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
One way to get to know the history of a company is through the “liner notes” of its “Swan Lake” production, and for those of us continuing to build an admiring familiarity with Pacific Northwest Ballet via its digital season offerings, Kent Stowell and Francia Russell’s “Swan Lake” provides an interesting glimpse into PNB prior to Peter Boal’s leadership.FREE ARTICLE