You are on page 1of 1



The return of former director Dawson, critics and Royal Ballet dancers
Bigonzetti The Human Season, created in 2013, was 45-year-old English choreographer David
Mauro Bigonzetti, the short-lived director of Dawson’s first work for The Royal Ballet of London. It was revived at Covent Gar-
the Ballet Company of Teatro alla Scala, den in mid-March but wasn’t well-received by British critics – indeed some reviews
Milan who lasted only a few months in 2016, were downright scathing. This led to something of a row on the social networks.
had originally included on the Italian compa- According to the British press, Dawson himself posted a irritated comment (subse-
ny’s programme for the 2016-2017 Season a quently deleted) against journalists who had slammed his work while his assistant
Coppélia by himself (later cancelled and sub- proceeded to blame The Royal’s dancers for not having shown the professionalism
stituted by Kenneth MacMillan’s Romeo and required to render The Human Season as it deserved, for failing to enter into the
Juliet – see review in previous issue of BAL- spirit of the work, for having complained behind the scenes and for having belittled
LET2000), as well as, in May and June, Progetto the choreography and its maker. The mini dispute concluded with a diplomatic rec-
Händel, an evening to music by the German onciliation post from Dawson to which, however, The Royal Ballet hasn’t replied.
composer. The ‘Händel Project’ is part of a
series of ballets on chamber music that began at
La Scala in 2015 with Heinz Spoerli’s Cello
Suites (Bach). It seems Bigonzetti will be re- Mayara Magri, Calvin Richardson – The Royal Ballet:
turning to La Scala to make this creation in- “The Human Seasons”, c. David Dawson (ph. T. Kenton)
spired by the baroque imagination and starring
Svetlana Zakharova and Roberto Bolle. Below: David
Dawson’s tweet
The dedication of López Ochoa
Belgian-Colombian Annabelle López Ochoa (44)
is one of the most active women choreogra-
phers on either side of the Atlantic. In 2016 she
created for various American companies and
for the Ballet Nacional de Cuba (on the occa-
sion of the famous International Ballet Festival
of Havana), while Tamara Rojo invited her to
create a piece for English National Ballet as
part of the female “She Said”choreography bill.
López Ochoa’s next creation will be for Royal
Ballet Flanders in May, to be followed in Sep-
tember by another creation for Tulsa Ballet
(USA). Her engaging work for the Belgian com-
pany, Ecdysis, investigates the isolation of war
refugees and their difficulties in confronting a the first time a dance company other than included his version of Boléro as well as
new future; indeed, this creation is being pre- Tanztheater Wuppertal is performing Bausch’s Chroma by Wayne McGregor and Les
sented in the context of a programme entitled iconic work from 1978. Sylphides by Michel Fokine (known here, as in
“Hope” that also comprises Martha Graham’s Russia, by the title Chopiniana).
Chronicle (inspired by the Spanish Civil War
in 1936) and Pina Bausch’s Café Müller. This is Imperial liaisons by the lakeside
As mentioned also in the previous issue of Ratmansky: a Czar in New York
BALLET2000, Krzysztof Pastor is the direc- Russian choreographer Alexei Ratmansky takes
tor not only of the Lithuanian National Ballet the dance floor in New York during the month
in Vilnius but also of the Polish National Ballet of May with a creation apiece for the Big Ap-
at the Teatr Wielki in Warsaw, not to mention ple’s two leading companies – American Bal-
the fact that apart from creating for these two let Theatre, of which he has been Resident
companies he is also Resident Choreographer Choreographer since 2014, and New York City
of Het Nationale Ballet in Amsterdam. In May Ballet. Ratmansky’s recently-created full-
the Polish National Ballet will be premiering evening ballet to music by Richard Strauss,
his new Swan Lake that recounts the love affair
between the future Nicholas II (the last Czar of
Russia) and Mathilde Kschessinska who is con-
sidered the first great non-Italian prima balle-
rina in Russia and one of the celebrated inter-
preters of Swan Lake of her times. The scenery
of this ballet is by Luisa Spinatelli. In recent
months the Polish company celebrated Pastor’s
60th birthday and his 30th anniversary as a
choreographer with a mixed programme that

Krzysztof Pastor in rehearsal with Yuka
Ebihara and Vladimir Yaroshenko
(Polish National Ballet)