Pandora unveiled: an arresting new creation in Rome

Von Graham Watts, 29 Januar 2021

Laden, bitte warten...

Veranstaltung anzeigen

“Pandora is much like one of those earthenware, funerary jars... only smashed into fragments”

Rezensierte Veranstaltung: Teatro Costanzi, Teatro dell'Opera, Rome, am 29 Januar 2021

Pandora (Simone Valastro)

Ballo del Teatro dell'Opera di Roma

Carlo Donadio, Musikalische Leitung

Andrea Miglio, Bühnenbild

Anna Biagiotti, Kostüme

Fabrizio Marinelli, Licht

Rebecca Bianchi, Tanz

Claudio Cocino, Tanz

Damiano Mongelli, Tanz

Alessandra Amato, Tanz

Agnieszka Jadwiga Grochala, Sopran

Marianna Mappa, Sopran

Angela Schisano, Mezzosopran

Orchestra del Teatro dell'Opera di Roma

La Fille mal gardée in Paris could offer more spark and animation

Jonathan Gray, 15th March

Paris Opera Ballet tackles a British classic with aplomb but needs to delve deeper into the quintessentially British humour and charm.

****1

La Fille mal gardée, le ballet français le plus pittoresque

Laurine Mortha, 27th June

La Fille mal gardée est une comédie haute en couleur mais aussi ballet virtuose, où les variations s’enchaînent allègrement. Pour cette reprise, la performance théâtrale des interprètes de l’Opéra de Paris, particulièrement débridés dans les seconds rôles, est remarquable.

****1

Carte Blanche à l'Opéra de Paris

Laurine Mortha, 15th June

Carte blanche laissée à quatre danseurs du Ballet de l'Opéra de Paris : Sébastien Bertaud, Simon Valastro, Bruno Bouché et Nicolas Paul. Tous portent l’empreinte de l’institution et des chorégraphes qui l’ont marquée – de George Balanchine à William Forsythe, en passant par Mats Ek.

****1

Handel’s Il trionfo del tempo e del disinganno returns to Rome

Pia Maltri, 7th April

Robert Carsen’s staging of Handel's oratorio arrives, via Salzburg, in the city where Handel composed it in 1707.

****1

Ariadne in Rome: David Hermann’s Strauss staging highlights contrasts

Pia Maltri, 1st March

In an opera rarely staged in Italy, David Hermann skilfully masters the metatheatrical challenges posed by the libretto to Ariadne auf Naxos.

****1

Abandon all hope: Lucia Ronchetti's Inferno receives Italian premiere

Pia Maltri, 19th February

The Italian premiere of Lucia Ronchetti’s Inferno at the Teatro dell’Opera di Roma uses Dante’s original verses, but her score fails to match their beauty.

***11

Weitere Kritiken...

Graham Watts

Graham Watts is a freelance dance writer and critic writing regularly for Dancing Times, Dance Europe, Danza Europa, and many more publications. He regularly writes features for Sadler’s Wells, London Coliseum and La Scala. Chairman of the Dance Section of the Critics’ Circle in the United Kingdom and of the UK National Dance Awards he has interviewed many of the greatest names in dance including Maya Plisetskaya, Vladimir Vasiliev, Boris Eifman, Alexei Ratmansky, Andris Liepa, Sir Peter Wright, David Bintley and Dame Gillian Lynne. When not involved in dance Graham is a keen fencer, and has captained the British Sabre team.

Pandora unveiled: an arresting new creation by Simone Valastro in Rome