Photo Credit: Teatro alla Scala, Marco Brescia & Rudy Amisano
After sixteen years, “The Nutcracker” triumphantly returned to the stage of La Scala in the choreographic version by Rudolf Nureyev to inaugurate the new ballet season directed by Maestro Manuel Legris, formerly famous étoile of the Paris Opéra and former director at the Wiener Staatsballett.
Inauguration that had a significant success with the public with a sold out for all the scheduled performances, and a personal admiration for the company, soloists and first dancers. The show was filmed by Rai Cultura which will broadcast it in Italy on the evening of 5 January 2023 on Rai 5 at 21.15, while for all other countries (with the exception of Japan and the Czech Republic) the ballet will be available from 6 January on the platform digital Doctors TV.
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“The Nutcracker” triumphantly returned to the stage of La Scala in the choreographic version by Rudolf Nureyev, directed by Maestro Manuel Legris
Personally, I’ve always been fascinated by this title and it’s one of my absolute favorites. I love the magical story and especially Tchaikovsky’s beautiful music. Several productions have kidnapped me, but Rudolf Nureyev’s version stands out above all. There’s a lot to love about The Nutcracker, aside from the sets and lights that are quite dark at times for such a festive story. Surely this is due to a greater introspective relevance of the choreographer in wanting to underline the psychological aspect.
The Nutcracker for Nureyev represented a leap into the soul, into that more infantile dimension in which the peculiarity was to bring to light the ghosts of childhood. From a simple fairy tale as it appears at first reading, there are numerous themes to which it lends itself. Precisely for this reason, numerous choreographers have staged their production over time. But it is in the musical values and dance ability that the Scala performance excels unlike other productions.
The orchestral performance shines with richness, and the conducting of Valery Ovsyanikov appears respectful of the purest tradition. The choreography is impeccable, especially the technique in the “Grand Pas de Deux” is effective, allowing you to fully glimpse the stylistic figure of Rudolf Nureyev. Also exemplary is the idea of making the divertissements dance by some characters belonging to Clara’s affective sphere, this to further highlight her vision, resulting in aesthetically interesting. The dance is skillful and danced with emotion.
Nicoletta Manni manages the difficult choreography with ease without any imprecision, she is certainly more convincing as a prima ballerina than as a child, but in reality she appeared constantly authentic and confident in her gait.
Timofej Andrijashenko is in excellent shape, at ease, these are his best years, and in fact his prince is handsome, virile, and his preparation is imbued with perfect and elegant lines. Perhaps he is less comfortable in Drosselmeyer (as Nureyev had wanted personally dancing the double role) surely it would have worked better with someone older and more mature in appearance, despite the makeup.
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Like most of Nureyev’s reinterpretations of classical ballets, there is a clear reference to the dreamlike dimension
This production is spectacular, expressed in a classically academic yet highly personal mold, full of difficult passages and combinations. It stands the test of time well thanks to an evergreen theatrical vitality.
With his Nutcracker Nureyev continued the Soviet tradition that amalgamated the plot on a single character (Clara), eliminating the Sugar Plum Fairy (again played by Nicoletta Manni). Thus imagining a new path for the protagonist, a specular labyrinth between the dream world and reality, with a progressive maturation discovered step by step. Furthermore, Nureyev adds one of his favorite subjects – the dream – presenting the after-party dramaturgy as a reflection of the subconscious, delving into the psyche of the still unaware girl.
Like most of Nureyev’s reinterpretations of classical ballets, there is a clear reference to the dreamlike dimension, more underlined by the central theme of the original libretto. At one point Clara sees family members and guests as if they were mice and bats (the latter unusual in the other versions), and the handsome prince she falls in love with is none other than her godfather Drosselmeyer.
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The Scala Corps de Ballet has demonstrated that artists appreciate the varied opportunities offered to them by the theater and the management
Let’s forget sweets, puppets and colored lights in the foreground, the environment as already mentioned is darker, even if there is no shortage of the feast for Holy Christmas, the children jumping lively (interpreted with attitude and employed in large measure of presence and time staged by the students of the Ballet School of the Teatro alla Scala directed by Frédéric Olivieri), abundant snowflakes, the winter forest, the Christmas tree that grows visibly, the pantomime, and the enthralling character dances of the second act (the Pastorale performed by Linda Giubelli, Agnese Di Clemente, Nicola Del Freo was much appreciated).
The Scala Corps de Ballet has demonstrated that artists appreciate the varied opportunities offered to them by the theater and the management, facing every challenge with commendable enthusiasm and enthusiasm. Without a shadow of a doubt, Nureyev’s technical-choreographic complexity gives a good idea that not all ballet companies can present this Nutcracker.
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Nureyev never accepted this discrepancy and worked to ensure that male technique gained an unprecedented task, representing it
In fact it should never be forgotten that Nureyev was the “master” in the radical transformation of classical dance, resulting in an innovator of the art of choreography (although not loved by all in this guise) and in particular of the growth of the male role of the dancer , extolling him as only Nijinsky and Lifar had done in the past. Before him in classical ballet, the male role assumed a secondary importance, compared to the female one, the function of the man was to enhance the skill of the woman, elevating her as much as possible and helping her to perform the greatest number of pirouettes. Male dance thus had the primary role of enhancing female harmony.
Nureyev never accepted this discrepancy and worked to ensure that male technique gained an unprecedented task, representing it with significant dexterity, leaps, and virtuosity. Prolonged and festive applause in the finale, addressed to everyone. Nureyev bequeaths with his Nutcracker that sense of becoming towards the adult dimension, towards the fears that can arise in front of the discovery of puberty, and the inevitable alternation between good and evil, between light and darkness (not only of the soul).
