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Subject: "La Scala Ballet triple bill" Archived thread - Read only
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Conferences What's Happening Topic #2159
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08-10-01, 11:06 AM (GMT)
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"La Scala Ballet triple bill"
   The oldest principals of La Scala Ballet, who didn’t take part in Guillem’s “Giselle”, were leading a small group of young dancers in a triple bill first given on the 6th of October in Milan at the ugly Teatro Smeraldo, while the Teatro alla Scala is hosting some more performances of Guillem’s “Giselle”.
In the audience attending the triple bill I saw some critics and a great star: Luciana Savignano.
The program opened with Balanchine’s “Who cares?”. The version chosen by LSB was danced by 4 principals and 5 couples of soloists. I particularly appreciated the 5 female soloists, with the outstanding Simona Chiesa whose lines were enhanced by Balanchine’s choreography. Not so polished were the 5 male soloists, even if they tackled cheerfully the ballet. The leading roles were danced by the principals Isabel Seabra, Anita Magyari, Michele Villanova and the soloist Sophie Sarrote. I had already seen before Seabra and Magyari, but usually in great classical roles: for me they are respectively an outstanding Myrtha and a romantic Giselle. In “Who cares?” they were sparkling, youthful, glamorous and Magyari’s fouettés were brilliant as usual.
The second ballet was “Treze gestos de um corpo”, created in 1987 by the choreographer Olga Roriz for 13 dancers of the Ballet Gulbenkian. Three elements connect the solos between the opening and closing ensembles: 13 doors in the background, 13 chairs in the foreground and 13 jackets worn by the dancers. The steps are the more virtuosistic in the modern dance vocabulary and they are connected one after the other with speed and fluency. The interpreters, 9 male dancers and 4 ballerinas all wearing black trousers and white shirt, were convincing and an unexpected ease with the choreography.
The program was closed by the revival of Forsythe’s “In the middle somewhat elevated”. The choreographer himself had mounted the ballet in Milan in September 1998. Now the cast records some changes and the comeback of Roberto Bolle, guesting again with his home company after six months. I had already seen him and Marta Romagna in the final pdd at the dance marathon in Spoleto last July. The whole ballet offered them the chance to shine more resplendently as the other dancers, even if good, didn’t own the strength and the lightness, the control and the lines of this main couple.
Definitely a wonderful opportunity for Bolle to demonstrate that the label of danseur noble isn’t enough for him and for Romagna to claim the right of a top place in the list of the ballerinas who danced “In the middle somewhat elevated”.

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