La Scala 'Sleeping Beauty' reviews 'Sleeping Beauty' reviews Vishneva in reviews Bolle in reviews recent La Scala reviews

First given by La Scala Ballet in September 1966 with scenery and costumes by Nicholas Georgiadis, Nureyev’s “Sleeping beauty” returned on the stage of the Teatro alla Scala two weeks before the beginning of its renovation, which will last three years. The production was newly designed by Franca Squarciapino in 1993. The scene represents a palatial hall opening on a garden and remains the same through the whole ballet. The costumes are more beautiful than those she created four years later for the POB.

The curtain opened and immediately it was clear we were going to see an impressive performance of the corps de ballet. The work accomplished by the guest professeurs Gilbert Mayer and later Eric Camillo, both from POB, was evident in the execution of the choreography and the directorship of Frédéric Olivieri, also from POB, gave everyone on stage the eagerness and the proudness of their art, an outstanding achievement for a company due to perform only four titles in the whole season.

Unluckily from the first variation of the fairies, which is rather slow, it appeared that the tempi chosen by the conductor Kevin Rhodes were appalling, nearly soporific. Anyway all the seven fairies, danced by Maria Francesca Garritano, Sophie Sarrote, Monica Vaglietti, Raffaella Benaglia, Deborah Gismondi, Beatrice Carbone and Marta Romagna, were appreciated by the audience. Not very commanding was the Carabosse danced by Sabina Galasso, while Flavia Vallone was the Lilac Fairy.

Much awaited, at last Diana Vishneva made her entrance and it was a disappointing one. Simply she isn’t Princess Aurora, too much coquettish and winking at the audience. While from the shoulders to the feet her dancing was good and respectful of the choreography and the style, I noticed that she didn’t control her hands and this bad habit became more and more annoying, especially when she held her arms en couronne, because the line was always broken at the wrist. At the first interval I joined a small group for a short visit to the Piccola Scala. This small stage, where many years ago I saw a ballet recital with Noella Pontois, Charles Jude and Jean-Yves Lormeau, is now a store-room for the main stage and will definitely disappear during the approaching renovation.

The second act in Nureyev’s “Sleeping beauty” is a meaty one for the Prince and Roberto Bolle tackled it on many stages around the world in the last five years. I nervously noted that whenever he was near the wings he blew his nose, but I needn’t worry, even in the second of the three solos, the scary one lasting 7 minutes, his breath never faded and in spite of the cold the result was pure perfection. During the following interval I heard the people glowing about his performance, unanimously commented with the words splendid, fabulous, masterly.

After such a climax, I found the third act a little bit disappointing. The Diamonds variations were well danced by Gilda Gelati and Mick Zeni, together with the other Precious Stones in charge of Luana Saullo, Monica Vaglietti and Lara Montanaro. But then the Bluebird danced by Alessandro Grillo and Florina danced by Sophie Sarrote were so-so, especially the former who couldn’t master the landings of the double tours en l’air and performed the entrechats six with decreasing height, the last one being no more than 1 cm from the ground. I wonder how he can afford the role of the Prince which he’s due to dance later this week. The cats, danced by Brigida Bossoni and Vittorio D’Amato fared better.

The grand pas wasn’t totally satisfying too. During the adagio the orchestra fluffed and Bolle passed over two small details in the final poisson, first when he caught Aurora with both arms and then when he kept his right foot flat instead of pointed. Again during his variation I noticed a hesitation in the middle of the manège. Vishneva’s interpretation was even cheaper than during her other solos. I heard harsher opinions from the people in the audience, rising to a comparison with a cat on heat!

The curtain closed at 11,30 PM and most of the audience left quickly the theatre. Outside the temperature was –5°C but insidethe success was great and well deserved. Behind the curtain one could hear the dancers cheering. The cameras recorded the evening for RAI3 but nobody could tell me when it will be broadcasted.

A last sentence on a sensible subject, now that the date of the POB internal competition is approaching, especially for Iride Sauri, that I met at the Scala. Being the mother not only of Betarice Carbone, soloist with LSB, but also of Alessio Carbone, soloist with POB, she told me how frustrating was for the POB male soloists, who had already chosen the variations they were going to perform, the announcement that no places for principal dancers will be available. While for Aessio this means one more year before being offered another chance, for others like Emmanuel Thibault it was the end of every hope due to age limit.