Review | Le Corsaire by La Scala Theatre Ballet for Hong Kong Arts Festival had its moments, with a star turn by Nicoletta Manni, but was uneven overall
- This classic 19th century ballet was not the exhilarating romp it should have been, despite Manuel Legris’ attractive choreography and some neat dancing
- Nicoletta Manni was outstanding as Medora, as was Claudio Coviello as Birbanto, but changes to the story and an absence of comedy don’t help the production
Milan’s La Scala Theatre Ballet returned to Hong Kong for the first time since 2014 to dance Le Corsaire, one of the most entertaining of the classic 19th century ballets.
The production boasts gorgeous sets and costumes by Italian designer Luisa Spinatelli and had some fine moments, notably Nicoletta Manni’s superb interpretation of the heroine, Medora, but overall the performance was uneven.
Last time La Scala Theatre Ballet appeared in Hong Kong the artistic director was Makhar Vaziev, now head of the Bolshoi Ballet, who had put the historic Italian company back on the map after years in the doldrums.
Following the controversial, short-lived tenure of contemporary choreographer Mauro Bigonzetti and four years under Frédéric Olivieri, since 2020 the company has been in the hands of Manuel Legris.
After a glittering career at the Paris Opera Ballet as one of the greatest classical dancers of his generation, Legris established himself as a director with a successful 10 years at Vienna State Ballet, where he created his Le Corsaire in 2016, a production he restaged in Milan in 2023.
Versions of Le Corsaire vary considerably – the title is often the only thing about a production that has anything to do with Byron’s epic poem The Corsair.
The story is a cheerful farrago of irreverent nonsense, set in a mythical Middle East, about a dashing pirate with a heart of gold and two beautiful girls who are abducted and sold as slaves; it is packed with love at first sight, rescues, reversals and lots and lots of dancing.
The production which has arguably become the gold standard is the one by Anna-Marie Holmes which she staged for Hong Kong Ballet in 2017 (the pinnacle of the company’s classical work) and which features in the repertoire of numerous companies, including, previously, that of the La Scala Theatre.
While it is understandable that Legris wants to make his mark with his own classical productions, replacing such a successful version of Le Corsaire may not have been the best option. He makes some questionable narrative choices.
The character of Ali, the bare-chested slave who dances with Medora in one of the world’s most famous pas de deux, has vanished. Dispensing with such an iconic role is odd, to say the least.
The ballet’s hallmark comedy is also largely missing – instead of being endearingly comical, the lecherous Pasha now cuts a handsome figure. Perhaps it is a way to justify Medora’s friend Gulnare deciding to stay in the harem when she has the chance to leave.
On the dramatic side, the story of the relationship between the hero Conrad and his lieutenant Birbanto, who betrays and tries to kill him, does not come over strongly enough.
Narrative concerns aside, Le Corsaire is, above all, a feast of classical dancing, and much has been made of Legris’ aim to focus on the elegance and lightness of the French (and indeed the Italian) school of dance rather than the more powerful Russian style.
The company’s dancers, almost all Italian and mostly graduates of the La Scala academy’s ballet school, are well suited to this.
The main choreographic innovation is the addition of an opening sequence in which Medora and Gulnare dance with a group of other women before being abducted, an all-female divertissement which presages the classic Jardin Animé scene in Act 3.
Legris’ choreography is attractive and was nicely danced, showcasing the ballerinas’ neat footwork, light jumps and elegant arms.
Manni’s Medora demonstrated why she is the company’s only female dancer with the rank of étoile. Dancing and acting with total assurance, her purity of line, exquisite feet and flawless technique made this a true prima ballerina performance.
Equally outstanding was Claudio Coviello as Birbanto. A charismatic dancer who made a strong impression in Hong Kong as Albrecht in Giselle in 2014, his soaring jumps, scintillating beats, and impeccable finishing and partnering were an object lesson in classical dancing of this style. Linda Giubelli gave a lively account of his paramour Zulmea.
Timofej Andrijashenko has the right manly, vigorous presence for the pirate chief Conrad, and if his virtuoso variations seemed strained (you need to achieve more height to make such complex jumps look effortless), his adagio scenes with Manni were charming; a married couple off stage, they had a lovely rapport and tenderness together and he partnered her beautifully.
Unfortunately the company as a whole looked under-rehearsed on the first night, with too much untidy finishing and a number of mistakes.
The production never quite came together as the exhilarating romp Le Corsaire ought to be.
Le Corsaire, La Scala Theatre Ballet, Hong Kong Cultural Centre Grand Theatre. Reviewed: March 15.
