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Dance, the dance school of the Teatro alla Scala staged in memory of Loreta Alexandrescu

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On 15 and 17 May (8 pm) the Teatro alla Scala welcomes the students of the Ballet School and the Orchestra of its Academy, under the direction of Pietro Mianiti, for a show that tests them in the execution of choreographies of the great neoclassical repertoire and in new creations. The show is dedicated to the memory of Loreta Alexandrescu, teacher of the dance school, who died prematurely last February, to whom the Academy has decided to name the scholarships of the Dance Department, to which anyone can contribute even with a small gesture, thanks to the new online section of the site dedicated to donations as part of the first digital fundraising campaign ‘Let’s help them dream’. Born in Romania, Loreta Alexandrescu soon embarked on a brilliant career as a professional dancer in her country. She arrived in Italy at the end of the ’70s, she had immediately joined the artistic activity with the teaching for which she showed rare skills. She arrived at the Scala Ballet School in 1988, she has trained generations of dancers who today, thanks to her teaching skills, have become great performers on the most important stages in the world. The show opens with the presentation conceived by Frédéric Olivieri on the notes of the Concerto for two violins and orchestra in D minor by Johann Sebastian Bach. Solo violins, Paloma Martin and Da Won Ghang, students of the same orchestra, who on several occasions have stood out as brilliant shoulders. The presentation allows to demonstrate the different technical and interpretative levels reached by the students according to the course attended among the eight in which their training course is divided. For some of the smaller dancers this is their absolute stage debut. In particular, for the six Ukrainian girls – Polina, Aleksa, Daria, Olha, Mariia, Sofiia – whom the Academy has welcomed since the outbreak of the war not only offering them the opportunity to attend dance school for free, but also providing a concrete support for their families. Thanks to the contribution of the Community of Sant’Egidio and to the Spazio Aperto Community Association and thanks to a fundraiser to which the patrons and the employees of the Academy contributed, accommodation was found for them, they were placed in schools and Italian language lessons have been arranged for families. The show continues with two pieces entrusted to two Italian choreographers. The first bears the signature of Matteo Levaggi, highly experienced dancer and choreographer, who has made the contamination between multiple artistic languages ​​one of his stylistic figures. It is one of his best known creations, ‘Largo’, staged for the first time in 2007 for the ‘Gala des Etoiles du XXI siècle’ at the Théâtre des Champs-Elysées in Paris to music by Šostakóvič for the two Céline dancers Cassone and Bruno Roy, a piece that later became part of the repertoire of the Ballet du Grand Théâtre de Genève. Levaggi had conceived the piece by inserting a strong contemporary component, even though he had thought it for dancers with a strong classical matrix. Today the choreographer adds a male figure, choosing another musical composition, Suite n. 1 in G major for solo cello by Johann Sebastian Bach, which will be performed on stage by Sofia Bellettini, a former student of the Course for orchestra professors. The second creation is authored by Valentino Zucchetti, trained between the Scala school and the Royal Ballet School, today first soloist of the Royal Ballet, who has already made himself known for various choreographic experiences for which he has received numerous awards, not least Anemoi, who went to world premiere scene at the Royal Opera House in 2021 with considerable success. The creation specially designed for the dance school, entitled Canone Allegro, engages the first movement of the Concerto for violin and orchestra, op. 64 by Felix Mendelssohn-Bartholdy fourteen dancers, eleven boys and three girls aged between 16 and 18, from the 6th to the 8th course, in a succession of steps that require great technical and expressive skills. It closes with ‘Serenade’, one of George Balanchine’s best-known ballets, to music by Pëtr Il’ič Čajkovskij, reprized by Patricia Neary, who after her brilliant career as a soloist of the New York City Ballet under the aegis of Balanchine himself has taken up the legacy, re-proposing its installations all over the world.

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