#Rudy Amisano

[balletthebestphotographs]

inda Giubelli

Linda Giubelli as “Gamzatti”, “La Bayadère”, music by Ludwig Minkus, libretto by Marius Petipa and Sergey Kudekov Сергей Кудеков, choreo and staging by Rudolf Nureyev Рудольф Нуреев after Marius Petipa revived and supervised by Manuel Legris, set and costume by Luisa Spinatelli, Teatro alla Scala, Milan, Italy.

Source and more info at: Teatro alla Scala Website Teatro alla Scala on Twitter Teatro alla Scala on Pinterest Teatro alla Scala on You Tube Teatro alla Scala on Facebook Teatro alla Scala on Instagram

Photographers Marco Brescia and Rudy Amisano

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted.

[lovelyballetandmore]

Claudio Coviello | Teatro alla Scala | Photo by Marco Brescia / Rudy Amisano | © Teatro alla Scala

[gorbigorbi]

Alice Mariani as Nikiya and Timofej Andrijashenko as Solor, "La Bayadère", music by Ludwig Minkus, libretto by Marius Petipa and Sergey Kudekov, choreo and staging by Rudolf Nureyev after Marius Petipa revived and supervised by Manuel Legris, set and costume by Luisa Spinatelli, Teatro alla Scala, Milan, Italy.

Photographers Marco Brescia and Rudy Amisano.

[carovisetto]

Les Contes d'Hoffman, La Scala 2023. Photo by Marco Brescia and Rudy Amisano

[dance-world]

Christian Fagetti and Antonino Sutera - photo by Marco Brescia and Rudy Amisano, Teatro alla Scala

[books0977]

Lusymay Di Stefano in Giselle, La Scala Ballet, Hong Kong, February 2014. © Marco Brescia and Rudy Amisano, Teatro alla Scala.

If not as technically dazzling as Zakharova, Di Stefano’s assurance in this benchmark role was astonishing from such a young ballerina.

[harmonicthemes]

Svetlana Zakharova and Roberto Bolle, rehearsal for "Progetto Händel" choreography by Mauro Bigonzetti, music by Georg Friedrich Händel, costume by Helena de Medeiros, Teatro alla Scala, Milan, Italy - Photo © Marco Brescia & Rudy Amisano / Teatro alla Scala

[miss-m-calling]

Alessandra Ferri and Federico Bonelli in rehearsal for Wayne McGregor’s Woolf Works with artists of the Teatro alla Scala Ballet (Milano, 2019)

Photos by Marco Brescia and Rudy Amisano

[joaquimblog]

TEATRO ALLA SCALA 7/12/2021: MACBETH (NETREBKO-SALSI-MELI-ABDRAZAKOV;LIVERMORE-CHAILLY)

Luca Salsi I Anna Netrebko, Macberth i Lady Macbeth al Teatro alla Scala, producció de Davide Livermore. Fotografia de Marco Brescia & Rudy Amisano, gentilesa del Teatro alla Scala  El 7 de desembre de 1952 el Teatro alla Scala de Milà inaugurava la temporada amb el Macbeth de Verdi dirigit per Victor de Sabata i Nicola Benois, el veterà Enzio Mascherini va ser el protagonista i la Lady va anar a…

[balletthebestphotographs]

Nicoletta Manni and Gabriele Corrado

Nicoletta Manni and Gabriele Corrado, “Progetto Händel”, choreo by Mauro Bigonzetti, music by Georg Friedrich Händel, costume by Helena de Medeiros, Teatro alla Scala, Milan, Italy.

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted.

Source and more info at: Teatro alla Scala Website Teatro alla Scala on Twitter Teatro alla Scala on Pinterest Teatro alla Scala on You Tube Teatro alla Scala on Facebook Teatro alla Scala on Instagram

Photographers Marco Brescia and Rudy Amisano

[lovelyballetandmore]

Domenico Di Cristo | | Teatro alla Scala | Photo by Marco Brescia / Rudy Amisano | © Teatro alla Scala

[gorbigorbi]

Svetlana Zakharova and Jacopo Tissi in "The Sleeping Beauty" Photo © Marco Brescia and Rudy Amisano

[dance-world]

Antonino Sutera - Principal Dancer, Teatro alla Scala - photo by Rudy Amisano

[gramilano]

In the ‘60s, A Midsummer Night’s Dream was all the rage: Benjamin Britten’s opera premiered in 1960, Balanchine’s ballet opened in 1962, Ashton’s The Dream came along in 1964, and Peter Hall’s film (with future Dames Diana Rigg, Helen Mirren, and Judi Dench, among the cast) was in 1968.

It was no passing fad. Both ballets are now set firmly in the repertoire, the opera is constantly staged, and film and television versions pop up like plastic bottles in the Pacific.

Balanchine’s ballet first came to La Scala in 2003 as a vehicle for Alessandra Ferri who was the theatre’s ‘prima ballerina assoluta’. Her Oberon was Roberto Bolle. It has proved a success for La Scala’s Ballet Company, and has staged many times and been taken on international tours. Now it has been revived — by Patricia Neary, as always — for the last time.

Ashton’s version has a more slapstick approach to the humour and a more erotic element to the relationships. Balanchine is more detached, though there is certainly humour, and Balanchine’s Bottom remains firmly outside Titania’s bower. He doesn’t have much time for the mechanicals, and he uses them only to get Bottom into the story and take him offstage when his scenes are through. The rest of the storytelling is eloquent, especially for a choreographer who rarely told stories.

Alessandro Grillo, Emanuela Montanari and Mariafrancesca Garritano

Emanuela Montanari and Antonino Sutera

Maurizio Licitra and Antonino Sutera

Virna Toppi

Two outstanding actress-dancers on the opening night were Emanuela Montanari as Helena and Mariafrancesca Garritano as Hermia. Montanari, with her hair down in the first act, looked like Catherine Zeta-Jones en pointe. She has poise and grace, and dances beautifully. Garritano’s arc of emotions from happy in love, to desperate in rejection, and back, was precisely judged with a sure technique which gives her full rein to express Hermia’s changing mood. Virna Toppi made a strong impression as a statuesque Hippolyta.

Titania is played by Principal Dancer Nicoletta Manni, who is an assured and regal dancer, though tends to keep too much within her comfort zone, with a range of expressions going from A to… well, she doesn’t reach Z. She needs a choreographer she trusts who can create a safe space where she can experiment in going further, and risk giving more. She has so many excellent qualities; a great asset to the company.

Nicoletta Manni and Matthew Endicott 01

Nicoletta Manni and Matthew Endicott

Nicoletta Manni and Nicola Del Freo

Nicoletta Manni and Marco Agostino

Nicoletta Manni

Manni danced both the first act and the second act pas de deux, a La Scala peculiarity. Balanchine had a separate couple for the second act pas, which represents perfect love, in contrast to the confusions and jealousies seen in the first act. At La Scala, from when Neary first set the ballet, only Ferri has danced it this way, the other Titanias appear in the second act along with their first act Cavalier.

Manni’s Cavalier, confusingly looked as though he could have been Oberon’s brother. Nicola Del Freo, (Oberon) and Marco Agostino (the Cavalier) look alike on stage, and had similar coloured costumes, so those in the upper galleries must have had a bewildering evening.

Nicola Del Freo

Del Freo was an excellent Oberon. He’s an honest dancer with clean legwork – all multiple beats and sissonnes – beautiful feet, and a noble air. Agostino, too, was an admirable partner. Antonino Sutera, as Puck, jumps around the stage with glee and abandon, grinning widely, though a shade more mischievousness would have rounded off his character.

The company danced with discipline and apparent joy which, a decade or so ago, wasn’t always the case. It is good to see them looking comfortable on stage and dancing so well. The orchestra was that of La Scala’s Academy and they almost played better than the theatre’s own orchestra: no one missed the habitual grimace-inducing sounds from the brass section.

Luisa Spinatelli’s gorgeously detailed costumes were often unfortunately lit, with coloured gels cancelling the subtle work in colour and texture, so only with the lighting for the applause did we see them in their full glory.

A truly satisfying evening at the ballet and, to misquote Puck, these shadows did not offend, and we gave them our hands with much pleasure.

Nicola Del Freo and Nicoletta Manni

Antonella Albano and Antonino Sutera

Divertissement pas de six

  Photo credits: Sogno di una notte di mezza estate, choreography by George Balanchine © The George Balanchine Trust Photos by Marco Brescia and Rudy Amisano / Teatro alla Scala

Balanchine’s Dream sprinkles its magic fairy dust over La Scala for the last time In the ‘60s, A Midsummer Night’s Dream was all the rage: Benjamin Britten’s opera premiered in 1960, Balanchine’s ballet opened in 1962, Ashton’s…

[sometimesmyhandswork]

[[Traced drawing of a ballerina]]

Reference photo is here, crediting:

"Svetlana Zakharova and Roberto Bolle, rehearsal for “Progetto Händel” choreography by Mauro Bigonzetti, music by Georg Friedrich Händel

World premiere on May 20 at Teatro alla Scala

Photos © Marco Brescia and Rudy Amisano"

via @gorbigorbi

[palimadar]

Diana Damrau (Countess Almaviva), Golda Schultz (Susanna) and Marianne Crebassa (Cherubino) in Mozart's Le Nozze di Figaro (Teatro alla Scala, 2016)

(© Marco Brescia & Rudy Amisano)