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And the stars are dancing

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And the stars are dancing

Who will see you again: “Spring waters”. Legendary pas de deux by Asaf Messerer to music by Sergej Rachmaninov that takes us back to the golden age of Soviet dance. Interpreted by two dancers with unmistakably Georgian names, Maia Makhateli and Giorgi Potskhishvili, but under the het Nationale Ballet. There was also this piece full of leaps, acrobatic abandons, lifts and flights that end in a breathtaking “poisson”, in the international gala “Les Ètoiles” created by Daniele Cipriani, an annual appointment at the Parco della Musica in Rome. Fifteen stars arriving from half of Europe, welcomed with stadium cheering from an enthusiastic audience in the midst of which also the Minister of Culture Gennaro Sangiuliano. A double program for three different performances last weekend.

A necklace of pearls shelled with wisdom and taste. Galas, it is well known, can be very boring. And if we really want to find fault, the excellent Anna Rose O’Sullivan and Marcelino Sambé were a bit out of place in the opening pas de deux of Sleeping Beauty. But immediately after here is Sergio Bernal (Danza6Danza award for best performer) in “Obertura” a solo where the Spanish star knows how to highlight his gritty style that mixes flamenco, Spanish and contemporary dance. He is enough in the fiery red costume to fill the scene with his taconeus pounding.

Two Italians present in the program. Alessandro Frola (Danza&Danza award for best Italian abroad) at the Hamburg Ballet, and Matteo Miccini of the Stuttgart Ballet. While the former tackled “Spring and Fall” by the great John Neumeier with Madoka Sugai, the latter stood out in “Äffi” a piece by Marco Goecke on two songs by Johnny Cash (“Hurt” and “We’ll meet again”), where you don’t know whether to let yourself be carried away more by the skill of Miccini, by the angular gestures of Goecke or by the country of Cash.

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A close comparison between the white swan and the black swan closed the first part. Marianela Núñez (superlative technique, incomparable charm, inspired and painful) with William Bracewell was the white swan. Polina Semionova spirited and with à plomb in sidereal arabesques (in addition to the ordinance fouetté) was the black swan.

French, but of Italian parents, Valentine Colasante of the Paris Opéra was paired with Paul Marque, last in order of time nominated étoile at the Opéra, an excellent decision. They presented two pieces by Benjamin Millepied and José Martinez. Closing with amazing exploits of skill in the “Grand Pas Classique” (and here William Bracewell proved to be a champion too) and in the pas de deux of “Don Quixote” where Maia Makhateli wanted to amaze more by opening and closing the fan while he performed the fouettés.

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