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Maria Eichwald and Igor Yebra in La rose malade — photo Brescia & Amisano/Teatro alla Scala
As an antipasto before the one act opera Cavalleria Rusticana, La Scala put on two related ballets — though unrelated to the opera — which fitted neatly together. Two ten-minute gems: Michel Fokine’s Le Spectre de Rose and Roland Petit’s La rose malade.
Le Spectre de Rose is one of those ballets which must be danced full out for what it is. It can’t be ‘modernised’, as could be attempted with Swan Lake, but, like Les Sylphides, the interpreters have to believe in what they are doing, and pull away from baroque gestures and movements. Such embellishments are smoothed out, if they are present at all, in most modern-day ballet schools, and so are not naturally within a dancer’s body.… [continue reading]
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