Graduating with honours in "Literary and Linguistic Studies" at La Sapienza University of Rome with a thesis on ballets inspired by Alexander Pushkin's works, Marta Mele subsequently specialised in "History and Theory of Choreographic Art" at the Vaganova Academy in St Petersburg.
She translated from Russian the autobiography of the dancer Natalia Makarova for Gremese publishing house, and edited the Italian edition of the book Swans of the Kremlin by the scholar Christina Ezrahi. After participating in two conferences dedicated to the bicentenary of the birth of Marius Petipa, she won the La Sapienza University’s PhD competition in Music and Performing Arts, and in 2022 received her doctorate with ‘eccellente’, her thesis entitled Ballet in Leningrad between avant-garde and ideology. Marta participates in national and international conferences in performing arts research and writes for scientific reviews such as Danza e Ricerca, Biblioteca Teatrale and SigMa. As a dance journalist, she began by collaborating with the Russian dance magazine PROTanec, and she also writes for GBOpera.
Marta Mele sees Dancing with Bob – Trisha Brown and Merce Cunningham and the encounter between dance, visual art, and the legacy of Robert Rauschenberg.
Marta Mele sees Daniil Simkin’s Sons of Echo, a journey through male bodies in motion, where six outstanding dancers explore strength, vulnerability and connection under the gaze of four contemporary female choreographers.
Marta Mele sees Du bout des lèvres, Benjamin Millepied’s intimate and poetic encounter with Barbara’s chansons, a work where the fragile eloquence of the voice becomes the expressive power of the body.
Reviewer Marta Mele sees Balanchine’s A Midsummer Night’s Dream in Rome, discovering a delightful balance of theatrical magic, lyrical romance and effortless laughter.
Marta Mele sees the bright colours and the tragedy of unattainable love in La Bayadère at Rome Opera House with Iana Salenko and Bakhtiyar Adamzhan.
Marta Mele sees Marco Spada with Rome Opera Ballet, a ballet first restaged in Rome in 1981 by choreographer Pierre Lacotte for Rudolf Nureyev.
The career of dancer and choreographer Amedeo Amodio was celebrated on 2 July in the Chamber of Deputies – the lower house of the Italian Parliament.
Marta Mele sees Dawson / León-Lightoot / Ekman at the Rome Opera House, a choreographic journey that seems to go backwards in time, asking us to question the ultimate nature of dance.
Marta Mele sees the Rome Opera Ballet in John Cranko’s Onegin – two exceptional performers for an audience that did not shy away from the story’s emotions.
Marta Mele sees Una Noche con Sergio Bernal in Rome – a night of passion and excitement in the Italian capital.
Marta Mele sees Rome Opera Ballet in a dreamy contemporary triple bill that reconnects the myth of Sisyphus to our virtual lives.
Marta Mele sees Rome Opera Ballet in Jiří Bubeníček’s Carmen – “An indomitable woman exploring her sensuality and power of attraction over men.”
Marta Mele sees Rome Opera Ballet’s Nutcracker – “a magic that illuminates social and gender conflicts, opening up with enthusiasm to adult life”.
Marta Mele sees Rome Opera Ballet in Le rouge et le noir by Uwe Scholz – “The enormous challenges of narrative ballet coupled with the symphonic music of Hector Berlioz”
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