Prossimi appuntamenti..... per vedere Roberto Bolle


Il personaggio nelle parole di Roberto:
"E' il personaggio a cui sono più legato, che mi accompagna da sempre, è stato il mio primo ruolo importante. E' dopo un Romeo che mi hanno nominato primo ballerino alla Scala. Romeo vive al massimo livello l'intensità dei suoi sentimenti, non a metà. O tutto o niente. (...) Romeo ha il candore e l'esuberanza della sua giovinezza, la forza passionale dei suoi 16 anni. E' sventato, amabile, insofferente, ma di fronte all'amore e alla morte si ritrova uomo."

"The character of Romeo is something of a roaring Veronese boy, caught up in a love far greater than he could have imagined; if the dramatic opportunities are less exciting that Juliet's the technical demands of the role are great."
(Clement Crisp, "Ballet for all")

"Romeo steps into a series of happy turns, telling, perhaps, of his deliriously happy infatuation with the young woman playing her mandolin. (...)
Romeo launches into an ecstatic solo. Lush renversé turns make the impassioned young man look proud as a peacock and lead him to more dizzying en dedans spins and soaring jumps. (...) The "Romeo shirt" that he wears, no longer covered by an outer tunic, fills with the air of his billowing moves. (...)
In a sudden burst of energy and desire to dance, Romeo calls his companions to his side and leads off a dance himself. (...) Romeo circles the place with a striding circuit of running steps and then, when the oboe comes in, repeated scissored moves and recurring grand jeté (...) he cuts down a diagonal of polkalike steps that lead to a double saut de basque directly into a grand pirouette that spins into a quintuple revolutions en dehors, momentarily finishing in a confident lunge. Then, as if the music decided to reverse or rewind itself, the jubilant, lovesick Romeo sweeps back to where he started by way of grand jetés en tournant battu. (...) Romeo pops into free-spirited, arabesque-effacée line sissones that wind into twisty staglike steps and another en dedans pirouette. (...) Romeo follows solo with a set of forceful double saut de basque. (...)
In a move that echoes the crescent shaped lifts of the "Balcony scene", Romeo lets Juliet repeatedly fall forward into his arms as he sits on the floor. (...) After a moment of passionate and somewhat hysterical kisses from Juliet, Romeo holds her head and more calmly seals the embrace with a long, passionate kiss as Juliet stands almost frozen. (...)
He finds her arms slipping out of his, and when he carries her off her bier she remains ramrod straight in his grasp. As their music swells, blares, and groans, Romeo lifts and carries his new bride while she folds up and her limbs hang like a rag doll's. Twice she slumps backward out of his arms. In the latter case, Romeo's grief takes the form of dragging Juliet's supine body by one limp arm. (...) Facing her in anguished determination, he grabs hold of the container of potion he carries. Moving aside, he imbibes it. (...) Weakly, Romeo enfolds Juliet in one more embrace, and during a last kiss falls backward alongside the bier."
(Robert Greskovic, "Ballet 101")

L'interpretazione di Roberto nei commenti dei Bollerini: