Maggie Foyer talks to Valentino Zucchetti about his new choreographic project for New English Ballet Theatre, to be performed as part of the London Handel Festival at Shoreditch Town Hall at the end of March.
‘It’s challenging and it’s a first for me. This is a completely different beast,’ says Valentino Zucchetti about his new project. The production, Tales of Apollo and Hercules, is an ambitious partnership between the New English Ballet Theatre, where Zucchetti is associate choreographer, and the London Handel Festival, founded in 1976 by Denys Darlow with the aim of celebrating the life, music, and continued legacy of the great composer.
Photo Jordan James Bridge
He explains, “It will be the longest narrative work I’ve done but this is a collaborative affair, so I wouldn’t call it my first full-length. When I choreograph, I am also the director. This time, it is Thomas Gutherie’s production, so I am working to bring his ideas to life with dance.
Musically it’s a gamble. The two Handel cantatas, Apollo e Dafne and The Choice of Hercules were not written for stage. They have also never been presented together, but we’ve found a thematic way to blend them into a full evening work.”
Italian born and educated, Zucchetti notes that Greco-Roman mythology was rooted in his upbringing. “There is something about the myths that makes them still relevant today and Thom is taking a contemporary approach to relate the stories to the modern world. I recently read Marcus Aurelius’ Meditations and it seems as human beings we literally have not changed at all.”
Although Zucchetti has achieved great success with abstract works like Anemoi, he is now passionate about tackling narratives. “One hundred percent, I want to go down that route. I’m working on various proposals and waiting for the green light. There are times where words would ruin the moment, but dance can deepen the moment. If dance is structured really well, it’s great for narrative. Ballet has evolved so much. When you think about what Kenneth MacMillan did and now Christopher Wheeldon, they take complex narratives and structure them in ballets. In this production I want to use ballet to drive the story and shape the narrative.”
with NEBT dancer Jessica Templeton
in rehearsal for Tales of Apollo and Hercules
Photo Jordan James Bridge
For the premiere and UK performances, there will be six dancers but later tours of just the first cantata, Apollo e Dafne, will have an expanded dance component and use eight dancers. The dancers are from New English Ballet Theatre under the artistic directorship of Karen Pilkington-Miksa.
“I have worked with some of the NEBT dancers before, they are all classical dancers and the work will be on pointe. I think I was chosen for this production because they wanted a ballet choreographer. So, it will be ballet and I’m pushing for places when there will just be ballet on stage.”
Zucchetti has created many works on The Royal Ballet where he is first soloist. I asked about the advantages and disadvantages of working with one’s own company or with new dancers. “Well, first of all, I’m hugely spoilt here because my colleagues are hands down, probably some of the most talented dancers in the world. So, it’s insane. Recently, I did a project with Sarah Lamb, whom I haven’t worked with for years and just the level of professionalism and the understanding of the working process that she has is phenomenal. So, it’s great to work with that level of talent. It can be a bit strange, when you’ve grown up with people and suddenly you are standing in the front of the room. These are people you’ve partied with, argued with or even dated. So, what I love about working abroad is to enter the room as the choreographer that I want to be, without previous history.”
As a dancer, Zucchetti excels in swift footed virtuoso. Watching Anemoi, the same speed and versatility is transferred to the choreography. “I’ve got too many ideas about everything so I need to set parameters. I try not to let an idea outstay it’s welcome and I hope my pieces are never boring. I want the dancers to know what is going on because I’ve worked with too many choreographers where I do not know why I am doing the steps. So, I like to get the dancers involved in the process as much as possible. Working with dancers is like spinning plates. And sometimes you forget one, who then suddenly starts like spinning out of control. I need to make sure that they are on board with me in the process.”
Shoreditch is a small space. There will be a lot going on with dancers and singers sharing the stage in addition to props and maybe puppets. The acclaimed early music ensemble La Nuova Musica will be conducted by their founder David Bates. It promises to be an exciting event for both dance and music lovers and a significant new venture for Valentino Zucchetti.
New English Ballet Theatre perform ‘A Mythical Double Bill: Tales of Apollo & Hercules’ as part of the London Handel Festival at Shoreditch Town Hall from March 27-29, 2025.