Alice Mariani succeeded in dividing her luminous presence and articulate technique between the two roles. Her Odette was tender and poetic—a figure of quiet radiance. As Odile, she chose brilliance over menace, and the decision paid off: her clarity and control gave the character striking definition. Her balances were calm and assured, her fouettés precise and musical, and her phrasing shaped the score with elegance and intent. Navrin Turnbull’s Siegfried was noble and focused, distinguished by clean lines and expressive nuance. He embodied the Romantic ideal—spiritually noble and dignified, with a poised stillness that made his vulnerability all the more affecting. Christian Fagetti portrayed both Wolfgang, the prince’s tutor, and Rothbart, the ominous, bird-like figure, with striking vigour. His rapport with Turnbull was finely calibrated—charged with a subtle, dysfunctional intimacy that added emotional depth to every shared moment. As Rothbart, he sent tremors through the stage with superhuman jumps: a spectral force with terrifying wings.
The corps de ballet impressed with buoyant jumps, fast, centred turns, and a vibrant collective energy. The Act I pas de trois was performed with sparkle and finesse by Linda Giubelli, Alessandra Vassal, and Edward Cooper. Cooper’s jumps were particularly striking, and his final manège drew spontaneous applause. If one flaw must be noted, it lies in the Act III character dances: lively, yet at times lacking the refinement and cohesion evident elsewhere. A few passages would have benefited from greater precision—but the brilliance of the choreography, coupled with the overall vitality of the performance, carried them through.
Among the maîtres de ballet, the name of Massimo Murru stands out: a former étoile of Teatro alla Scala, he is often regarded as an heir to Nureyev, having danced Siegfried in Nureyev’s production in 1997 and 2001. Vello Pähn, who worked closely with Nureyev in his youth, conducted the Orchestra del Teatro alla Scala in a performance of sweeping passion and expressive nuance. Each instrumental voice emerged with clarity, sustaining an atmosphere at once lyrical and tragic. Together, these contributions underscore the enduring significance of oral and embodied transmission—both within La Scala’s tradition and in the performing arts more broadly.
comments