To Sir Frederick Ashton’s fast footwork and musicality belongs the Australian Ballet’s double bill “The Dream” and “Marguerite & Armand.” To the charming misadventure distillation of Shakespeare’s A Midsummer Night’s Dream bubbles “The Dream.” To the legend of Margot Fonteyn and Rudolf Nureyev, dovetails Amy Harris’s Marguerite, in Harris’s last stage role before her retirement. After 22-years with the company, Harris bids farewell in a delicious camellia-bloom, echoing Marguerite’s own departure (thankfully for altogether different reasons; Harris is retiring from the stage, whereas her character Marguerite is dying of tuberculous).FREE ARTICLE
Alessandra Ferri celebrates her 40-year long career with a revival of “L’Heure Exquise,” which premiered at the Ravenna Festival, at Alighieri Theatre in June. Maurice Béjart first staged his own version of Samuel Beckett’s play Happy Days for Carla Fracci and Micha van Hoecke in 1998, and the performance is studded with references and full of memories, both personal and artistic, which the Italian étoile is enthusiastic to recall. This revival is also the occasion for Alessandra Ferri to bring back to life a lively character, Winnie, the last one in her gallery of beloved heroines: Juliet, Manon, Carmen, Blanche, Léa, Marguerite Gautier, Virginia Woolf, Eleonora Duse.
Alessandra Ferri. Photograph by Amber Hunt
When a choreographer takes on volcanic and iconic works from American musical giants like Leonard Bernstein and John Adams one move they could take is to cool them down with a couple of more soothing European works in between.Continua a leggere