancient Greek myth of Prometheus. Akram Khan explains, “My interest lies in the body, both mythological and technological. Xenos explores the central question at the heart of the myth: was Prometheus’s gift the blessing or the curse of mankind? At its centre is a colonial soldier, one of over 4 million men mobilised on behalf of the British empire. One point five million of these recruits were Indian, mostly peasant warriors from north and north-western India, and they fought and died in Europe, Africa and the Middle East. Many sepoys were buried abroad, while those who returned home, often mutilated and traumatised, were estranged from their own histories, homelands and countrymen, becoming xenoi.” c.z. > On Tour 21-27 February 2018, Onassis Cultural Centre, Athens, Greece 16-18 March, Adelaide Festival, Australia 6-7 April, Hellerau – European Center for the Arts Dresden, Germany 17 May, Festspielhaus St. Pölten, Austria 29 May - 9 June, Sadler’s Wells, London, UK
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46TH PRIX DE LAUSANNE LAUSANNE The forthcoming Prix de Lausanne received a record number of candidates: 380 applications were sent in to the organisers of the prestigious competition, to be held from 28 January to 4 February 2018. The nine jury members who are to select the videos will have to whittle down the participants in the 46th edition to just 70. The jury consists of Kathryn Bradney (Director of the Igokat Dance Academy and former Principal dancer at Béjart Ballet Lausanne), Patrice Delay (Co-Director of the Geneva Dance School and Geneva Junior Ballet), Nicolas Le Riche (Artistic Director of the Swedish Royal Ballet), Leticia Mueller (former Principal Dancer at the Birmingham Royal Ballet), Clairemarie Osta (Etoile at the Paris Opéra Ballet), Igor Piovano (Director of Igokat Dance Academy and former Principal at Béjart Ballet Lausanne), Elisabeth Platel (Director of the Paris Opéra Dance School), Shelly Power (CEO and Artistic Director of the Prix de Lausanne), Sean Wood (Co-Director of the Geneva Dance School and Geneva Junior Ballet). Meanwhile, the preselections took place in South America: forty candidates came to Montevideo from all over the continent. Young Brazilians Isabella Bellotti and Carolyne Galvao were selected for the final in Lausanne. The other pre-selections were held at the YAGP (Youth America Grand Prix) in New York in April, and at the IBCC (International Ballet and Choreography Competition) in Beijing in August. Chloe Misseldine (2nd place at the YAGP), Hanna Park (1st place at the YAGP), Makani Yerg (YAGP finalist), XU Mohan (Gold Medallist at the IBCC) and ZHAO Xinyue (Gold Medallist at the IBCC) will all compete in the final round in Lausanne. www.prixdelausanne.org
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ZAPPALÀ’S “NINTH” ARRIVES IN CHINA The Zappalà Dance Company arrives in Xi’an in China, the city of the ancient silk road that safeguards the famous “ Terracotta Warriors”. On invitation from the Xi’an Quijang Philharmonic Artistic Creation LTD, the Sicilian company with La Nona (dal caos, il corpo) - The Ninth (from chaos, the body), will inaugurate the brand new Shaanxi Grand Theatre; a two-thousand-seat hall built for opera productions. In addition, the show created by Roberto Zappalà set to Beethoven’s Ninth Symphony, Danza&Danza award 2015 as “Best Italian Production”, is the hottest date of the first edition of the Xi’an International Dance Festival.
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SIENI TAKES ON PETRUSHKA BOLOGNA One of Italy’s most prominent choreographers, former Director at Venice Biennale Dance Festival, Virgilio Sieni is back with a creation for the stage of the Teatro Comunale in Bologna. The Florentine choreographer has become increasingly attached to the city that welcomed him in 2015 with a broad retrospective that lasted for several months and now he has a new commission from the theatre Director Nicola Sani. Following the creation of Le Sacre two years ago, the choice has once again fallen to a score by Stravinsky. This time the title is Petrushka and it will be presented as part of a diptych with Chukrum to music by Giacinto Scelsi and the accompaniment of the Orchestra led by Fabrizio Ventura with choreography by Sieni from 15 to 21 February 2018 in the Bibbiena Hall. “My closeness to Bologna is marked by organic journeys – stated Virgilio Sieni – made up of places and individuals, buildings and people. For me Petrushka represents man’s ability to find strategies for living in the world. I’ve been preparing for this creation for a number of years. In fact, this commission also has a connection to the workshops that I’ve set up in Palermo with the puppet master Mimmo Cuticchio where we’ve brought man and marionette together to bring dance to life as an enhancement of the body”. Presented against the backdrop of Revolutija. Da Chagall a Malevich, da Repin a Kandinsky, the exhibition at MAMBO (the Museum of Modern Art in Bologna, 12 December 2017 to 13 May 2018), result of the collaboration between the Museum and the Russian State Museum of Saint Petersburg and curated by Evgenia Petrova and Joseph Kiblitsky, Sieni’s Petrushka will take shape through a “creative process that is meant as a permanent workshop – explained Xi’an’s new the choreographer positively – that searches theatre, that will be inaugurated by the for strategies for refounding man through Zappalà Company. art. In fact, as well as the legendary figure of Below, the Italian choreographer Nijinsky, Petrushka also recalls Pulcinella, Virgilio Sieni. like Tiepolo’s paintings on the theme” c.z.
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OFFICINE GRANDI RIPARAZIONI: A NEW SPACE FOR CONTEMPORARY DANCE TURIN Two performing arts itinerants will kick of the dancing at the OGR Officine Grandi Riparazioni: Blanca Li and Tino Sehgal. OGR is a monument of industrial heritage, a late-nineteenth-century complex which belonged to the national railways that belonged to the National Railways and closed in the Nineties. It was planned to be demolished but in 2013 Fondazione CRT bought the H-shaped, 2000 metre squared building and began its requalification. After a thousand days of work and hundreds of thousands of euros in investment, the building is open to the public as a place for experimentation, innovation, music,
exhibitions and performing arts. The dancing begins on 16 and 17 December with a spectacular Festa della danza conceived by Blanca Li and curated by Teatro Piemonte Europa. The Spanish choreographer has devised an interactive family-oriented dance encounter for the people, it’s open to everyone, for both big and small to enjoy, to dance or to learn to dance. But above all because dance isn’t purely a show to watch, it’s a meeting place that invites everyone to take part. The result will be one big gymnasium that offers a programme of courses and a variety of styles, from classical dance to Bollywood, as well as contemporary, African, flamenco, salsa, hip-hop, electro and many more besides. Then, from 2 February to 11 March, it will be the turn of the seventy performers selected by Tino Sehgal, Golden Lion for Career Achievement from the 2013 Venice Biennale. The method is still a work in process but these amateur performers will interact with the visiting public. Something similar to the site specific performance created by Sehgal for the opening of Turbine Hall at the Tate Modern in London. s.t. No .0 4
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A NEW “BEAUTY” FERRARA Pride of the Italian dance scene is the Junior Balletto di Toscana, a youth ensemble with dazzling stage presence. After establishing good relationships and successful collaborations with choreographers such as Davide Bombana (Romeo and Juliet), Fabrizio Monteverde (Coppelia, La Boule de Neige) and Eugenio Scigliano (Giselle), for the coming season the company directed by Cristina Bozzolini is focussing on a fresh adventure with Diego Tortelli, a new name to the choreography world. He has been entrusted with the revisiting of Sleeping Beauty, a cornerstone of late Nineteenth Century ballet tradition, to Tchaikovsky’s famous score. A dancer who trained at the National Dance Academy in Rome and at the La Scala Ballet School in Milan, Tortelli has developed a passion for choreography in recent years with growing consensus from the critics. But in his thirty-something-year-old hands Perrault’s tale, source of the ballet’s libretto, alters its features. “We live in a frenetic society – says Diego Tortelli – it’s constantly changing and there’s an obsessive search for perfection that makes us move further and further away from our real selves and the world that we live in, where nothing’s perfect and everything takes shape in a constant battle between harmony and chaos”. So his Beauty, for sixteen dancers from the Junior Balletto di Toscana, throws itself into the frenzy of an imaginary metropolis. Among the crowd a lone writer stands out, an author of love poems, miserable and alone, cut off from the real world because of his obsessive search for perfection. A man who finds comfort in his dreams and his imagination, creating a place of pure fantasy, he is in a private room when he meets Aurora, the perfect image of love, and a product of his subconscious, to whom he dedicates poetry. In this room are other characters from the story, including Carabosse, the wicked witch who, in this version, is none other than the alter ego of the poet. Will the tale have a happy ending as tradition dictates? “All I can say – explained the choreographer in the midst of production a few months before the premiere – is that the poet will be at peace when he learns to accept himself, when he manages to defeat his obsessions and take Aurora into a deep sleep”. m.l.b.
Junior Balletto di Toscana in Diego Tortelli's "Sleeping Beauty". Above, William Kentridge’s “Procession of Reperationists”, sitespecific projet to the OGR-Officine Grandi Riparazioni Turin (ph. Andrea Rossetti).
> On Tour 1 December, Teatro Comunale Abbado, Ferrara 6 December, Teatro Grande, Brescia 7, 9, 10 December, Teatro del Maggio Musicale Fiorentino, with Orchestra, Florence 13 December, Teatro Ponchielli, Cremona 16, 17 December, Teatro Comunale, Vicenza 19 December, Teatro Zandonai, Rovereto 20 December, Teatro Comunale, Pergine Valsugana 21 December, Teatro Cristallo, Bolzano
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NEW YORK CITY BALLET
DESIGNERS TAKE TO THE STAGE NEW YORK Having already gained ‘must be there’ status on the society calendar, the New York City Ballet’s Fall Fashion Gala reflects the company’s new artistic and marketing strategy. This year’s edition, held on 28 September and masterminded by actress Sarah Jessica Parker (Carrie in Sex and the City), who devised it 6 years ago, confirmed the formula: 4 young choreographers are paired with as many up-and-coming fashion designers, for creations which, launched by the appeal of the gala, are intended to impress a certain kind of audience, and raise substantial funds. The young talents were plucked from the New York City Ballet and the School of American Ballet, and were very young this year, with an age range of between 18 and 31. They were then paired with creatives, names to remember should one want to follow their careers in dance or fashion. Lauren Lovette, Principal dancer at the NYCB, with her second creation of the company after the Fall Gala 2016, choreographed Not Our Fate, set to a minimalist score by Michael Nyman. She partnered with the designers behind the Monse brand, Fernando Garcia and Laura Kim, who created sparsely elegant black-and-white suits as costumes. For his fifteenth choreography for the company, Justin Peck, NYCB Resident Choreographer and Soloist, presented Pulcinella Variations, set to Stravinsky’s suite; the avant-garde costumes by Japanese couturier Tsumori Chisato elicited the night’s most admiring gasps. Troy Schumacher, a NYCB Soloist now on his third work for the Fall Gala, this year regaled the audience with The Wind Still Brings, interpreted by Scottish fashion designer Jonathan Saunders with casual mauve and blush-toned dresses, in quintessential New York style. Fresh out of the School of American Ballet, 18 year-old Gianna Reisen is currently doing an apprenticeship at the Dresden Semperoper Ballett; for her debut as choreographer for the New York City Ballet, she created Composer’s Holiday; Virgil Abloh’s tutus and costumes featured innovative silhouettes in a palette of black, white and nude. Dinner and dancing took place in the lobby of the David H. Koch Theater for the dancers and the 850-strong celebrity audience (including Mikhail Baryshnikov), and the evening raised some 2.6 million dollars in funding for the New York City Ballet. v.b. Tiler Peck, NYCB’s Principal dancer, in “Pulcinella Variations” by Justin Peck with the original costume by the Japanase designer Tsumari Chisato (ph. Paul Kolnik).
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SHOPPING_FITNESS_TIPS TIME TO GIVE YOUR DANCE KIT A MAKEOVER? YOU’LL FIND EVERYTHING YOU NEED AT DECATHLON! Let’s start from ballet shoes. The Punta Relevé, looks like a traditional ballet slipper on the outside, but conceals a secret inside: a silicone-effect protective material has been added to the toe to reduce pain, make dancing on pointe easier, and ensure the ultimate comfort. No dancer should be without a leotard and skirt, available in different sizes and colours for women and girls. There’s a wealth of accessories, such as legwarmers and a useful kit for the perfect bun. Modern dance lovers can choose from a wide range of short- or long-sleeved t-shirts to combine with seamless leggings or comfy pants that can be adjusted to the length desired. Even the youngest dancers will have fun picking from the range of brightly coloured sweatshirts, tops and shorts. And if it’s just too hard to choose, you can enlist the help of the personal shopping service, available online to help choose the garments most suited to your needs. Another new addition to Decathlon stores across Italy is the embroidery station: in just minutes, you can have your shoe bag, gym towels or t-shirts personalised with your initials or name. www.decathlon.com
PROBIOS GLUTEN-FREE ORGANIC BARS WITH SEEDS, FRUIT AND CEREALS
LEGWEAR INTERNATIONAL
SILKY DANCE
Founded in the UK more than twenty years ago, Legwear International is now among the leading brands in the dance hosiery sector. Its new Silky Dance line offers a wide range of high-quality tights and underwear, designed for every level and every pocket. It starts with the least expensive Essential products, and continues with the Intermediate, the High Performance and lastly the Ultimate range (€13.45), which is the jewel in the crown of Legwear International: 80 denier tights in run proof fabric, and completely seam-free, making them ideal for professional dancers. Legwear International products are distributed directly by the manufacturer all over the world, meaning their prices are very competitive. They can be purchased either in stores or online, at www.legwearinternational.com
Eating well is important, even when it comes to quick snacks. Probios, a leading firm in the Italian organic food sector, offers a wide range of cereal bars containing nuts, seeds and super fruits. All the energy of nature is in this tasty, colourful, comprehensive range that’s ideal for a handy snack on-the-go. In eight delicious varieties, its range of bars is guaranteed gluten-free. Try the millet, sesame and hazelnut bar, or the one with almonds, sunflower seeds and quinoa: a mouthwatering break, the natural way. www.probios.it
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The iconic classical ballerina and creature of style
ANNA PAVLOVA •
valentina bonelli
While she was venerated by elite society, Anna Pavlova also belonged to the masses. She won over audiences of every social extraction, and came to epitomise the image and style of the classical ballerina. The jewel in the crown of the Mariinsky Theatre in Saint Petersburg, Petipa’s last protegée had the Tsarist nobility of the waning Empire at her feet; but at the turn of the 20th century she decided to embark upon a European adventure. Like Diaghilev, she tapped into the West’s infatuation with Russian exoticism. Having danced in Paris, where she was feted as a goddess by the cultural noblesse, she chose to move to even more cosmopolitan London. Discreetly accompanying her at all times was her manager, and perhaps husband, Victor Dandré, whose ashes sit alongside her urn at the Golders Green Crematorium.
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The red shoes that Pavlova loved so much she had identical copies made.
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Anna Pavlova in the garden of Ivy House with Jack the swan.
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Left side Anna Pavlova with Chaplin. In a 1920s dress and, below, in a black Fortuny dress.
The empress of the West End theatres, Pavlova resided in Hampstead Heath. She settled on Ivy House, concealed behind walls of the climbing plant, as her home, returning there between tours. Its gardens sloped down to a lake, upon which glided several swans, led by her favourite, Jack. There, Anna would flit between the lilypond, tulip borders and lilac bushes, like the ethereal jardinière of a romantic ballet. The mansion, with its Arts and Crafts façade, had been chosen by the ballerina partly for its sunlit first-floor drawing room, which she turned into a ballroom. She used it for rehearsals with her favourite maître de ballet Enrico Cecchetti, and held lessons there for her pupils, clad in white chitons. Adjacent to it were her rooms, adorned with Chinese screens and oriental crafts, the walls hung with Leon Bakst’s gaudy costume designs and romantic prints by Maria Taglioni. Newspaper clippings and photos from the time show Pavlova at Ivy House, the charismatic hostess of the most delightful garden parties ever to have been held in London. Among her high-society guests, she particularly favoured artists: choreographer Michel Fokine, who had introduced her to the avant-garde; singer Feodor Chaliapin, who played her at croquet; painter Aleksandr Jakovlev, who accompanied her to Salsomaggiore on spa - and sculpture-holidays. She also had an amusing friendship with Charlie Chaplin: as the story goes, they used to laugh together over dinner, aping each other – Charlie as the Dying Swan, Anna doing the Chaplin walk.
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Every Pavlova buff should own a copy of Anna Pavlova. Twentieth Century Ballerina, published in Great Britain in 2012 to mark the centenary of the dancer’s move to her London home Ivy House; sadly, the house was never turned into a museum, and has been used for other purposes. Edited by Jane Pritchard with Caroline Hamilton, the volume contains around 150 splendid photographs of Pavlova’s life and art, accompanied by texts which fully reveal her personality and style. Anna Pavlova. Twentieth Century Ballerina, 208 pages, £ 25.00
Her austere lifestyle, utterly devoted to ballet, did not prevent Pavlova from honing her image as a creature of style, immortalized in the pages of Vogue and Tatler. She regularly endorsed clothes, shoes and beauty creams, and walked around as though on show at Selfridges, the luxury department store on Oxford Street, which even dedicated a window display to her. An ambassador for dance all over the world, “Madame” was remembered by the dancers in her troupe as always looking impeccable in her travel outfits, even when alighting from trains and steamships to pose for the photographers after a night spent in a cabin. While she never overlooked the practical aspects of her clothing, she donned everything with a natural elegance: from Belle Epoque gowns to the relaxed silhouettes of the Twenties; from Mariano Fortuny’s “Delphos tunics, to Coco Chanel’s mannish composés. This was thanks to her slight, flexible figure, which did away with the fin de siècle aesthetic ideal of the shapely, muscular ballerina, and to that aristocratic face which came from who knows where, given her working-class origins. She loved chinchilla, sable and karakul furs, and had fun wearing hats with ostrich plumes and falcon feathers; but her true obsession was shoes. This was something her patient shopping companions knew only too well: she’d spend hours looking for the shoes most suited to those superbly arched feet. Her favourites were the soft, flexible red Mary Janes with a cone heel, several pairs of which she had made at once. But it was the tutu she wore for her emblematic solo, the Dying Swan, which was Anna Pavlova’s most beloved piece of clothing: designed by Bakst, it had swan’s wings on the skirt and a blood-red gem on the bodice. The dancer never wore it more than twice before having it remade. It went with her everywhere; her last words were “bring me my tutu”, just hours before curtain-up. •
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Pavlova with one of her beloved dogs. Above, Ivy House in the year of her death, 1931.
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INTERNATIONAL CALENDAR
Bolshoi Ballet's Anna Nikulina and Denis Rodkin in Grigorovich's "Nutcraker", one of the title versions proposed during the Christmas holiday in the world.
November/December
NOVEMBER AMSTERDAM DUTCH NATIONAL OPERA Tel. +31 20 6255455 Dutch National Ballet Mata Hari (1,2,3) Chor. T. Brandsen Ode to the master (7, 8, 11, 12, 14, 16, 17) Chor. H. van Manen Nederlands Dans Theater 2 (10,12) Schubert Chor. M. Goecke, J. Inger, A. Ekman BERLIN STAATSOPER THEATER Tel. +49 (0)30 206092630 Staatsballett Berlin The art of not looking back / Erde (6, 15, 16 – Komische Oper) Chor. N. Duato, H. Shechter Altro canto / Daphnis et Chloé (17, 24 – Deutsche Oper) Chor. J.C. Maillot, B. Millepied
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COPENHAGEN ROYAL DANISH THEATRE Tel. + 45 33 696969 Royal Danish Ballet Silk & Knife 2 (4) Chor. J. Kylián Raymonda (11, 12, 16, 18, 24, 29) Chor. M. Petipa Sorella – a portrait (24-26, 28-30) DRESDEN SEMPEROPER DRESDEN Tel. +49 351 4911705 Semperoper Ballett The Nutcracker (24, 26, 27) Chor. J. Beechey, A. S. Watkin HAMBURG THEATER HAMBURG Tel. +49 (0)40 356868 Hamburg Ballett John Neumeier Duse (3,5) Cor. J. Neumeier The Little Mermaid (8, 10) Cor. J. Neumeier Turangalila (14, 16, 23) Cor. J. Neumeier
HELSINKI FINNISH NATIONAL OPERA Tel. + 358 (0)9 40302211 Finnish National Ballet (3, 8, 10, 11, 14, 15, 16, 18, 22, 24, 25) Land of Kalevala Chor. K. Greve LONDON ROYAL OPERA HOUSE Tel. +44 (0)20 73044000 The Royal Ballet The Judas Tree / Song of the Earth (1) Chor. K. MacMillan The Illustrated Farewell / The Wind / Untouchable (6, 9, 10, 13,1 7) Chor. T. Tharp, A. Pita, H. Shechter Sylvia (23, 29, 30) Chor. F. Ashton MADRID Tel. +34 (0)91 3545053 Compañia Nacional de Danza Don Quixote (25,26) Chor. J. C. Martìnez MOSCOW BOLSHOI THEATRE Tel. +7 495 4555555 Bolshoi Ballet The cage / Forgotten land / Etudes (2-5) Chor. J. Robbins, J. Kylián, H. Lander
Spartacus (8-10) Chor. Y. Grigorovich Giselle (11, 12) Chor. Y. Grigorovich Romeo and Juliet (22-26) Chor. A. Ratmansky Ballett Zürich (29) The Nutcracker and Mouse king Chor. C. Spuck STANISLAVSKY THEATRE Tel. +7 495 7237325 Rocío Molina (3,4) Bosque ardora Chor. R. Molina Dresden Frankfurt Dance Company (10, 11) Chor. J. Godani Stanislavsky Ballet Serenade / Aureole / Aunis / Tyll (25,26,27) Chor. G. Balanchine, P. Taylor, J. Garnier, A. Ekman MUNICH STAATSOPERA Tel. +49 (0)89 218501 Bayerisches Staatsballett Anna Karenina (19, 25) Cor. C. Spuck NEW YORK DAVID KOCH THEATER Tel. +1 212 4960600 Ney York City Ballet The Nutcracker (24, 25, 26, 30) Chor. G. Balanchine
PARIS Festival d’Automne Tel. +33 (0)1 53451700 Jérôme Bel Jérôme Bel (2-7 - Théâtre de la Ville) Disabled Theater (3-6 Théâtre de la Ville) Cédric Andrieux (14 Théâtre de Chelles) Pichet Klunchun and myself (15-18 - Centre Pompidou) Chor. J. Bel Jan Martens (9-15 - Théâtre de la Ville) Rule of three Chor. J. Martens Ballet de l’Opéra de Lyon (29,30 - Maison des Arts Créteil) Second Detail / Set and Reset-reset Chor. W. Forsythe, T. Brown, J. Bel PALAIS GARNIER Tel. +33 (0)1 71252423 Ballet de l’Opéra de Paris (2-4,7, 11, 12, 14, 16) Agon / Grand miroir / Le Sacre du printemps Chor. G. Balanchine, S. Teshigawara, P. Bausch STOCKHOLM ROYAL SWEDISH OPERA Tel. +46 (0)8 7914400 Royal Swedish Ballet (1, 2) Half life / De l’origine Chor. S. Eyal, O. Dubois
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ST. PETERSBURG MIKHAILOVSKY THEATRE Tel. +7 812 5954305 Mikhailovsky Ballet The Nutcracker (1-4) Chor. N. Duato La fille mal gardée (6) Chor. F. Ashton Romeo and Juliet (8-10) Chor. N. Duato Giselle, ou Les Wilis (14, 22, 23) Chor. J. Coralli, J, Perrot, M. Petipa Na Floresta / Prelude / White Darkness (25) Chor. M. Petipa. L. Ivanov, A. Gorsky, A. Messerer Multiplicity. Forms of silence (29,30) Chor. N. Duato MARIINSKY THEATRE Tel. +7 812 3264141 Mariinsky Ballet The Bronze Horseman (1) Chor. Y. Smekalov Carmen Suite. Le divertissement du roi (2, 24) Chor. A. Alonso The Stone flower (3) Chor. Y. Grigorovich Romeo and Juliet (4, 5) Chor. L. Lavrovsky The Four seasons (5) Chor. I. Zhivoi Prodigal Son / Violin Concerto no.2 / Russian Ouverture (6, 11) Chor. G. Balanchine, A. Pimonov, M. Petrov Spartacus (8, 9) Chor. L. Yacobson Don Quixote (10) Chor. A. Gorsky La Sylphide / Le Parc (12) Chor. A. Bournonville, A. Preljocaj Swan lake (14) Chor. K. Sergeyev Petrouchka / The Firebird (18, 19) Chor. M. Fokine The Sleeping Beauty (20) Chor. M. Petipa, J.G. Bart The Fountain of Bakhchisarai (21, 22) Chor. R. Zakharov Le Corsaire (23, 29) Chor. P. Gusev Giselle (25, 26) Chor. J. Coralli, J. Perrot, M. Petipa Chopiniana / The Firebird (28) Chor. M. Fokine Yaroslavna / The Eclipse (30) Chor. M. Varnava STUTTGART OPERNHAUS Tel. +49 (0)711 202090 Stuttgart Ballett Onegin (3,5) Chor. J. Cranko Night pieces (8, 10, 16) Chor. E. Clug, J. Kylián, L. Stiens Pure Cranko (13, 15, 18, 26) Chor. J. Cranko
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VIENNA WIENER STAATSOPER Tel. +43 (0)1 514442250 Wiener Staatsballet (3, 6, 10) Concerto / Eden|Eden / Marguerite and Armand Chor. K. MacMillan, W. McGregor, F. Ashton ZURICH OPERNHAUS ZÜRICH Tel. +41 44 2686666 Ballett Zürich The Nutcracker and Mouse King(3, 10, 11) Chor. C. Spuck Gods and Dogs (19, 23, 25) Chor. W. Forsythe, J. Kylián, O. Naharin
DECEMBER AMSTERDAM DUTCH NATIONAL OPERA Tel. +31 20 6255455 Dutch National Ballet (9, 11, 12, 14, 15, 17 ,18, 20, 22-25, 27, 28, 30, 31) The Sleeping Beauty Chor. M. Petipa ANTWERP OPERA GENT Tel. +32 (0)70 220202 Royal Ballet of Flanders (21-23) Ravel/Debussy Chor. S. Larbi Cherkaoui, J. Verbruggen BERLIN STAATSOPER Tel. +49 (0)30 206092630 Staatsballett Berlin The Nutcracker (1, 7, 8 – Deutsche Oper) Chor. N. Duato The art of not looking back / Erde (11 – Komische Oper) Chor. N. Duato, H. Shechter COPENHAGEN ROYAL DANISH THEATRE Tel. + 45 33 696969 Royal Danish Ballet Sorella – a portrait (1-3, 5, 6) The Nutcracker (1-3, 5-10, 13-17, 19 ,20, 22) Chor. M. Petipa COSTA MESA SEGERSTROM CENTER FOR ARTS Tel. +1 714 5562787 ABT (7-10,13-17) The Nutcracker Chor. A Ratmansky DRESDEN SEMPEROPER DRESDEN Tel. +49 351 4911705 Semperoper Ballett (3, 7, 10, 13, 17, 23, 25) The Nutcracker Chor. J. Beechey, A. S. Watkin
HAMBURG THEATER HAMBURG Tel. +49 (0)40 356868 Hamburg Ballett John Neumeier Don Quixote (10, 12, 14, 15, 21) Cor. R. Nureyev after M. Petipa Christmas Oratorio I-VI (20,23,26,29,30) Cor. J. Neumeier HELSINKI FINNISH NATIONAL OPERA Tel. + 358 (0)9 40302211 Finnish National Ballet (1, 2, 9, 12, 14, 16, 19, 22) The Nutcracker and the Mouse King Chor. W. Eagling Ballet School Christmas Gala (8, 13, 15, 18) LONDON ROYAL OPERA HOUSE Tel. +44 (0)20 73044000 The Royal Ballet Sylvia (1, 2, 6, 7, 11, 16) Chor. F. Ashton The Nutcracker (5, 9, 15, 18, 20, 22, 23, 27-30) Chor. P. Wright LUGANO LAC Tel. +41 (0)58 8664222 The Mariinsky Ballet (9, 10) Swan Lake Chor. M. Petipa, L. Ivanov MURCIA AUDITORIO VICTOR VILLEGAS Tel. +34 (0)91 3545053 Compañia Nacional de Danza (29, 30) Don Quixote Chor. J.C. Martìnez MONTE CARLO Monaco Dance Forum Tel. +377 99 99 30 00 Gauthier Dance (14, 15 – Opéra de Monte Carlo) Nijinski Chor. M. Goecke Momix ( 16, 17 – Grimaldi Forum) W Momix forever Chor. M. Pendleton Les Ballets de Monte Carlo (28-31 – Grimaldi Forum) La Mégére Apprivoisée Chor. J.-C. Maillot MOSCOW BOLSHOI THEATRE Tel. +7 495 4555555 Bolshoi Ballet La fille mal gardée (2, 3, 19) Chor. Y. Grigorovich Nureyev (9, 10) Chor. Y. Possokhov The Flames of Paris (13-16) Chor. A. Ratmansky Don Quixote (17, 19, 20) Chor. A. Fadeyechev Nutcracker (23, 26-31) Chor. Y. Grigorovich
STANISLAVSKY THEATRE Tel. +7 495 7237325 Stanislavsky Ballet La Bayadère (2) Chor. N. Makarova Giselle (8) Chor. J. Coralli, J. Perrot, M. Petipa Suite en blanc / Petite mort / The Second tail (14, 15) Chor. S. Lifar, J. Kyliàn, W. Forsythe Anna Karenina (18,20) Chor. C. Spuck The Snow Maiden (24) Chor. V. Burmeister The Nutcracker (29, 30, 31) Chor. V. Vainonen MUNICH STAATSOPERA Tel. +49 (0)89 218501 Bayerisches Staatsballett Anna Karenina (1) Chor. C. Spuck Alice’s Adventures in Wonderland (22,26,28) Cor. C. Wheeldon NEW YORK DAVID KOCH THEATER Tel. +1 212 4960600 New York City Ballet The Nutcracker (1-3, 5-10, 12-17, 19-24, 26-31) Chor. G. Balanchine PARIS Festival d’Automne Tel. +33 (0)1 53451700 Ballet de l’Opéra de Lyon (1, 2 - Maison des Arts Créteil) Second Detail / Set and Reset-reset Chor. W. Forsythe, T. Brown, J. Bel Candoco Dance Company (6, 8, 9, 12-16 - Various venues) The show must go on Chor. J. Bel Jérôme Bel (8-10 - La Commune centre dramatique national d’Aubervilliers) Un spectacle en moins Chor. J. Bel Maguy Marin (6-9 - Maison des Arts Créteil) Deux mille dix sept Chor. M. Marin Gisèle Vienne (7-16 - Nanterre-Amandiers, centre dramatique national) Crowd Chor. G. Vienne Nadia Beugré (8-10 - Atelier de Paris-Carolyn Carlson) Tapis Rouge Chor. N. Beugré Marlene Monteiro Freitas (13-21 - Various venues) Bacchantes - prélude pour une purge Chor. M. Monteiro Freitas
PALAIS GARNIER Tel. +33 (0)1 71252423 Ballet de l’Opéra de Paris (4, 6, 7, 9, 10, 12, 13, 15, 16, 18-20, 22-24, 27-31) Play Chor. A. Ekman STOCKHOLM ROYAL SWEDISH OPERA Tel. +46 (0)8 7914400 Royal Swedish Ballet Alice’s Adventures in Wonderland (6, 9, 12, 13, 15, 16, 18, 20, 29, 30) Chor. C. Wheeldon ST. PETERSBURG MIKHAILOVSKY THEATRE Tel. +7 812 5954305 Mikhailovsky Ballet Cinderella (2,3) Chor. R. Zakharov The Sleeping Beauty (7,8) Chor. N. Duato Don Quixote (14, 15, 16) Chor. M. Petipa, A. Gorsky The Nutcracker (20-22, 24, 28-30) Chor. N. Duato Swan Lake (25, 26, 27) Chor. M. Petipa. L. Ivanov, A. Gorsky, A. Messerer MARIINSKY THEATRE Tel. +7 812 3264141 Mariinsky Ballet The Nutcracker (1,3) Chor. K. Simonov Ballet Evening (7) STUTTGART OPERNHAUS Tel. +49 (0)711 202090 Stuttgart Ballett (6, 9, 14, 15, 18, 23, 25,30) Swan lake Chor. J. Cranko VIENNA WIENER STAATSOPER Tel. +43 (0)1 514442250 Dance Academy Demonstration (16-20) Wiener Staatsballett (23, 28) The Nutcracker Chor. R. Nureyev ZURICH OPERNHAUS ZÜRICH Tel. +41 44 2686666 Ballett Zürich Gods and Dogs (1, 2 ,7) Chor. J. Kylián, W. Forsythe, O. Naharin The Nutcracker and Mouse King (9, 12, 15, 17) Chor. C. Spuck
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ITALIAN CALENDAR November/December
NOVEMBER AOSTA TEATRO GIACOSA I Punti danza Ph. +39 366 4308040 EgriBiancoDanza (28) Studio su Prometeo Chor. M. Chenevier, S. Romania, P. Apergi BOLOGNA Festival Gender Bender Ph. +39 051 0957200 Carlos Pons Guerra (1) Ruffle Chor. C. Pons Guerra Dana Michel (1,2) Mercurial George Chor. D. Michel Balletto di Roma (2) Bolero trip-tic Chor. C. Frigo, G. Nardin, F. Pennini Liz Aggis (3, 4) Slap & Tickle Chor. L. Aggis DOT 504 / Orlando Izzo | Angelo Petracca (4 ,5) You are not the one who shall live long / Trattato semiserio di oculistica Chor. J. Fruček, L. Kapetanea, O. Izzo, A. Petracca inQuanto Teatro (5) Influenza Chor. F. Robert BOLZANO TEATRO COMUNALE Ph. +39 0471 053800 Daniele Cipriani Entertainment (22) Lo Schiaccianoci Chor. A. Amodio BRESCIA TEATRO GRANDE Ph. +39 030 2979333 Company Wayne McGregor (3) Autobiography Chor. W. McGregor Cristiana Morganti (17) Jessica and me Chor. C. Morganti CATANIA SCENARIO PUBBLICO Ph. +39 095 2503147 mk (4, 5) Robinson Chor. M. Di Stefano Compagnia Tardito/ Rendina (12, 13) L’anatra, la morte e il tulipano Chor. F. Tardito, A. Rendina Piergiorgio Milano (18, 19) Pesadilla Chor. P. Milano Compagnia Abbondanza/ Bertoni (25, 26) Gli orbi Chor. M. Abbondanza, A. Bertoni
Amedeo Amodio’s “The Nutcraker” with set and costume design by Emanuele Luzzati on tour in Italy.
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CATTOLICA TEATRO DELLA REGINA Ph. +39 059 340221 Gdo E.sperimenti (28) Per Inciso
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COLLEGNO LAVANDERIA A VAPORE Ph. +39 011 4322902 Mal Pelo (7, 8) Bach Chor. M. Muñoz Arearea (10) Play with me Chor. M. Bevilacqua Collettivo PirateJenny (19) Pollicino 2.0 Chor. S. Catellani, E. Ferrari, D. Manico CREMONA TEATRO PONCHIELLI Ph. +39 0372 022001 Cristiana Morganti (25) Moving with Pina Chor. C. Morganti FERRARA TEATRO COMUNALE Ph. +39 0532 202675 Company Wayne McGregor (5) Autobiography Chor. W. McGregor Fuoristrada (9, 10) Chor. Aa. Vv. Compagnie Seydou Boro (24) Le cri de la chair Chor. S. Boro CollettivO CineticO (25) L’acqua intrappolata scorre all’indietro Chor. F. Pennini FIRENZE CANGO Festival La Democrazia del corpo Ph. +39 055 2280525 Luna Cenere (3, 4) Kokoro Chor. L. Cenere Compagnia Virgilio Sieni (8-11) Cantico dei Cantici Chor. V. Sieni Olivia Grandville (17, 18) Photosensible / Argentique Chor. O. Grandville Virgilio Sieni / Daniele Roccato Preludi (21) Cominciamenti (22) Chor. V. Sieni Daniele Ninarello Still (25) Primitive accomodation (26) Chor. D. Ninarello Claudia Caldarano (29) Anomalia sulla distanza Chor. C. Caldarano TEATRO CANTIERE FLORIDA Ph. +39 055 7135357 Adarte (17) Nata femmina Chor. P. Vezzosi TEATRO VERDI Ph. +39 055 212320 Balletto del Sud (25) Lo Schiaccianoci Chor. F. Franzutti
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GENOVA TEATRO GUSTAVO MODENA Ph. +39 010 65921 Compagnia Virgilio Sieni (17) Cantico dei Cantici Chor. V. Sieni LIVORNO TEATRO GOLDONI Ph. +39 0586 204225 Compagnia Virgilio Sieni (3) Solo Goldberg Improvisation Chor. V. Sieni MAGIONE TEATRO MENGONI Ph. +39 075 57542222 Balletto di Siena (10) Carmen el Traidor Chor. M. Batti MILANO DIDSTUDIO Festival Danae Ph. +39 02 39820636 Cie Ioannis Mandafounis / Francesca Foscarini / Andrea Costanzo Martini (10) One one one / Vocazione all’asimmetria / What happened in Torino Chor. I Mandafounis, T. O’Donnel, F. Foscarini, A.C. Martini TEATRO CARCANO Ph. +39 02 55181377 Balletto del Sud (4, 5) Carmen Chor. F. Franzutti TEATRO DELL’ARTE Ph. +39 02 72434258 CollettivO CineticO (14, 15) Sylphidarium Chor. F. Pennini Alessandro Sciarroni (26, 27, 28) Joseph_kids Chor. A. Sciarroni PIMOFF Ph. +39 02 54102612 Riccardo Buscarini (16, 17) L’età dell’horror Chor. R. Buscarini TEATRO FRANCO PARENTI Festival Exister Ph. +39 02 59995206 ContArt / Stefano Fardelli (27) Vicolo dello specchio 1 / Links Chor. M. Bittante, S. Fardelli Compagnia Susanna Beltrami (28, 29) Back to the nature – Wakening the Sleeping Beauty Chor. S. Beltrami MONCALIERI FONDERIE LIMONE Torinodanza Ph. +39 011 5169555 Ballet National de Marseille / ICK (10, 11) Two / Boléro Chor. E. Greco, P. C. Scholten
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