In tempi di crisi sotto ogni aspetto, i grandi Classici sono un terreno pericoloso da calpestare…And’ come fare il passo più lungo della gamba…And, speaking of steps, they are seen just as many at the Teatro Massimo Bellini day November 11, 2014, in the staging of a masterpiece of Ballet: Coppelia, Léo Delibes.

Many of those steps, studied, ristudiati, tested, retested: honour for merit and fatigue…but…c’ is unfortunately always a but, on which the audience of the evening of the first restaurant, hungry to show, it seemed to pass over: it is not permissible to make missteps, particularly in ballet…and unfortunately in this first Carpenter have seen several.

Coppelia is not a sugar: it only appears. And’ long, difficult, should be fun and at the same time technically flawless; capture the spectator with his story a little’ Noir, both from the point of view of listening to beautiful music, which primarily from that vision of dance; boast dancers in a row in perfect sync and able characterization. Not to mention, of course, of the protagonists: always spotless, high school, high class staff. And at the same time having a Director from mild and brilliant wand Dynamics to "French" taste of chiaroscuro and ability to enhance the popular motives that are subtended continuously in the score.

But, to begin to comment on the first Carpenter, on the one hand, the orchestra of Massimo teatro Etna has played with great accuracy and professionalism, on the other hand, guided with flatness by M° Stefano Salvatori, has conveyed a sense of routine, he often pitched sounds that could boast a few shades.

On the other hand, classical ballet company dancers onstage, Liliana Cosi and Marinel Stefanescu. Two names, two guarantees…but as earlier mentioned, times are tough…Stage dancers willing, but nothing brilliant, nothing exciting, both in technique and in expression.

Choreography by Stefanescu, which he signed also costumes and lights, now that I think, then, that didn't help anyone: nor the dancers, nor the unwinding of the tale that also suffered many cuts, suffered from a confusion of roles and situations that they could and should have been more clear.

Throw in two lenses, a little’ dishes, few Sockets, few solo and without steps and figures denoting special difficulties and necessitasserro of virtuosity. Not that it is indispensable, but in large Ballets like this, we expect it…inevitably. Dancers in a row uncoordinated, only a few moments of true harmony in the group.

As for the protagonists, inaccuracy and some approximation in White attitudes by Assad, who lacked conviction even interpretive in dealing with the part of Swanilda; firmer professionalism by Hetal Stafa, Franz, but boasted a particular elevation. Nice, but no better the doll Coppelia, Leo Fajardo, and his Wizard-creator Dr. Coppelius, Alexandr Serov. In General, it is seen very little performed en l'air…you are just glimpsed the 32 fouettés…

At this point, what can I say? Again reiterate: Beware the classics! Or comparisons of memory, which also leaked from the past of the same stage, they eventually overwhelm the interpreters of the moment. It's not good for anyone: neither viewers nor to the protagonists, of whom, however, goes again stressed the overall commitment in the unlikely company entrusted to them.

Moderately satisfied however the audience catanese, who liked a different evening in the wake of a music and a storyline in any case quite pleasing.

Natalia Dantas

Photo of James Orlando