not need more words to explain The Swan Lake, Tchaikovsky's works of art that, in the version of Nureyev, December 16 inaugurated the 2010/2011 season ballet of the Teatro alla scale, after ten years of absence from the stage Milanese. It is the curse of an impossible love, the one between Prince Siegfried, melancholy hero of the ballet, and Odette, the princess transformed into a swan by the evil magician Rothbart. Yet, is not only the drama of a love inconsolable and devoid of any hope to make the Lake ballet par excellence, along with other masterpieces of the repertoire such as Giselle and La Sylphide. C’è di più, ovverosia la straordinaria immagine, indelebile nella memoria di ogni spettatore, della splendida e aristocratica donna-cigno in tutù bianco, la quale, fragile e struggente, si aggrappa e nel contempo si abbandona all'amore del suo principe, nella speranza che il giuramento di quest’ultimo possa donarle la salvezza dalla crudele maledizione di cui è vittima. Vana illusione: soggiogato dal cigno nero Odile, oscura creatura plasmata da Rothbart e incredibilmente somigliante a Odette, Siegfried crede di scorgervi il suo amato cigno bianco e, reso cieco dall’amore, chiede in sposa proprio Odile. Il trionfo di Rothbart si compie: Siegfried spergiura e Odette non potrà essere salvata. L’incanto fiabesco Lake, summa geometry Orchestia, robbed and persuasive as his music, is concentrated right here, that in the topic, so wonderfully seductive, love of a mortal for a supernatural creature, for being "different", suspended in a 'incessant and constantly incomplete metamorphosis, Tersicorea true essence of the swan.
As we said on stage at La Scala is not the original choreography of Marius Petipa and Lev Ivanov, represented in 1895 at the Mariinsky in St. Petersburg, but that of Nureyev, who retreader great choreographer-he was, in 1964, with responsibility the Vienna State Opera, was profuse in a total reinterpretation of the lake, coming two decades later than the final version for the Paris Opera, then acquired in the season 1989/1990, the Scala and today in the repertoire of his company.
Now, in addition to celebrating, along with Nureyev, the genius of Petipa the centenary of his death (1910), Lake La Scala 2010/2011 be noted above all for the unusual reliance of the direction of the orchestra to the baton of Daniel Barenboim, in while engaged with the inaugural opera Die Walküre by Wagner, and then to the sparkling presence on stage, dancers such as the protagonists of the first cast, the two young stars of the Kirov-Mariinsky of St Petersburg: the twenty-eight L. Sarafanov, who played the Prince Siegfried, e la venticinquenne étoile A. Somova, la quale si sdoppia nel ruolo di Odette/Odile. Sarafanov, nuovo Barišnikov e già acclamatissimo alla Scala, dimostra di ben conoscere e dominare con disinvoltura, scrupolosità e raffinatezza lo stile di Nureyev, il quale, proprio per il ruolo del Principe, aggiunse variazioni tecnicamente e interpretativamente al sommo della difficoltà, ampliandone la profondità introspettiva, la tensione drammatica e il contenuto espressivo. Somova, ora languida e struggente Odette, ora perfida e maliarda Odile, se non spodesta nella memoria la grazia, l’accurata eleganza e la stupefacente intensità dell’indimenticabile Margot Fonteyn, seduce con il sinuoso movimento delle sue braccia sottili. With the quality of its technical and expressive movement and with its clean lines, all of St. Petersburg school, convincing, raising loose with his inner natural shape, without falling into the blind virtuoso display. Simulating a mimicry dynamics, color and psychological Somova passes with ease from the elegiac record of abandonment, of yearning, nostalgia and hope of Odette, the spell erotic choreography and character of the evil, sensual, nervous and aggressive Odile. Become the two-faced role of the tutor Wolfgang and the magician Rothbart, a symbol of evil and oppressive authoritarianism that destroys the ideal of love beyond life and the dream of the absolute Siegfried, new romantic hero, the first dancer La Scala A. Sutera, who is confronted with remarkable success, with the part that Nureyev, in his mature years, cut out for himself and about himself.
short, the perfect version of Nureyev's choreography combines a distressing psychoanalytic symbolism, suffused with a distinctly romantic conception, the genius inherent in his Lake houses express a new beauty, no longer the nineteenth century, but already decadent, pre- Impressionist "although still not break the Academy, it is a ballet on the disturbance of the interior, the floating split that pervades existence.
Paul Marinoni Fabio Perelli
As we said on stage at La Scala is not the original choreography of Marius Petipa and Lev Ivanov, represented in 1895 at the Mariinsky in St. Petersburg, but that of Nureyev, who retreader great choreographer-he was, in 1964, with responsibility the Vienna State Opera, was profuse in a total reinterpretation of the lake, coming two decades later than the final version for the Paris Opera, then acquired in the season 1989/1990, the Scala and today in the repertoire of his company.
Now, in addition to celebrating, along with Nureyev, the genius of Petipa the centenary of his death (1910), Lake La Scala 2010/2011 be noted above all for the unusual reliance of the direction of the orchestra to the baton of Daniel Barenboim, in while engaged with the inaugural opera Die Walküre by Wagner, and then to the sparkling presence on stage, dancers such as the protagonists of the first cast, the two young stars of the Kirov-Mariinsky of St Petersburg: the twenty-eight L. Sarafanov, who played the Prince Siegfried, e la venticinquenne étoile A. Somova, la quale si sdoppia nel ruolo di Odette/Odile. Sarafanov, nuovo Barišnikov e già acclamatissimo alla Scala, dimostra di ben conoscere e dominare con disinvoltura, scrupolosità e raffinatezza lo stile di Nureyev, il quale, proprio per il ruolo del Principe, aggiunse variazioni tecnicamente e interpretativamente al sommo della difficoltà, ampliandone la profondità introspettiva, la tensione drammatica e il contenuto espressivo. Somova, ora languida e struggente Odette, ora perfida e maliarda Odile, se non spodesta nella memoria la grazia, l’accurata eleganza e la stupefacente intensità dell’indimenticabile Margot Fonteyn, seduce con il sinuoso movimento delle sue braccia sottili. With the quality of its technical and expressive movement and with its clean lines, all of St. Petersburg school, convincing, raising loose with his inner natural shape, without falling into the blind virtuoso display. Simulating a mimicry dynamics, color and psychological Somova passes with ease from the elegiac record of abandonment, of yearning, nostalgia and hope of Odette, the spell erotic choreography and character of the evil, sensual, nervous and aggressive Odile. Become the two-faced role of the tutor Wolfgang and the magician Rothbart, a symbol of evil and oppressive authoritarianism that destroys the ideal of love beyond life and the dream of the absolute Siegfried, new romantic hero, the first dancer La Scala A. Sutera, who is confronted with remarkable success, with the part that Nureyev, in his mature years, cut out for himself and about himself.
short, the perfect version of Nureyev's choreography combines a distressing psychoanalytic symbolism, suffused with a distinctly romantic conception, the genius inherent in his Lake houses express a new beauty, no longer the nineteenth century, but already decadent, pre- Impressionist "although still not break the Academy, it is a ballet on the disturbance of the interior, the floating split that pervades existence.
Paul Marinoni Fabio Perelli
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