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La Scala in Orange County in July 2017


Josette

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In the LA Times of March 12, 2017, it reports that La Scala is bringing Giselle to Segerstrom Hall in Orange County this July. 

 

Casting is as follows:

July 28: Misty Copeland, Roberto Bolle

July 29 matinee: Nicoletta Manni, Claudio Covielo

July 29 evening: Marianela Nunez, Roberto Bolle

July 30: Nunez, Bolle

 

MARIANELA NUNEZ!  

 

What is somewhat frustrating is that Tyler Peck and Robert Fairchild are bringing a group of dancers to Los Angeles Music Center on the same weekend including as yet unnamed dancers from New York City Ballet, ABT, Royal Ballet, Paris Opera Ballet, and Miami City Ballet, performing works by Balanchine, MacMillan, and Wheeldon. (All information from today's LA Times Calendar section. The Segerstrom website has not been updated.) 

 

i assume that Bigonzetti's departure as director of La Scala is the reason we are getting Giselle instead of the previously announced Bigonzetti Cinderella, which was supposed to feature Polina Semionova and Bolle. Perhaps Semionova wants some time with her newborn baby and to get into shape. 

 

 

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You are right - those productions shouldn't be set for the same dates. Considering the length of time that Southern Cal audiences have to wait to see some decent ballet, it just doesn't make sense. I also don't get "La Scala" opening with Copeland and Bolle dancing - it should be about their own current dancers.

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Copeland's presence is intended to boost ticket sales, presumably. I think Bolle still qualifies as a (more or less) full-time La Scala dancer. Dancing Giselle three nights in a row is a tall order. If he can pull that off at age 42, it will be an impressive achievement.

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1 hour ago, Josette said:

I am thrilled to get to finally see Marianela Nunez live, twice. 

 

I really enjoyed Nunez in the Royal Ballet's Jewels live rehearsal broadcast. I would like to see her dance. But I still don't get a foreign tour that barely features the company's own principal dancers. That's a "WTF?" moment for me.

There might be some feelings against inviting Carlo Di Lanno and Angelo Greco down from SFB to take part, as they formally left La Scala. OK, I can get that, but why depend upon guest artists? What exactly are they trying to show other countries?

 

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My impression is that La Scala Ballet relies a lot on guests, but another BalletAlert member probably knows more than I do on this topic.   I remember when La Scala brought Sylvie Guillem's Giselle and she danced all performances but a matinee, and they also brought a mixed bill including Roland Petit's Carmen, which should have featured Ferri, but due to her pregnancy, they had a miscast Viviana Durante in the role.  Zakharova guests often with La Scala  There is good reason why Angelo Greco and Carlo di Lanno left.  I am also looking forward to seeing Nicoletta Manni and Claudio Covielo.  

 

I need to check who Bolle's sponsor is at ABT. 

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'In the old days' -- I mean 40-50 years ago -- Australian ballet used to do long international tours that featured a major guest artist or artists often dancing almost every performance. I saw the company on tour both with Nureyev and with Fonteyn; the two were headlining different tours when I saw them, though I think they had appeared together on earlier ones. 

 

(Nureyev headlined other international tours with other companies and always dominated the casting and sometimes the choreography. I remember going to see him night after night with the Festival Ballet and every night was like having a different adventure--because you really never knew exactly what...uh..."mood" he would bring to the stage. Despite the adventure aspect, I was a bit of a Nureyev skeptic and then one night saw him dance an Albrecht of unbelievable dramatic and spiritual depth. It was worth sitting through--or, rather, worth standing through since I was usually standing--every crappy Nureyev performance I had experienced over the years to have seen that ONE Albrecht. Still have never seen it equaled.)

 

Historians of the Australian ballet (or other companies) could do better than I in explaining the motivation for their tours--and whatever benefits they may have generated for the company in terms of reputation, revenue, and experience. But this La Scala tour seems to me a little different, and not only because La Scala regularly brings guest artists, including Copeland and Nunez, to dance with them at home (as Jayne mentioned), but also because Bolle is now their biggest homegrown "star," and this tour seems organized around him more than anything else.  So perhaps they think of it as showing off their superstar before his career heads to its classical sunset. Hope he turns out not ONE but THREE great Albrecht performances. 

Edited by Drew
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Bolle's performances at ABT are sponsored by William J. Gillespie, whose name adorns the ABT dance academy affiliated with Segerstrom Center for the Performing Arts in Orange County.  I have also seen Bolle dance twice with the LA Philharmonic over the past four years as well and no other featured male dancer aside from Bolle has had that honor.  So we are likely getting La Scala to get Bolle. Does Bolle ever dance with any of the La Scala female principals? Anyone know? 

 

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Bolle has an impressive, rock-solid classical technique aside from his personal charisma.   I saw him dance Apollo a year or so ago with LA Philharmonic and Hee Seo (floundering in her solo), Devon Teuscher, and Stella Abrera (came off best of the ladies).  The tempi were slow and oddly phrased for the sake of effect as conducted by Dudamel and pulled on the choreography, especially Apollo's opening solo and the one before the pas de deux. My legs were aching in sympathy as I watched.  I don't know how Bolle got through it, but he did and he was amazing. 

Edited by Josette
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32 minutes ago, Josette said:

Does Bolle ever dance with any of the La Scala female principals? Anyone know? 

 

La Scala has a (not so handy) online archive, so I checked. Generally speaking, the answer is no, except for Svetlana Zakharova, who is technically a member of the company, but who typically appears in one, maybe two, productions a season. Bolle, it has to be said, does appear more often. Back in May 2014 he danced Petit's Jeune homme with Marta Romagna. In December 2013 he danced in Ratmansky's Opera with Beatrice Carbone. For the most part his partners have been visiting dancers,

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I agree with what everyone is saying - it does look to be as much about Bolle as his "backup", La Scalla Ballet. Perhaps the idea is to create an ABT-style company at La Scala, and they just want foreign artists to feel they would always be welcomed there.  ;)

I'm not such a fan of the ABT company style, but many people love thinking they are going to see international "stars" of the ballet. I know La Scala has been struggling, but I don't know the details of what they are up against in Italy.

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It goes to show you that Bolle regards La Scala as his primary employer, and ABT is just a guest gig, albeit an annual one. But Drew jogged my memory about Nureyev. There was indeed a time when there were many tours along the lines of Nureyev+London Festival Ballet, or Nureyev+the National Ballet of Canada, or Nureyev+Australian Ballet. It could be that both company and presenter believe tickets won't sell if Bolle isn't starring in as many performances as humanly possible.

 

I have seen dancers perform Giselle two days in a row with no drop in virtuosity. I've seen dancers do an evening followed by a matinee of Swan Lake with no perceptible drop-off. I remember seeing a dancer give three brilliant performances in two days of a major role, though it was not as big as Albrecht. For that matter I've seen dancers switch between Myrtha and the corps for show after show. But doing Albrecht for two evenings followed by a matinee will be an impressive demonstration of stamina. I give Bolle credit for not slowing down.

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If anyone can do it, I think that Bolle can:  after all, he handled both Kent and Herrera's last ABT Giselles with only a day's break in-between and looked world-class. (In comparison to that 2015 gig, the partnering for this engagement seems easier from a physical, mental, and prep time standpoint.)

 

I think his light schedule with ABT this season is actually more happenstance:  the two classics that he always dances--Giselle and Swan Lake--are actually a bit oversubscribed with debuts this year (the men cast all need an appearance to keep their rep in tune; the debuting women need an in-house partner to work out kinks). Otherwise, the spring rep is dominated by unfamiliar Ratmansky pieces that he'd have to spend time acquiring.

 

(It feels weird to find myself defending Bolle...but the respect he showed during those 2015 ABT retirement gigs made me view him in a new light.)

Edited by choriamb
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On 13/3/2017 at 8:13 AM, pherank said:

I agree with what everyone is saying - it does look to be as much about Bolle as his "backup", La Scalla Ballet. Perhaps the idea is to create an ABT-style company at La Scala, and they just want foreign artists to feel they would always be welcomed there.  ;)

I'm not such a fan of the ABT company style, but many people love thinking they are going to see international "stars" of the ballet. I know La Scala has been struggling, but I don't know the details of what they are up against in Italy.

sorry, can you explain what you mean with " struggling", because here in Italy we don't have and feeling about "struggling" with la Scala ballet company.......  they against Italy? sorry we don't undestrand what you mean.......

what i can say many young dancers from la Scala School are considering more and more to begin their career  outside  La scala wings( adthis is just the best for them!!) just think about Jacopo Tissi at  Bolshoi

the point a bout inviting some international stars   was decided by  Mr. Pereira ( Head Master of Teatro alla Scala) toghether with Bolle and Bigonzetti...( before  he left)

the only point that is not working in favour  of   La Scala is the vacant place left from Bigonzetti, the new ballet Master of the company was due at the end of February, now  we are in  April and no name  has been announced; Olivieri is taking the place ad interim ( he is the director of La Scala school of ballet)

an other question or curiosity i want to satisfy is that Bolle dances both  with big etoiles and with the La Scala  principals with no reticence

this year i saw him dancing with Nicoletta Manni and  Virna Toppi .

there is a rumor here in Milano about the vacant place iof La Scala Ballet company director, it is about the  management  that is triyng to convice  Bolle ( after his retirement from balletto) to stay as Master  Director for the company

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13 hours ago, Lilia75 said:

sorry, can you explain what you mean with " struggling", because here in Italy we don't have and feeling about "struggling" with la Scala ballet company.......  they against Italy? sorry we don't undestrand what you mean.......

what i can say many young dancers from la Scala School are considering more and more to begin their career  outside  La scala wings( adthis is just the best for them!!) just think about Jacopo Tissi at  Bolshoi

the point a bout inviting some international stars   was decided by  Mr. Pereira ( Head Master of Teatro alla Scala) toghether with Bolle and Bigonzetti...( before  he left)

the only point that is not working in favour  of   La Scala is the vacant place left from Bigonzetti, the new ballet Master of the company was due at the end of February, now  we are in  April and no name  has been announced; Olivieri is taking the place ad interim ( he is the director of La Scala school of ballet)

an other question or curiosity i want to satisfy is that Bolle dances both  with big etoiles and with the La Scala  principals with no reticence

this year i saw him dancing with Nicoletta Manni and  Virna Toppi .

there is a rumor here in Milano about the vacant place iof La Scala Ballet company director, it is about the  management  that is triyng to convice  Bolle ( after his retirement from balletto) to stay as Master  Director for the company

 

Thank you for this information, Lilia75. It is good to hear the perspective of a ballet-goer in Italy.

 

In English, or at least in American English, "struggle" can be used in a very general sense to mean:
"strive to achieve or attain something in the face of difficulty or resistance" OR "make one's way with difficulty"
"Struggle" doesn't only refer to personal fighting or combat. I hope that makes sense.

 

I have a feeling that Bolle would make an excellent Artistic Director, but directing a company is so different from dancing as a soloist. Nonetheless, Artistic Director seems like an inevitable career choice for Bolle.

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I believe by "struggle" one can interpret that La Scala has trouble keeping the Italian Stars in Milan. So it must import stars from elsewhere (Russia, etc) to attract star-hungry Italian audiences.  

 

Now, no one would say this about an opera company.  But a strong ballet company should also have a strong school and a strong star-making system.  Not just import a mercenary who was trained in another system.   Paris Opera Ballet, New York City Ballet  and Mariinsky are 3 examples of this type of company.  

 

Other companies (such as La Scala, American Ballet Theatre, and more recently Royal Ballet have imported stars).  

 

Some companies do both (San Francisco Ballet).  

 

Personally I would like to see more equal tradesvor exchanges to balance it out.  Roberto Bolle at ABT and in return an ABT principal at LS (but whom?)

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"Interesting" article about why Misty Copeland is appearing with La Scala:

 

http://www.latimes.com/entertainment/arts/la-ca-cm-la-scala-ballet-misty-copeland-20170714-story.html

 

Quote

Figuring out casting is often a group effort, decided among a company’s directors, but also with input from theater presenters. This was the case with this engagement, because it was more complicated than normal. The Segerstrom Center and Bigonzetti had originally scheduled Bigonzetti’s new production of “Cinderella.” But the choreographer, who has health problems, was forced to resign last fall, and a new program had to be substituted. La Scala is certainly a prestigious troupe, but for the general public, it is a relatively unknown quantity, compared with other companies like ABT and the Joffrey Ballet. In addition, Bolle is its only dancer well-known to local audiences. The decision of both repertory and casting had to be weighed carefully.

 

Segerstrom Executive Vice President Judy Morr, who has curated the center’s vaunted dance series since 1986, said she was very pleased to have the company perform its “Giselle,” a version of the Jean Coralli-Jules Perrot original that was revived for La Scala by the late French ballerina Yvette Chauviré. Morr said she took part in casting discussions, and was thrilled that Copeland would be appearing on opening night.

 

“If I am intent upon making sure that there would be what I would call success at the box office, I talk about casting,” Morr said. “I would rarely interfere with an artistic desire on behalf of the company, but I think companies are already concerned about how they appear and what the thoughts are of the people they work with. I can’t imagine that there isn’t a presenter of dance that doesn’t think about how it will shake out and who will dance the first night, the second night.”

 

 

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3 hours ago, ksk04 said:

“If I am intent upon making sure that there would be what I would call success at the box office, I talk about casting,” Morr said. “I would rarely interfere with an artistic desire on behalf of the company, but I think companies are already concerned about how they appear and what the thoughts are of the people they work with. I can’t imagine that there isn’t a presenter of dance that doesn’t think about how it will shake out and who will dance the first night, the second night.”

 

Fine bit o' re-framing by Ms. Morr to get us back where we started. It's still a lot of trouble for La Scala to go through to be able to perform a single night as the current Teatro alla Scala Ballet. Yes, Bolle originally came from La Scala, so the audience supposedly sees some of that training in Bolle, but it still looks like the performances are a star vehicle for Bolle (who has been a 'gypsy' performer for some years now). It's not the best way of showing off the company as it stands. A better option would be an arrangement where Teatro alla Scala performs for a week during another company's season, as one of the programs of the host company (in the same way that Hamburg Ballet and National Ballet of Canada have done/will do in San Francisco).

 

Supposedly the Misty Copeland performance is sold out, so that much is working.

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I'm leaving Southern California on Saturday morning for two weeks in New York--apparently right as a lot of ballet is finally heading out here. I'm sad to be missing Giselle, but my daughter got a last minute invitation to watch dress rehearsal tonight. 

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I saw the first show last night with Misty Copeland, Roberto Bolle, and Nicoletta Manni as Myrtha. Overall it was a nice production and La Scala dancers were nice to watch in the second Act, especially. The two dancers (Alessandra Vassallo and Emanuela Montanari) who were Moyna and Zulme were very light and wispy. The corps of 24 Wilis was well unified and created nice shapes/movement together. However, the whole evening was emotionally empty from the three principals. Misty Copeland was pleasant enough as Giselle in the first act, but once the smiley-peasant Giselle was over she was mostly an empty vessel. The biggest issue were her shoes. They are way too hard and because of that she clomped around the stage for both acts--super noisy pointes which is especially egregious in Giselle, imo. I'm guessing she is wearing such a hard shank to help her get through the hops on pointe, etc, but it is really distracting (she slipped off pointe twice during the hops in Act 1, though she got through more than I was expecting). What I took away from her dancing overall is that she mostly seems to be about moving through steps as quickly as possible to get to a "comfortable" pose for her, whatever that is at the moment. Because of that there is not a lot of musicality or drama and the dancing can look tense. I would rate her first Act higher than the second, but I wasn't emotionally involved with her character especially not in the mad scene. 

 

Bolle is in great shape but a bit of an empty vessel if he isn't doing the poncey prince bit--hopefully with Nunez he will have a better outing tonight. He sailed through the 32 entrechat sixes but looked like he could have kept going which defeats the whole "dance until death" aspect of the second act. Very solid partnering throughout, though that is to be expected. I thought Nicolette Manni (who will be Giselle today and Myrtha again tomorrow--heavy schedule) had some lovely lightness to her jumps. But she conveyed no authority and there was no real development of Myrtha's character. I can see how she could be a nice Giselle (though I hope she turns on the Romantic style a little...) because she is very petite and light. Hopefully Josette will be able to tell us how she fairs. 

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4 hours ago, ksk04 said:

I thought Nicolette Manni (who will be Giselle today and Myrtha again tomorrow--heavy schedule) had some lovely lightness to her jumps. But she conveyed no authority and there was no real development of Myrtha's character. I can see how she could be a nice Giselle (though I hope she turns on the Romantic style a little...) because she is very petite and light. Hopefully Josette will be able to tell us how she fairs. 

 

Thanks very much for the report - I'm hoping the La Scala dancers come off well overall, and would like to hear more details about Manni's star turn (and also the Nunez performance). Following an evening program with a matinee though, isn't the best way to get great performances out of the soloists.

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7 hours ago, ksk04 said:

I saw the first show last night with Misty Copeland ....(she slipped off pointe twice during the hops in Act 1, though she got through more than I was expecting). What I took away from her dancing overall ...."comfortable" pose for her, whatever that is at the moment.

 

 

Is this acceptable? Is Misty Copeland capable of performing a single leading role in a 19th-C without having at least one major mishap in a key solo passage? 

 

No surprise about Nicoletta Manni not being an effective Myrtha. That's like asking Minnie Mouse to play Lady Macbeth.

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