#Claudio Cocino

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Rome Opera Ballet – Season 2022-2023

The new season of the Rome Opera Ballet is announced by the company's director, Eleonora Abbagnato.

Bolero – choreography by Pastor Polski, Balet Narodowy, photo Ewa Krasucka The new ballet season of the Teatro dell’Opera in Roma has been announced by the company’s director, Eleonora Abbagnato. Don Quixote by Laurent Hilaire Rome Opera Ballet opens its season with Don Quixote with Laurent Hilaire’s choreography, a production that inaugurated the 2017-2018 season. The ballet has costumes by…

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Roberta Bianchi and Claudio Cocino in Pandora

Opera di Roma

From Simone Valastro’s Instagram account

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"Puccini", il balletto di Eleonora Abbagnato chiude "Torino Estate Reale"

“Puccini”, il balletto di Eleonora Abbagnato chiude “Torino Estate Reale”

Manon Lescaut, La Bohème, Tosca, Madama Butterfly. Le eroine di Giacomo Puccini, che il più delle volte hanno dovuto affrontare un destino tragico, saranno in scena per ballare sulle note delle arie più belle. Composta da venti ballerini, la coreografia è un tributo all’opera, alla musica classica, ma soprattutto all’illustre compositore. Come un’eco di questi brani che tutti conoscono, le opere…

[productions-sarfati]

[ MASTERCLASS EXCEPTIONELLE ]

A l’occasion de la première édition du #ParisDeLaDanse, assistez à une répétition ouverte exceptionnelle en compagnie d’Eleonora Abbagnato et Benjamin Pech, au Théâtre de Paris. Durant la soirée, ils dirigeront la répétition des pas de deux du Parc d’Angelin Preljocaj et Carmen de Roland Petit. Les deux danseurs étoiles seront également accompagnés de quatre danseurs du Ballet de Rome: Michele Satriano, Giorgia Calenda, Sara Loro et Claudio Cocino, ainsi que de Laurent Choukroun au piano. Ne ratez pas cette occasion unique!! Informations et réservations: http://www.theatredeparis.com/spectacle/masterclass

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Y ya tengo en mis manos la espectacular obra de "Yo Cocino para Celíacos" una obra maestra de amor y empeño. Hasta lo tengo autografiado por 2 de sus más destacadas impulsadoras. Es una obra genial que reúne recetas de gente espectacular entre los cuales están Laureano Márquez con un quesillo muy especial, Floria Marquez contribuyó con un pollo de ensueño, también está Claudio Nazoa, Don Armando Scannone, quien destaca por ser el primero en enviar su receta y hasta Sumito, quien además realizó un prólogo muy sentido que recoge el sentimiento y valores de la lucha de la fundación Celíaca de Venezuela. Ya los primeros 1000 libros están a la venta. Gracias @celiacosdevzla

[tmnotizie]

CIVITANOVA MARCHE –E’ stata presentata la XXIV edizione del Festival Civitanova Danza, nel nome di Enrico Cecchetti. Tantissime le prime assolute ed esclusive nazionali di danzatori dal fascino e notorietà internazionale, qui sotto trovate il programma. Da quest’anno, per la prima volta, sarà possibile effettuare un abbonamento #Allinclusive a un prezzo davvero speciale e conveniente per assistere a tutti i 6 spettacoli in programma.

Il Festival inizierà il prossimo 15 luglio per chiudersi  il 5 agosto e presenta un un programma articolato in due sezioni, Festival nel festival e La notte della stella. A queste si aggiunge Civitanova Danza in famiglia, una vera e propria festa per tutta la famiglia.

Sabato 15 luglio.  La serata di Festival nel festival inaugura il cartellone. Tutti i teatri della città accolgono una vera e propria maratona che prende avvio alle ore 16.30 all’Hotel Miramare con Civitanova Danza Focus (tavola rotonda con esperti del settore) e alle ore 19 al Lido Cluana con Happydancehour! a cura delle scuole di danza della città (entrambi ingresso libero).

Dalle ore 20.30 la giornata prosegue al Teatro Cecchetti con Cantiere aperto per Duo Goldberg di Adriana Borriello, coreografa in residenza a Civitanova Marche per l’allestimento dello spettacolo nel quale, come lei stessa afferma, “affronto la musica di Johan Sebastian Bach, le Variazioni Goldberg e la mia danza, faccia a faccia. Mi lascio abitare da quei suoni a partire dal corpo e scrivo le mie variazioni, incorporando quelle di Bach”.

L’appuntamento centrale delle ore 21.30 è al Teatro Rossini con la prima assoluta di Bolero / trip-tic del Balletto di Roma, un trittico coreografico nel quale il Balletto di Roma dà voce a tre artiste italiane attive sulla scena contemporanea internazionale: Giorgia Nardin, Chiara Frigo, Francesca Pennini. Uno spettacolo in tre atti, con coreografie differenti legate a un tema, quello di musiche che rimandano allo straordinario periodo d’innovazione e fermento artistico che accompagnò l’ascesa dei Balletti Russi in Europa. Giorgia Nardin si confronta con L’Après-midi d’un Faune su musica di Claude Debussy; ancora Debussy per la coreografa Chiara Frigo, che sperimenta un lavoro ispirato al tema delle migrazioni sulle note della Suite Bergamasque; Francesca Pennini crea un nuovo Bolero sulle note celebri di Maurice Ravel.

La conclusione della giornata è al Teatro Annibal Caro alle ore 23.15 con De Rerum natura di Nicola Galli per la Compagnia Junior Balletto di Toscana, una creazione coreografica – che debutta al festival in prima assoluta al termine di una residenza nell’ambito del progetto Civitanova Casa della Danza – “alimentata da un’immagine di eterno movimento, dal desiderio di muoversi di sei corpi, legati da un pensiero sotterraneo che scorre sanguigno sotto la superficie della pelle”, come si legge nelle note allo spettacolo.

Domenica 23 luglio. Eleonora Abbagnato étoile dell’Opéra di Parigi nonché direttrice del Corpo di Ballo dell’Opera di Roma, fa ritorno a Civitanova per La notte della stella con Il mito di Medea. Eleonora Abbagnato danza per Maria Callas, affiancata da due affermate étoile dell’Opéra di Parigi, Audric Bézard e Benjamin Pech, nonché da un cast di sedici ballerini italiani tra cui Federica Maine e Claudio Cocino, primo ballerino del Teatro dell’Opera di Roma.

Liberamente tratto dalla tragedia di Euripide, il balletto coroegrafato da Davide Bombana su musiche di Arvo Pärt e Fausto Romitelli è dedicato alla primadonna del ventesimo secolo, il grande soprano Maria Callas di cui ricorre il 40° anniversario della morte e il cui nome è inestricabilmente legato all’interpretazione della “dark lady” della mitologia greca, sia nell’opera di Cherubini, che nell’omonimo film di Pier Paolo Pasolini.

Sabato 29 luglio. Olivier Dubois – tra i più lucidi e incisivi artisti del nostro tempo, direttore del Ballet du Nord dal 2014 e nominato nel 2011 tra i venticinque migliori danzatori al mondo dalla rivista “Dance Europe” – torna al festival e lo fa nell’ambito di Civitanova Danza in famiglia! con lo spettacolo 7 x Rien, ovvero “7 per Niente” in scena al Teatro Annibal Caro. Il lavoro, un vero e proprio viaggio iniziatico per ogni bambino, ruota attorno al tema dei 7 vizi capitali in una sorta di ludico e ironico faccia a faccia con l’Avarizia, l’Invidia, la Collera, la Lussuria, la Gola, la Superbia e l’Accidia.

Venerdì 4 agosto. La notte della stella conclude il festival che si declina al maschile e incontra il lavoro di un grande coreografo internazionale, Tero Saarinen. In Morphed, in scena al Teatro Rossini in prima ed esclusiva italiana, un gruppo di otto ballerini, che traboccano forza ed energia mascolina, si immergono in temi vari, come il cambiamento e la sensualità. La coreografia di Tero Saarinen spazia dall’aggressività brutale alla leggerezza e al minimalismo, proprio come le musiche del compositore Esa-Pekka Salonen. Le scene e le luci sono curate da Mikki Kunttu, premiato con un Bessie award e storico collaboratore del coreografo, i costumi sono firmati da Teemu Muurimäki.

Campus. Accanto agli spettacoli il festival rinnova e amplia l’appuntamento con la formazione di cui è espressione il Campus Civitanova Danza per Domani che si svolge in città dal 31 luglio al 5 agosto con la consulenza artistica di Paola Vismara e i docenti Frédéric Olivieri (direttore Corpo di Ballo Teatro alla Scala, direttore Scuola di Ballo Accademia Teatro alla Scala), Florence Clerc (professeur du ballet, Ballet de l’Opéra de Paris), Claudia De Smet (ballerina e assistente coreografa Ballet Preljocaj) e Fabrizio Monteverde (coreografo internazionale).

Biglietti e informazioni. Abbonamenti: new  #Allinclusive [6 spettacoli a un prezzo davvero speciale!]. I settore Teatro Rossini + posto unico numerato Teatro Annibal Caro e Teatro Cecchetti, 82 euro. II settore Teatro Rossini + posto unico numerato Teatro Annibal Caro e Teatro Cecchetti , 72 euro. III settore Teatro Rossini + posto unico numerato Teatro Annibal Caro e Teatro Cecchetti, 65 euro. #Festivalnelfestival [3 spettacoli, intera giornata del 15/07] 25 euro. Ridotto* 18 euro

Biglietti. Teatro Annibal Caro: posto unico numerato: 10 euro, ridotto* 8 euro. Per Civitanova Danza in Famiglia è previsto un biglietto ridotto a 5 euro per ragazzi fino a 12 anni. Teatro Cecchetti: posto unico numerato 8 euro, ridotto* 6 euro. Teatro Rossini. BOLERO / TRIP-TIC, MORPHED:

I settore                                   20 euro             ridotto* 15 euro

II settore                                  15 euro             ridotto* 10 euro

III settore                                10 euro             ridotto* 8 euro

IL MITO DI MEDEA

I settore                                   50 euro ridotto* 45 euro

II settore                                  45 euro             ridotto* 40 euro

III settore                                40 euro             ridotto* 35 euro

Hotel Miramare CIVITANOVA DANZA FOCUS Lido Cluana HAPPYDANCEHOUR! ingresso gratuito

Ridotti, giovani fino a 24 anni, iscritti scuole di danza e convenzionati vari

Vendita abbonamenti dal 10 giugno. Teatro Rossini 0733 812936 tutti i giorni [domenica e festivi esclusi, tranne se giorno di spettacolo] dalle ore 18.30 alle ore 20.30. AMAT e biglietterie del circuito 071 2072439 lunedì – venerdì dalle ore 10 alle ore 16

Vendita biglietti dal  24 giugno. Teatro Rossini 0733 812936 tutti i giorni [domenica e festivi esclusi, tranne se giorno di spettacolo] dalle 18.30 alle 20.30 nei giorni di spettacolo vendita biglietti presso i teatri di riferimento da un’ora prima dell’inizio vendita on line www.vivaticket.it

Biglietterie & informazioni. Teatro Rossini 0733 812936 http://ift.tt/2rT3JTP | Teatro Annibal Caro 0733 892101. Teatro Cecchetti 0733 817550 | AMAT 071 2072439 www.amatmarche.net, http://ift.tt/2rT5pMP

Prevendite biglietti: Ancona Casa Musicale 071 202588; Ascoli Piceno Teatro Ventidio Basso 0736 298770; Call Center 071 2133600; Fano Teatro delle Fortuna 0722 800750; Fermo Teatro dell’Aquila 0734 284295; Loreto Pro Loco 071 977745; Macerata Biglietteria dei Teatri 0733 230735; Pergola Museo Bronzi 0721 734090

The post Anche l’etoile dell’ Opera di Parigi Eleonora Abbagnato al Festival Civitanova Danza appeared first on TM notizie - ultime notizie di OGGI, cronaca, sport.

[gramilano]

Rome Opera Ballet announces 2021-2022 season

Rome Opera Ballet has announced its 2021-2022 season which starts with a Nutcracker and finishes with the restaging of Carla Fracci's 2004 production of Giselle.

The Nutcracker with Rebecca Bianchi, Rome Opera Ballet, photo by Yasuko Kageyama The Nutcracker opens on 19 December and runs until 2 January in a contemporary reinterpretation created by Giuliano Peparini for the Rome Opera Ballet in 2015. Company étoiles Alessandra Amato and Rebecca Bianchi star together with primi ballerini Susanna Salvi, Claudio Cocino and Alessio Rezza. A triple bill runs…

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Rome Opera summer season: opera and ballet programme 2021

Trovatore inaugurates the Rome Opera summer season followed by Madama Butterfly and La bohème, and dance features Swan Lake and Roberto Bolle.

Circo Massimo 2020, photo by Kimberley Ross Trovatore inaugurates the Rome Opera summer season followed by Madama Butterfly and La bohème Programme of dance features Swan Lake and Roberto Bolle Twenty-six evenings of opera, ballet and concerts with the Verdi Requiem conducted by maestro Chung and Capossela’s Bestiario d’Amore with orchestra. Swan Lake – Susanna Salvi and Germain Louvet, photo…

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Suite en blanc © Yasuko Kageyama

Five different programmes make up Rome Opera Ballet’s new season, 2019-2020.

Benjamin Pech’s successful Swan Lake will be remounted to open the season. This will be followed by an evening dedicated to Jerome Robbins; a new work by José Carlos Martínez telling the tale of Lord Byron’s Il Corsaro (The Corsair); a triple bill featuring Suite en blanc, Serenade, and Pastor’s Bolero; Roland Petit’s Notre-Dame de Paris; and in the open-air for the summer of 2020 will be Derek Deane’s Strictly Gershwin.

Rome Opera Ballet’s  étoile Rebecca Bianchi, and principal dancers Susanna Salvi, Claudio Cocino and Alessio Rezza are joined by company director and Paris Opera Ballet étoile Eleonora Abbagnato together with Amandine Albisson, Germain Louvet, Anna Tsygankova, Daniel Camargo, Zachary Catazaro, Olesya Novikova, Leonid Sarafanov, Isaac Hernández, Friedemann Vogel and Adamzhan Bakhtiyar.

Swan Lake © Yasuko Kageyama with Susanna Salvi and Germain Louvet

31 December 2019 – 8 January 2020

Swan Lake

Choreography by Benjamin Pech

Sets – Aldo Butui Lighting – Vinicio Cheli Conductors – Nir Kabaretti and Carlo Donadio.

With Amandine Albisson and Germain Louvet (Paris Opera Ballet), Anna Tsygankova (Dutch National Ballet) and Daniel Camargo.

Glass Pieces © Yasuko Kageyama

The Concert © Yasuko Kageyama

30 January 2020 – 5 February

Serata Robbins

Choreography by Jerome Robbins

  Glass pieces (1983)

Sets – Robbins with Ronald Bates Costumes – Ben Benson Lighting – Jennifer Tipton

  In the Night (1970)

Costumes – Anthony Dowell Lighting – Jennifer Tipton

With Eleonora Abbagnato and Zachary Catazaro

  The Concert, The Perils of Everybody (1956)

Sets – Saul Steinberg and Edward Gorey Costumes – Irene Sharaff Lighting – Jennifer Tipton

Conductor – Carlo Donadio.

Il Corsaro, Rome Opera Archive 01

Il Corsaro, Rome Opera Archive

Preview 28 February; 1 – 8 March

Il Corsaro

Choreography by José Carlos Martínez (new creation)

Sets – Francesco Zito Lighting – Vinicio Cheli Conductor – Alexei Baklan

With Olesya Novikova (Mariinsky), Leonid Sarafanov (Michailovsky), Isaac Hernández (English National Ballet)

Suite en blanc with Eleonora Abbagnato © Yasuko Kageyama

Serenade © Yasuko Kageyama

Preview 5 May; 6 – 10 May

Triple Bill

Suite en blanc (1943)

Choreography by Serge Lifar

With Eleonora Abbagnato

  Serenade (1934)

Choreography by George Balanchine

Costumes – Barbara Karinska

  Bolero (2012)

Choreography by Krzysztof Pastor

Sets and costumes – Tatyana Van Walsum Lighting – Bert Dalhuysen

Conductor – Façal Karoui

With Eleonora Abbagnato and Friedemann Vogel (Stuttgart Ballet)

  Claudio Coviello as the Hunchback, Teatro alla Scala

Preview 23 September; 24 September – 1 October

Notre-Dame de Paris

Choreography by Roland Petit

Sets – René Allio Costumes – Yves Saint-Laurent Conductor – Louis Lohraseb

With Adamzhan Bakhtiyar (Astana Opera Ballet)

Queensland Ballet dancers Shane Weurthner and Lisa Edwards in a publicity still for Derek Deane’s Strictly Gershwin

Summer season at Caracalla Baths

Strictly Gershwin

Choreography by Derek Deane

Conductor – Gareth Valentine

Rome Opera Ballet announces 2019-2020 season Five different programmes make up Rome Opera Ballet’s new season, 2019-2020. Benjamin Pech’s successful Swan Lake…

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Dancing Times, September edition – with Gramilano’s Danza in Italia column including Woolf Works at La Scala and a Glass triple bill in Rome

Dancing Times, September edition – with Gramilano’s Danza in Italia column including Woolf Works at La Scala and a Glass triple bill in Rome

The latest issue of Dancing Times is out tomorrow. In September’s issue, I cover Wayne McGregor’s “amazing” Woolf Worksat La Scala with Alessandra Ferri giving a “frighteningly intense” performance alongside an excellent cast from La Scala Ballet including “powerful and touching” performances from Timofej Andrijashenko as Septimus and Claudio Coviello as Evans, and Gioacchino Starace and Andrea…

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Vivaldi Suite - free streaming of a new ballet from Rome Opera

Vivaldi Suite – free streaming of a new ballet from Rome Opera

Tonight at 8.00 pm CET, the ballet Vivaldi Suite by choreographer Michele Merola will be broadcast in free streaming on the YouTube channel of the Opera di Roma. Merola is making his debut with the Rome Opera Ballet and is using seven dancers from the company, including principal dancer Claudio Cocino, who will dance to the music of the “red priest”. Costumes are by Anna Biagiotti, scenery is by…

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Nuit Blanche by Sébastien Bertaud with Abbagnato and Vogel © Yasuko Kageyama

The Philip Glass triple bill at Rome Opera Ballet showed off three very different choreographic styles to one composer’s music. Glass has a way of seducing the listener into his world —his music is guileful and hypnotising. The mainly minimalist component to his music results in there being a stronger connection with Vivaldi or Bach than Wagner or Strauss, so it is not surprising that these earlier composers are often turned to by modern choreographers, just as they turn to Philip Glass.

Benjamin Millepied’s Hearts and Arrows, Jerome Robbins’s Glass Pieces, and Nuit Blanche, a new piece by Sébastien Bertaud, were on the programme.

Glass Pieces by Jerome Robbins © Yasuko Kageyama

It’s hard for any work to stand up against Glass Pieces, a perfectly cut gem. Created for the New York City Ballet in 1983, it was rightly used as the programme’s centrepiece and continues to surprise by its originality and creative spark. The unrelenting busyness of the first part has the corps de ballet moving in random crisscross patterns across the stage, everyone is going somewhere, like commuters at a train station during rush hour, yet everyone is alone; there are no pairs or groups. They are dressed in brightly coloured practice clothing with the women in short skirts. Out of this disorder appear three couples dressed in pastel-coloured unitards: Federica Maine and Alessio Rezza in yellow, Elena Bidini and Giuseppe Depalo in salmon, and Eugenia Brezzi and Simone Agrò in pale green, and they are cool, confident and coordinated. They occasionally succeed in inspiring the others to form cohesive movements too. They move through the chaos with classical ballet movements creating islands of harmony in a sea of turmoil.

Glass Pieces by Jerome Robbins © Yasuko Kageyama

Glass Pieces by Jerome Robbins © Yasuko Kageyama (4)

Glass Pieces by Jerome Robbins © Yasuko Kageyama (2)

Glass Pieces by Jerome Robbins © Yasuko Kageyama (5)

The second part features a long, almost slow-motion pas de deux beautifully interpreted by company principals Rebecca Bianchi and Claudio Cocino, with the women of the company moving slowly from stage left to stage right near the backcloth, sometimes in profile, sometimes facing the audience, but as they are backlit, they are anonymous, black shadows. It is as though that even in the intimacy of night, there is a hidden army of people working to keep a city operating… the city is probably New York itself.

The last act feels tribal with the choreography exclusively based on the use of groups, with hunched-over running, geometric shifting around the stage, and many, many jumps. The Rite of Spring-like insistence demands participation; no one is alone now. Everybody is included in the highly-coordinated and demanding collective movements. The ballet doesn’t conclude as such, it just stops. The music is suddenly interrupted and the dancers freeze… if not it could have gone on forever, in the city that never sleeps.

Glass Pieces by Jerome Robbins © Yasuko Kageyama (6)

Glass Pieces by Jerome Robbins © Yasuko Kageyama (7)

Glass Pieces by Jerome Robbins © Yasuko Kageyama (8)

Glass Pieces by Jerome Robbins © Yasuko Kageyama

Hearts and Arrows opened the programme. It is part of Millepied’s trilogy Gems for his L.A. Dance Project and uses the music of Glass’s String Quartet n° 3, “Mishima”. It is Millepied’s response to George Balanchine’s Jewels – both were commissioned by Van Cleef & Arpels. Hearts and arrows are features seen in a well-cut diamond, and those that exhibit these features are said to shine the brightest, and vertical lighting towers with spotlights shining down on the eight dancers form the scenery. This work corresponds to Balanchine’s Diamonds. It would be futile to compare the two because they have nothing to do with each other except for the concept and their sponsor.

The original costumes in 2014 had the dancers in black and white, though here they are coloured rather like the costumes in the first section of Glass Pieces. Maybe this is because Millepied shot a film of the work in Los Angeles’s concrete riverbed and the city’s suburbs in 2015 which had the dancers in street clothes. The choreography often recalls other works — as with the Twyla Tharpian casual backward runs — but is challenging in its athleticism as dancers twist around each other, roll on the stage, and leap high. The dynamics between them are in continual flux, though the overall effect is casual: a group of friends hanging out in the park – playing, flirting, testing each other, filling time. The work is pleasing, the dancers were a tight-knit team, but the relationship with diamonds escaped me completely.

Hearts and Arrows by Benjamin Millepied © Yasuko Kageyama (2)

Hearts and Arrows by Benjamin Millepied © Yasuko Kageyama (3)

Hearts and Arrows by Benjamin Millepied © Yasuko Kageyama (4)

Hearts and Arrows by Benjamin Millepied © Yasuko Kageyama (5)

Hearts and Arrows by Benjamin Millepied © Yasuko Kageyama (6)

Hearts and Arrows by Benjamin Millepied © Yasuko Kageyama

Although the publicity for the programme’s new work seemed more excited by the fact that the designs were by Maria Grazia Chiuri (the artistic director at Christian Dior Couture) than by the piece itself, Nuit Blanche was characterised by a chic charm for many aspects of its staging, not just for its fabrics and cuts.

Bertaud’s choreographic voice was not particularly distinctive at first glance, though it was attractive and allowed the principal couple, Eleonora Abbagnato and Friedemann Vogel, to be framed beautifully, yet not to dominate the piece. It is set to Glass’s Tirol Concerto for Piano and Orchestra, and Abbagnato and Vogel had a sustained duet in the second movement, the longest of the three, and it was a reminder of what star quality is about. Although there was the occasional jeté, it was the slow, sinuous movements which impressed, as they entwined their bodies with perfect and poetic control.

The dozen or so other dancers on stage worked well together, both for the more demanding sections of the choreography and especially for some striking shapes made from varied groupings. The women – in dark-grey calf-length gauzy skirts overlaying a floral design with semi-transparent tops decorated with flowers and petals – could have walked out of a Norman Parkinson 1950s photo shoot; the men had the transparent top style descending to clad their whole body. The meticulously cured lighting was dim giving the entrances and exits a mysterious, ethereal quality, and the backdrop had simple mist-like streaks on black – it was a gossamer-coated dream.

Nuit Blanche by Sébastien Bertaud © Yasuko Kageyama

Nuit Blanche by Sébastien Bertaud © Yasuko Kageyama

Nuit Blanche by Sébastien Bertaud © Yasuko Kageyama (6)

Nuit Blanche by Sébastien Bertaud © Yasuko Kageyama (5)

Nuit Blanche by Sébastien Bertaud © Yasuko Kageyama (4)

Nuit Blanche by Sébastien Bertaud © Yasuko Kageyama (2)

Nuit Blanche by Sébastien Bertaud with Abbagnato and Vogel © Yasuko Kageyama

Nuit Blanche by Sébastien Bertaud with Abbagnato and Vogel © Yasuko Kageyama (4)

Nuit Blanche by Sébastien Bertaud with Abbagnato and Vogel © Yasuko Kageyama (5)

Nuit Blanche by Sébastien Bertaud with Abbagnato and Vogel © Yasuko Kageyama (7)

Nuit Blanche by Sébastien Bertaud with Vogel © Yasuko Kageyama

Nuit Blanche by Sébastien Bertaud with Abbagnato © Yasuko Kageyama

Nuit Blanche by Sébastien Bertaud with Abbagnato and Vogel © Yasuko Kageyama

    Nuit Blanche by Sébastien Bertaud with Abbagnato and Vogel © Yasuko Kageyama

Rome Opera Ballet’s Philip Glass triple bill thrills The Philip Glass triple bill at Rome Opera Ballet showed off three very different choreographic styles to one composer’s music.

[gramilano]

Bubeníček, Ramasar (Don Josè) Cocino (Garcia) Bianchi (Carmen) Rezza (Lucas) in Carmen by Bubeníček, photo ® Yasuko Kageyama

Carmen, a new work for Rome Opera Ballet by Jiří Bubeníček will receive its world premiere this Saturday, 2 February, and runs until 10 February.

The company’s director, Eleonora Abbagnato, said,

It’s an honour for me to have a great artist, and fabulous dancer and now a young and successful choreographer like Bubeníček, to present his Carmen, a new creation with a new sets and costumes, having its world premiere here in Rome’s Teatro Costanzi.

Interpreting these characters is a great opportunity for the growth of our company. Also, to have with us for two months a guest of the calibre of former New York City Ballet Principal Dancer, Amar Ramasar, is a true gift.

Ramasar will play Don José with company Principal Rebecca Bianchi as Carmen. Bianchi has already danced Carmen in Roland Petit’s much-performed version, a role in which Abbagnato herself has often shone in at the Paris Opera Ballet.

Bianchi (Carmen) Ramasar (Don José) in Carmen by Bubeníček, photo ® Yasuko Kageyama (2)

Bianchi (Carmen) Ramasar (Don José) in Carmen by Bubeníček, photo ® Yasuko Kageyama (4)

Bianchi (Carmen) Ramasar (Don José) in Carmen by Bubeníček, photo ® Yasuko Kageyama

The sets and costumes are by Gianni Carluccio and the costumes by fashion designer Anna Biagiotti.

Bubeníček has gone back to Prosper Mérimée’s 1845 novella so there’s no Escamillo but instead the character of Lucas, danced by Alessio Rezza, and also Garcia, Carmen’s husband, played by Claudio Cocino.

The ballet is in two acts with music by Georges Bizet, but it also uses music by Manuel de Falla, Isaac Albéniz, Mario Castelnuovo-Tedesco as well as original music by Gabriele Bonolis who has also arranged the score.

Gianni Carluccio’s sets allow for the story to be told in flashbacks as well as flashforwards, incorporating projections in his scenery.

A second cast sees Susanna Salvi, Claudio Cocino, Michele Satriano and Gaetan Vermeulen in the leading roles. The Rome Opera Theatre orchestra is conducted by Louis Lohraseb.

Rezza (Lucas) in Carmen by Bubeníček, photo ® Yasuko Kageyama

Bianchi (Carmen) Rezza (Lucas) in Carmen by Bubeníček, photo ® Yasuko Kageyama

Bianchi (Carmen) Cocino (Garcia) in Carmen by Bubeníček, photo ® Yasuko Kageyama

Carmen

Ballet in two acts Based on the novella by Prosper Mérimée

Music by Georges Bizet Manuel de Falla Isaac Albéniz Mario Castelnuovo-Tedesco Gabriele Bonolis

Arrangements by Gabriele Bonolis Conductor: Louis Lohraseb

Choreographer: Jiří Bubeniček Set and lighting designer: Gianni Carluccio Costume designer: Anna Biagiotti

Cast

Carmen Rebecca Bianchi 2, 3, 6, 7 (at 8pm), 9 (at 8pm) February / Susanna Salvi 5, 7 (at 11am), 8, 9 (3pm), 10 February

Don José Amar Ramasar 2, 3, 6, 7 (at 8pm), 9 (at 8pm) February / Claudio Cocino 5, 7 (at 11am), 8, 9 (3pm), 10 February

Lucas Alessio Rezza 2, 3, 6, 7 (at 8pm), 9 (at 8pm) February / Michele Satriano 5, 7 (at 11am), 8, 9 (3pm), 10 February

Garcia Claudio Cocino 2, 3, 6, 7 (at 8pm), 9 (at 8pm) February / Gaetan Vermeulen 5, 7 (at 11am), 8, 9 (3pm), 10 February

World premiere: 2 February 2019, 8pm.

Rezza (Lucas) Bianchi (Carmen) Ramasar (Don Josè) Cocino (Garcia) in Carmen by Bubeníček, photo ® Yasuko Kageyama

Jiří Bubeníček’s Carmen to debut at Rome Opera Ballet with Amar Ramasar as guest Carmen, a new work for Rome Opera Ballet by Jiří Bubeníček will receive its world premiere this Saturday, 2 February, and runs until 10 February.