Qthat between Patty Pravo And Timofey Andrijashenko is one of the most anticipated duets of the cover evening of Sanremo Festival. The principal dancer of La Scala Theatre will take the stage at Ariston Theatre For complete theOpera of the empress of Italian music. Together they will stage a new version of I’ll leave you a songtribute to Ornella Vanoni, Gino Paoli and to the late Peppe Vessicchio“I will be the emotion that Patty feels towards Ornella,” he said Andrijashenko to the microphones of SkyTG24. Natural talent, technical precision and a stage presence that captures the eye: Andrijashenko is one of the brightest faces of the new generation of European ballet and is ready to bring dance to television, not as frame, but as a protagonist.
I’ll leave you a song, un homage that speaks to the present
I’ll leave you a song it’s a eternal classic made immortal by Ornella Vanoni. “A song that you can sing to those you love after me”, read the lyrics by Gino Paoli. And Pravo takes the opportunity: a song that pays homage to the memory of a great woman, musician, performer, singer and friend. The song is son of the golden era of Italian song: orchestral arrangements, intimate lyrics, performers capable of making even silences personal. The music is written by Peppe Vessicchio. This song on the Sanremo stage will live again in dialogue with dance. The body translates what the voice suggests, makes pauses, hesitations and emotional outbursts tangible. Not just a simple accompaniment, but a new life for the song.
Dance is the protagonist on the Sanremo stage
Bring a principal dancer’s La Scala Theatre on the stage of Ariston Theatre means recognize classical dance as having a full narrative role, no longer decorative. Sanremo has often flirted with contaminations between genres – theatre, art performances, moments of contemporary or pop dance – but academic ballet has rarely been called upon to “hold the scene” together with the song, with equal expressive dignity. Here the body does not frame the voice: it becomes a second voice. It is an operation that speaks of the present: artistic languages no longer live in watertight compartments. Music seeks images, the body seeks narration, the audience seeks immersive experiences. A way to break down labels, following the greatest desire of Patty Pravo: Making music a complete work of art.
Timofej Andrijashenko: from the Riga school to the Italian stage
Born in Latvia, Andrijashenko discovered dance as a child and took his first steps at the Academy of Riga Opera House. The beginning is not a romantic flash, but a choice of the parents, worried about school performance. It was there before karatewhich gives it natural flexibility. At 14 he left Latvia for Italy after winning a scholarship at the Spoleto competition: destination on Russian Ballet College of Genoa. A leap into the void faced with curiosity rather than fear. “I didn’t speak Italian, but I didn’t stop in the face of difficulties,” he said in an interview with FQ Magazine. Here he builds his stylistic signature: cleanliness of gesture, control of the body, attention to detail.
The first recognitions and the arrival in the big theatres
Still very young, Andrijashenko stands out in international competitions and wins prizes that certify his potential. After a training transition to Rome Opera Housejoins the dance troupe of La Scala Theatre. Meet here Nicoletta Mannitoday also a principal dancer at La Scala: an artistic partnership that also becomes a shared life in a marriage. The path accelerates: in a short time he obtains central roles in the most important productions, demonstrating an interpretative maturity that is rare for his age. In the symbolic titles of the repertoire — from Giselle to Swan Lakeuntil Sleeping Beauty — his characters are never just exercises in style: each role becomes an emotional story.
The meeting between Timofej Andrijashenko and the general public
Participation in television projects by Roberto Bolle it opens the doors to wider popularity for him. Without distorting his profile, Andrijashenko manages to lead ballet outside the confines of the theater, bringing dance even to those who don’t usually frequent it.
The appointment as principal dancer marks the turning point: not just a formal recognition, but an artistic responsibility. His dream? «I would like my peers to go to the theater for dance like they go to the cinema». Sanremo seems like a great, powerful starting point.
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