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La Scala International Gala

‘Le Corsaire pdd’, ‘Giselle pdd’, ‘Carnival in Venice’, ‘Midsummer Night Dream’, ‘Concerto pdd’, ‘Esmeralda solo’

September 2003
Milan, Arcimboldi Theatre

by Ivan Sebastiani




© Andrea Tamboni

"Midsummer Night's" reviews

'Le Corsaire' reviews

'Carnival in Venice' reviews

'Concerto' reviews

Cojocaru in reviews

Tsiskaridze in reviews

recent La Scala reviews

more Ivan Sebastiani reviews




The La Scala Theatre celebrated the 190th anniversary of the foundation of its ballet school with an International Gala. This was like an homage to the institution that has been for almost two centuries a landmark in the ballet work. Many great ballet stars have trained in the La Scala school : dancers like Carlotta Grisi – the first Giselle – and Carla Fracci; Pierina Legnani - with her thirty-two fouettes- and Alessandra Ferri, just to cite a few of them.

In the gala evening students from the most prestigious European ballet schools appeared on stage together with some of today’s etoiles and principals.

The La Scala Ballet School performed three different ballets which the public really enjoyed: the “scaligeri” students opened the evening with a piece “à la barre” and followed it up with Masquerade - choreographed by G.Jancu, music by L.Boccherini- which they danced spiritedly. The last piece they offered was the diverts from the third Act of Coppelia, executed with joy and great effort.

The Vaganova Academy brought his characteristic style with some lovely extract from the Nutcracker. Particularly the famous pas de truà was amazing!

But the most impressive performance came from the young and talented Natalia Osipova from the Bolschoi Ballet School. She danced with great energy and sparkle the solo of Esmeralda - high arabesques and very fast pirouettes – even if sometimes her execution seemed to me a little too “gymnastic”. Her second solo, the modern piece Liturgy - cor. By I.Druzhinin, contemporary music- was quite gripping. Let’s hope Natalia Osipova’s great potential will be carefully developed.




The Bolschoi Ballet School's
Natalia Osipova in the solo from Esmeralda
© Andrea Tamoni/Teatro alla Scala


Worth of praise was the Hamburg Ballet School in Yondering by J.Neumeier, on the beautiful songs by S.C.Foster, American composer of the XIX century. The choreography was fresh and pure, created especially by Neumeier for enthusiastic and energetic students.

From the Royal Ballet School, Nutnaree Pipithsuksunt and Cory Stearns danced excellently. They interpreted K.Macmillan’s Concerto pas de deux (mus. D.Sostacovic) with great dancing qualities and professionalism. It was a “jewel” for the eyes.




The Royal Ballet School's
Nutnaree Pipithsuksunt and Cory Stearns
in Concerto pas de deux
© Andrea Tamoni/Teatro alla Scala


The II act was for the professional dancers. The couple from the Mariinskij Theatre -the young Anton Korsakov and Irina Zhelonkina- wasn’t particularly sparkling in Carnival in Venice (cor. M.Petipa, mus. C.Pugni). Despite his great talent, Korsakov’s execution was not assured and Zhelonkina’s dancing was a bit bland.

On the other hand, Alina Cojocaru and Johan Kobborg –from the Royal Ballet- won the audience over with the II act pas de deux from Giselle. This was undoubtedly the most magic moment of the evening. Exquisite, light and delicate, Cojocaru seemed to fly in the wind, through the air, above the ground. Kobborg was very convincingly as Albrecht, superb both technically and emotionally.

Next we admired the Italian Silvia Azzoni, sensual, talented and expressive with her excellent partner, the Ukranian Alexandre Riabko, principals from the Hamburg Ballet. They gave their best in J.Neumeier’s Third Symphony of Gustav Mahler – a plastic, romantic, involving choreography, always rising.

 


Hamburg Ballet's Silvia Azzoni and Alexandre Riabko
© Andrea Tamoni/Teatro alla Scala


It was like fireworks in the pas de deux from Le Corsaire with the Bolshoi stars Svetlana Zakharova and Nicolai Tsiskaridze, both very acclaimed from the public. Zakharova was beautiful and radiant: with her perfect lines and outstanding technique she manages to light up the stage. Unfortunately Tsiskaridze’s performance was a bit disappointing, despite his magnetic charisma. He is a great dancer, but this time he seemed to me technically not confident (not to the best of his ability).

The house company of La Scala ended the evening. They presented the diverts from the second act of Balanchine’s A Midsummer Night Dream (mus. by F. Mendelssohn), a ballet which the company represented several times this year and which was also just taken on tour this October to the Mariinskij Theatre in S. Petersburg - the place where the great Georgian choreographer took his first steps.

This ballet offers many opportunities to shine for the artists, soloists and principals. The corps worked efficiently, with great effort, and the movements seemed well coordinated. All the company appeared stronger under the guidance of the director Frederic Olivieri: he is working hard to bring La Scala Ballet on to the same level as that of the best companies in Europe. Well received from the audience were Massimo Murru and Marta Romagna, which performed the pas de deux neatly. Worth of mention are the beautiful “neoclassical” costumes and the scenes designed with style by Luisa Spinatelli.

The Season 2003/2004 of La Scala Ballet will go on with some great titles. The next appointments in the Arcimboldi Theatre will be:

November
Don Quixote (R.Nureyev)
Roberto Bolle- Laetitia Pujol (6,8)
J.M.Carreno- Tamara Rojo (11,15)

December
The Bat (R.Petit)
Alessandra Ferri- Massimo Murru-Luigi Bonino

February
Manon (K.Macmillan)
Alessandra Ferri – Roberto Bolle
Sylvie Guillem – Massimo Murru


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