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Susy
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10-04-01, 09:12 AM (GMT) |
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"Etudes/Carmen at La Scala"
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The double bill now on stage at La Scala has a French flavour. "Etudes" was first created in Copenhagen but 4 years later the choreographer added for the Paris Opéra two romantic scenes with the Sylphides and, after his death, his widow trusted the ballet to Josette Amiel of Paris Opéra. And "Carmen" is a Spanish heroine but born from Mérimée's writing, Bizet's music and Petit's choreography.
La Scala Ballet presents "Etudes" without guest dancers. The role of the leading ballerina is danced by Anita Magyari and this is an obvious choice, even if in the tough variation she replaces the fouettés sautés with fouettés doubles. Not so obvious is the choice of the male dancers, especially when the romantic pas de deux is executed by a third dancer, Francisco Sedeno, leaving the remaining of the role to Mick Zeni, with Roberto Bolle as the other virtuoso. This splitting creates a further breach in the already evident difference between the interpreters, Zeni and Bolle coming at least from the same courses at La Scala Ballet School. The soloists and corps de ballet work correctly through the steps but only Bolle is dancing with verve and soul, enjoying every moment on stage. When this same double bill had been presented 6 years ago Bolle was still in the corps de ballet and these performances mark his debut in the leading role.
On the booklet on sale at the entrance there is a picture of Viviana Durante but a leaflet has been added inside, reporting some sentences signed by Petit, explaining the reason why Alessandra Ferri is the only Carmen:
"Ferri danse Carmen et je suis séduit complètement"
With her, Manuel Legris guesting from POB for the first two performances and Massimo Murru for the remaining two.
I saw the second performance, on the 5th of April. Manuel Legris is doomed from the very beginning of the ballet. He finds an inebriating happiness in his encounter with Carmen, only to loose it too soon. Alessandra Ferri confirms Petit's words. Legris and Ferri are both perfect, he brings on stage energy and sparkle, she brings sinuosity and pliancy. However her physical features are hardly recognizable, she has now a round face and the muscles of her arms and legs aren't tonic.
The audience was rather thin and ballet goers were few as the tickets had been sold to the subscribers. Unluckily the subscriptions in all our theatres are mainly for opera performances, with just one or two ballets. So the subscribers usually leave many empty seats or if they attend the ballet performances, they are rather bland. At the end of both the ballets there was only one curtain call.
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Bruce Marriott
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