Word: bortoluzzi
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...dance company. American members of A.B.T. felt upstaged and upset by the arrival of Soviet Defectors Natalia Makarova (in 1970) and Mikhail Baryshnikov (in 1974). This fall A.B.T. recruited three more foreign superstars: Stuttgart Ballet's Marcia Haydée and two Italian artists, Carla Fracci and Paolo Bortoluzzi. Thus nobody quite believed it last week when, on the eve of the opening of the company's six-week Manhattan season, A.B.T.'s American star Cynthia Gregory abruptly announced her retirement for "personal reasons...
...thing is certain: since Italian Dancer Paolo Bortoluzzi left Maurice Béjart's Brussels-based Ballet of the Twentieth Century to join the American Ballet Theater in June, he has caused more excitement in the U.S. than any male dancer since Rudolf Nureyev leaped through the Iron Curtain...
...began with Bortoluzzi's debut in Giselle, early in the A.B.T.'s current stand at Manhattan's Lincoln Center. He danced the role of Albrecht, which had become identified with the elegant and stylish Erik Bruhn before his retirement in January. During rehearsals, Bortoluzzi so shook up his colleagues with his arrogant bearing and exuberantly melodramatic interpretation that the ballet master threatened to walk out. At the first performance, Ballerina Carla Fracci, the Giselle and a longtime partner of Bruhn, kept whispering instructions to Bortoluzzi-where to put his feet, how to move his hands. Hissed Bortoluzzi...
...want people to watch me in Giselle and say I am a kind of printed stamp of 1850," explains Bortoluzzi. "I want people to live the story with me now. I want them to say, 'Oh, isn't it awful, that poor boy lost his girl.' " As for his unorthodox gestures, which some observers describe as a carryover from his twelve years with the oriental-inspired, contemporary-styled Béjart company, Bortoluzzi says: "My personality is the same whether I dance for Béjart or whether I dance Giselle, and I don't intend...
...quick study, Bortoluzzi has learned five widely differing roles in only a few weeks for the current A.B.T. season. In Erik Bruhn's staging of Bournonville's La Sylphide, he portrayed the unhappy lover of an elusive sylph (Natalia Makarova) with something like delicacy and restraint. In Anton Dolin's Variations for Four, he stole the show with the sheer, pantherish abandon of his movements. As the young seducer in Antony Tudor's Pillar of Fire, he was appropriately ardent. Last week, in Fokine's Le Spectre de la Rose, he was a little...
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