The long-awaited “Don Juan” by Johan Inger for Aterballetto has at last found its way on a national and international tour. Due to the first Italian lockdown, the creation of the new ballet was suspended and postponed and when it finally premiered, last autumn, it had only two performances: a preview in Reggio Emilia, the city where Aterballetto is resident, and an official debut in Ferrara. An important stop in this year's new tour was in Ravenna, at the renowned festival founded by Riccardo Muti’s wife. Performed indoor at Alighieri Theatre, a beautiful “teatro all’italiana,” “Don Juan” had two performances, both sold out despite a limited audience due to anti-Covid restrictions. A historical theatre was the ideal stage for a contemporary ballet based on a classic story, preserving the narrative development. Having narrative ballets in its repertory has always been an aim of Aterballetto, and not to be limited by short, abstract pieces. But it’s well known: staging a narrative ballet nowadays for choreographers is a challenge.
Saul Daniele Ardillo and Arianna Kob in "Don Juan" by Johan Inger for Aterballetto Photograph by Viola Berlanda
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continua a leggere