Goecke, Robbins and Bausch: Rome Opera Ballet salutes the Ballets Russes

In a compelling homage to the legacy of Sergei Diaghilev’s Ballets Russes, the Teatro dell’Opera di Roma is staging a contemporary triple bill featuring works by Marco Goecke, Jerome Robbins, and Pina Bausch. Running from October 27 to November 8, 2025, this program reconnects the Italian capital’s historic opera house with a pivotal moment in ballet history, commemorating the 1911 Italian debut of the Ballets Russes at the Teatro Costanzi.

The evening opens with Jerome Robbins’s Afternoon of a Faun, a piece with deep roots in the Rome dance scene. Originally choreographed for the New York City Ballet in 1953, it first appeared on Rome’s stages in 1955, performed by legendary dancers Tanaquil Le Clercq and Jacques d’Amboise. Robbins’s interpretation revisits Debussy’s iconic Prélude à l’après-midi d’un faune, reframing its pastoral myth within a modern ballet studio setting. The choreography explores themes of youth, attraction, and self-awareness, symbolized through two young dancers who appear to mirror each other’s movements, blurring the boundaries between observer and participant. Principal dancers Marianna Suriano and Andrea D’Ottavio lead the cast, with soloists Elena Bidini and Giacomo Castellana alternating in later performances.

Following this, the program transitions to Marco Goecke’s Petruschka, a contemporary reimagining inspired by the Russian puppet theatre tradition known as balagan. Created in 2016 for Ballett Zürich, Goecke’s version delves into the narrative of the eponymous puppet, a figure caught between reality and fantasy, embodying an outsider’s plight. The choreography emphasizes the ambiguity between performance and authenticity, a theme resonant in today’s performative cultures. The Rome Opera Ballet’s staging features Federica Maine as the Ballerina, with Giacomo Castellana and Luca Giovanetti sharing the role of Petruschka. Alessio Rezza and Claudio Cocino complete the principal roles as the Moor and the Magician, respectively.

The evening culminates with a staging of Pina Bausch’s landmark work Le Sacre du printemps, a piece that revolutionized dance theatre through its fusion of ritualistic intensity and raw human emotion. Marking the fiftieth anniversary of its creation, the Rome Opera Ballet was the first Italian company to present this choreography during the 2025 Caracalla Festival. This performance marks its debut at the Teatro Costanzi. The production envelops the stage in earth, evoking the primordial setting for the ritualistic narrative of a community driven by fear and sacrifice. The plot centers on the selection of a young woman destined to be the Chosen One, whose fate is sealed through a sacrificial dance. The restaging by Clémentine Deluy and Jorge Puerta Armenta remains faithful to Bausch’s original vision, with Eleonora Abbagnato and Damiano Ottavio Bigi overseeing the artistic direction. The cast includes étoile Rebecca Bianchi alongside a diverse ensemble of soloists and corps de ballet members.

The triple bill is notable for its diverse choreographic voices, each bringing a distinct perspective on themes of myth, identity, and ritual. Robbins’s neoclassical finesse contrasts with Goecke’s contemporary introspection and Bausch’s theatrical intensity, offering audiences a multifaceted encounter with the Ballets Russes’ enduring influence. The chosen musical scores by Debussy and Stravinsky further link the program to the Ballets Russes’ original repertoire, underscoring the historical resonance of this Rome presentation.

This season’s offering is the second contemporary triple bill of the Teatro dell’Opera di Roma’s 2025/26 program, illustrating the company’s commitment to bridging classical heritage with modern innovation. It also highlights the theatre’s role in sustaining the cultural memory of early 20th-century ballet revolutions while fostering current choreographic expression.

Tickets for Goecke / Robbins / Bausch are available through the Teatro dell’Opera di Roma’s official channels, with performances scheduled across multiple dates in late October and early November 2025. This event invites audiences to witness a dynamic dialogue between past and present, honoring a seminal chapter in dance history through contemporary artistic interpretations.

The production’s significance is further enriched by the involvement of internationally recognized artists and the meticulous restaging efforts that preserve the integrity of the original works. This initiative reflects a broader trend in European ballet companies to revisit and reinterpret foundational pieces with fresh creative insights.

As reported by gramilano.com, the Rome Opera Ballet’s tribute not only celebrates Diaghilev’s vision but also stimulates reflection on the evolving language of ballet, inviting viewers into an immersive exploration of artistic legacy and innovation.