VIA DELLE MONDINE 6, 41012 CARPI (MO) ITALY

Alessandra Ferri

Alessandra Ferri

Box 1

Besides the exploration of a new operatic expression in the chamber opera, our repertoire is focused on the contemporary opera and its influence on the modern art. Discover the best performers and plays.

Box 2

Besides the exploration of a new operatic expression in the chamber opera, our repertoire is focused on the contemporary opera and its influence on the modern art. Discover the best performers and plays.

Box 3

Besides the exploration of a new operatic expression in the chamber opera, our repertoire is focused on the contemporary opera and its influence on the modern art. Discover the best performers and plays.

Box 1

Besides the exploration of a new operatic expression in the chamber opera, our repertoire is focused on the contemporary opera and its influence on the modern art. Discover the best performers and plays.

Box 2

Besides the exploration of a new operatic expression in the chamber opera, our repertoire is focused on the contemporary opera and its influence on the modern art. Discover the best performers and plays.

L’Heure Exquise

L’Heure Exquise
Variations on a theme by Samuel Beckett
“Oh, les beaux jours”

direction and choreography Maurice Béjart
remounted by Maina Gielgud and Micha van Hoecke
courtesy Fondation Maurice Béjart

interpreters
Her Alessandra Ferri
Him Thomas Whitehead

music
Five pieces for orchestra / Anton Webern: London Symphony Orchestra / dir. Antal Dorati
Symphony n.4 III moviment (Poco Adagio) / Gustav Mahler: Berlin Philharmonic Orchestra / dir. Herbert von Karajan
Fantasia in C Minor K.475 / W.A. Mozart: Piano Glenn Gould
La Veuve Joyeuse (Heure Exquise Qui Nous Grise) Franz Lehar
Tea for Two (song from No No Nanette)

sets and lights Roger Bernard
costumes Luisa Spinatelli

Created for Carla Fracci and Micha van Hoecke at the Teatro Carignano in Turin on September 13, 1998
co-production The Ensemble of Micha van Hoecke and Festival Torinodanza

New staging co-production AF DANCE, Ravenna Festival, Royal Ballet Londra
Project supported by Intesa Sanpaolo

Special thanks to Lady Angela Bernstein CBE

We also thank:
Oriente Occidente Dance Festival – Passo Nord and the Municipality of Rovereto for the spaces of the creative residency
Freed of London, Official Pointe Shoes Sponsor
Royal Ballet London, Hamburg Ballet John Neumeier, Teatro alla Scala Ballet, English National Ballet London for the supply of the shoes used for the scenography created by Laboratorio Scenografia Pesaro
Compagnia Italiana della Moda e del Costume for the creation of Alessandra Ferri costumes
Hamburg Ballet John Neumeier for the costumes worn by Carsten Jung
Italian distribution: International Music and Arts

 

With L’Heure Exquise, based on Oh, les beaux jours (Happy Days), one of the high points of Samuel Beckett’s theatre, Alessandra Ferri celebrates her forty-year career by playing a significant, right and exciting role for the artist which is now: Winnie, the “âgée” dancer imagined by Maurice Bejart in 1998 for Carla Fracci who in her melancholic solitude lives in the joyful memories of her happy days.

Willy, the Him played by Micha van Hoecke at the time and now by Thomas Whitehead, is an ex-partner of Her, submerged not by the famous hill of sand, but by a mountain of old pointe shoes.
Another female character for Alessandra Ferri, like Virginia Woolf, Eleonora Duse and Léa di Chéri, all exceptional women who belong to this chapter of her life.

 

All great musicians have made “variations” on a theme by another great…
Variations by Brahms on a theme by Haydn, by Chopin on a theme by Mozart, by Beethoven on Diabelli, and so on.
I took the liberty of working on one of the most important plays of the twenty-first century: “Oh, les beaux jours!”
In truth it is not a dance adaptation but a work of composition faithful to the spirit of the author and yet in the context of a purely abstract and choreographic creativity.
The music is a montage on themes by Webern in the first place, but also by Mahler and Mozart. The few texts are words spoken by a dancer in the moment of dance or rest.
Finally SILENCE: the main element of this liturgy.

Maurice Bèjart

 

In 2021 it is forty years since I joined the Royal Ballet in London thus starting my artistic journey.
To celebrate and celebrate this milestone with the public, I was looking for a significant role, never played, right and exciting for the artist I am now. Tidying up my archive, I found a page that spoke of a work by Maurice Béjart based on an extraordinary text by Samuel Beckett: “Happy Days”. A case? I rather like to think of a “sign”, a concatenation of dates, anniversaries, emotions: I discovered that in 2021 it will be sixty years since Beckett wrote the famous play.

The role of the protagonist, imagined by Béjart in 1998 for Carla Fracci is absolutely fantastic, her Winnie is an “âgée” dancer who, in her melancholy solitude, lives in the joyful memories of her happy days. His Willy, played by Micha van Hoecke at the time, is an ex-partner of his and the famous hill of sand that submerges it is a mountain of old pointe shoes.
After its creation in Turin, the ballet has rarely been represented, precisely because it needs two interpreters who know how to be, as Carla and Micha were, dancers/actors with a long artistic experience.
I had no doubts, I felt that this was the role I was looking for.
For me, another female character, as were Virginia Woolf, Eleonora Duse and Léa di Chéri, extraordinary women who belong to this second chapter of my life.
Alessandra Ferri

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Bio

Alessandra Ferri is internationally considered one of the most important dramatic dancers of our time. Born in Milan, she began her studies at the Teatro alla Scala Ballet School and later studied at the Royal Ballet School in London. In 1980, after winning the Prix de Lausanne, she joined the Royal Ballet and became a principal dancer at only 19 years of age, when Sir Kenneth McMillan chose her to interpret the most important roles in his ballets, Romeo and Juliet, Manon and Mayerling: the famous choreographer also created other roles especially for her, such as Marie in Different Drummer and Micol in Valley of Shadows. In 1985, Michail Baryshnikov invites her to the American Ballet Theater where she will remain Prima Ballerina until 2007. In 1992, she is named Prima Ballerina Assoluta at the Teatro alla Scala where she will remain until 2007. She has worked with the greatest choreographers of our time: Sir Frederick Ashton, Sir Kenneth McMillan, Jerome Robbins, Jiri Kylian, Twyla Tharp, John Neumeier, William Forsythe, Roland Petit. She has danced in the most prestigious theaters in the world. Among the numerous awards received the Sir Lawrence Olivier Award, the Dance Magazine Award and the Benois de la Danse. In 2006 she was nominated Knight of the Republic by President Carlo Azeglio Ciampi. In 2013, after six years of absence from the scene, she returns to dance and signs her first choreography, The Piano Upstairs, a dance play presented at the Festival dei Due Mondi in Spoleto. In the same year The Signature Theater produced the show Chéri which marked her return to the New York scene. 2015 is the year of her return to the Royal Ballet and Wayne McGregor creates for her the role of Virginia Woolf in Woolf Works, thanks to which in 2016 she wins the second Oliver Award 2016 for ``Outstanding Achievement in Dance``. In the same year John Neumeier created DUSE for her with the Hamburg Ballett. In May 2018 she made her debut in Afterite at the Metropolitan Theater in New York, a new creation by Wayne McGregor for the American Ballet Theatre. In January 2019 in London she inaugurated the Linbury Theater, a new room at the Royal Opera House, with the Trio ConcertDance show.