In the 69th edition of the Festival dei Due Mondi di Spoleto (Festival of Two Worlds in Spoleto), the Dance Marathon has become a favourite fixture. In the Teatro Romano, an open air amphitheatre, international ballet stars gathered to perform the usual gala fodder to the delight of the audience, but with some added surprises. New works provided a welcome nod to the development of the art form and to what audiences might expect from future Marathons.
A pre-show thunderstorm did not dim the atmosphere and fortunately, the heavens did not open for the duration of the show itself. However, the performances were of the highest calibre and warranted their own electric storms of sorts. It opened on a quiet, lyrical note and over the course of more than two hours, ricocheted between fireworks, crescendos and back to tranquility in equal measure.
Marcelo Gomes was the creator of a duet for Davide Dato and Alessandro Frola, both currently principals of the Vienna State Ballet, called AMI set to the music of Chopin. Equipped with the necessary fluidity and line, beautiful footwork and an obvious rapport, it was a gentle easing into the proceedings. Perhaps the cleverest element of the piece was its subtlety, the tenuous fragility with which they interacted.
NYCB’s Tiler Peck and Roman Mejia bounded onto the stage, effervescent and explosive in Balanchine’s tricky Tarantella. It was to be expected that they would handle the technical challenges deftly but the two injected so much playfulness and joy into their performances that the complexity of the sequences evaporated into throw away virtuosity.
Soleá X Bulerías choreographed by José Manuel Álvarez and Sergio Bernal was the first of two pieces that put Bernal very much in the spotlight. With Daniel Jurado (composer and guitarist), cantaor Roberto Lorente, and Javier Valdunciel on percussion, Bernal smouldered his way into our hearts and minds. As an international flamenco star, his almost cult-like following is undeniable. He possesses a magnetic stage presence that was, quite frankly, intoxicating.
Dutch National Ballet’s Maia Makhateli and Timothy van Poucke gave a breathtaking account of the pas de deux from Act 2 of Le Corsaire. Not a foot or finger out of place and a ring side view confirmed just how extraordinary they were. Van Poucke in particular, defied gravity.
Next Peck took to the stage in a solo (with on-stage cellist, Erica Picotti) that was created by Jerome Robbins for Mikhail Baryshnikov. A Suite of Dances (Bach) was a rather tongue in cheek exercise in classically based steps with a carefree attitude. Dressed in discreet maroon trousers and velvety top, Peck is the first woman to dance it and was personally coached by Baryshnikov. A dream come true, I would imagine. I can’t think of more likely candidate to carry it off and this she did, with aplomb.
The Esmeralda Act 2 pas de deux followed with Madison Young (also currently dancing in Vienna) and Frola both giving exemplary performances. Anyone looking to count pirouettes or fouettés will have been more than satisfied and they appeared to relish the opportunity to show just how accomplished they were. It’s not my favourite party piece but they more than did it justice.
Each in Their Own Time by Lar Lubovitch to Brahms was a well programmed diversion from the pyrotechnics of classical trickery. Dato and Rinaldo Venuti danced a sensuous duet which began serenely enough and built steadily to greater intensity.
The first half (phew!) closed with more fireworks in the famous pas de deux from Act 3 of Don Quixote. Daniil Simkin and Iana Salenko pulled out all the stops and though they must have clocked up hundreds of these, it still looked fresh.
After so much excitement, the highlight of the entire evening was Bernal’s La saga della primavera (The Rite of Spring). His concept and ideas were realised by choreographers Eduardo Martínez, Irene Tena and Albert Hernández. The dancers, all trained in flamenco, and led by an astonishing Bernal as The Chosen One, collectively changed my perception of flamenco. There were no flourishes or colourful dresses. Knee-length boots and military suits were foreboding, threatening even.
The power and strength of Stravinsky’s score lent itself remarkably well to the rhythms of Spanish dancing. The energy, the drive, the sheer conviction spilling over into the rows of seats in the amphitheatre, was all-engulfing. I sincerely hope that the production is brought to the UK in the very near future. It is highly original and unlike anything on the current circuit of Rites. More of this would be welcome in 2027.
Deborah’s trip was funded by Festival dei Due Mondi di Spoleto
