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Salle Pleyel, Paris

A man dancing around a microphone, two men joking around with hats, a woman graciously twirling in a silky dress, two men vigorously fighting for a woman, the Ballet of Milan is a series of elaborate unique stage productions. Between solos, duos and ensembles, the dancers take turns on a range of popular French songs, ranging from Edith Piaf to Charles Aznavour.

The contemporary choreography on top of musical masterpieces is a risky affair. Sadly, the begging of the show lacks both energy and synchronicity. Some dancers were far better performers than others. The gap between the beauty of the music and the rushed choreography is extremely frustrating.
However, the choreographer Adriana Mortelliti also plays around with gender roles staging same gender couples and inverting the roles between men and women, revitalising the ballet.

For the second half, Adriana Mortelliti seizes Maurice Ravel’s renowned Boléro. Again, the bet is uncertain. But here the dancers deliver an incredible performance with a brand new interpretation. Mixing a few of the elements seen in Maurice Béjart’s interpretation while bringing female dancers to the scene, the staging is stunning.

  • Dance Theatre
  • Choreographer: Adriana Mortelliti
  • Director: Carlo Pesta
  • Salle Pleyel, Paris
  • 10th January 2017
  • Review by Chloe Darnaud
  • 12 January 2017

About The Author

Facilitator & Reviewer (France)

Chloe Darnaud is a French-American writer, screenwriter, and translator. After obtaining her BA of Journalism in London in 2017, she moved to Paris to study French Literature and Creative Writing. Chloe now works in the film industry, mostly with American and English filmmakers and producers, well-versed in every part of the process from script to screen, Chloe loves working on powerful, purpose-driven documentaries and fiction films.

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