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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:
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