Tuesday, 25 August 2015

Laura Morera

I extended my stay in London after seeing La Bayadère for another day to see Susan Johnson interview Ricardo Cervera and Laura Morera. I had to endure the miserable weather in London and drive nearly 200 miles through the night but it was worth it because Morera's performance on on 16 April 2015 was exquisite (see The Best Fille Ever 18 April 2015). Fille is pretty well my favourite ballet and I have seen a lot of performances over the years but that evening was special and I wanted to tell her that myself.

I can say nothing about the discussion last night because the London Ballet Circle embargoes reporting of its proceedings, but I can direct you to a photograph of Cervera, Morera and Johnson on the Circle's Facebook page.  Morera has had a splendid career with the Royal Ballet which is summarized on her page on the Royal Opera House's website:
"She trained at The Royal Ballet School and graduated into the Company in 1995, promoted to First Artist in 1998, Soloist in 1999, First Soloist in 2002 and Principal in 2007. Her repertory includes Manon and Lescaut's Mistress (Manon), Tatiana (Onegin), Mitzi Caspar and Marie Larisch (Mayerling), Lise (La Fille mal gardée), Gamzatti (La Bayadère), Sugar Plum Fairy (The Nutcracker), Giselle and Myrtha (Giselle), Effie (La Sylphide), Titania (The Dream), the Queen of Hearts (Alice's Adventures in Wonderland), Paulina (The Winter's Tale) and Principal roles in Song of The Earth, Rhapsody and Viscera."
The same web page embeds a YouTube video on the staging of Manon in which Cervera as well as Morera discuss the ballet and its characters.

Meetings like the one last night provide a rare opportunity for interaction between a dancer and his or her audience. We can express our appreciation on the night by clapping, cheering, rising to our feet and even throwing flowers but that is not the same as saying "your dancing touched my soul".  Do dancers need to know that? I don't know but I do know that I feel compelled to say that sometimes.

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