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Camilla Cerulli and Mattia Semperboni in “Excelsior.” Photograph by Brescia e Amisano / Teatro alla Scala

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In the Gala the famous pas de deux where the Civilization tames an exotic Slave, was danced by corps de ballet member Camilla Cerulli, strong in technique but lacking in Fracci’s quiet majesty, and soloist Mattia Semperboni, a captivating virtuoso who knows how to charm the audience.

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Fracci, who created the role, was a fragile and touching “bambina vecchia” (old girl) like actress Giulietta Masina was, while principal Antonella Albano, was more strong-willed in the duet chose for the Gala, danced with Soloist Massimo Garon as “il Matto” (the Mad).Īnother beloved Italian ballet danced through her career by Fracci was “Excelsior,” the famous XIX century’s “ballo grande italiano” (Italian great ballet), restaged in 1967, where she created the main role of “La Civiltà” (the Civilization). Photograph by Brescia e Amisano / Teatro alla ScalaĪs Menegatti says, the career of Carla Fracci circled round these three “G”: Giselle, Giulietta (Juliet) and Gelsomina, that is the main character of La Strada, a ballet by Mario Pistoni taken in 1966 from Fellini’s movie. Antonella Albano and Massimo Garon in “La Strada” by Mario Pistoni.

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La Scala's archive still preserves the original engraving reproducing Elssler in her Spanish costume with black and pink volants, completed by ebony castanets and little shoes, a set perfectly reproduced for the Gala and elegantly worn by our young soloist.

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With the same, enchanting costume taken from the pictures of Fracci, the pas de deux was danced at the Gala by principals Martina Arduino and Marco Agostino, both succeeding in rendering the serene lightness of the early Romantic style.Īlso excellent was the rising soloist Caterina Bianchi, beautiful and “pagan” as Fanny Elssler was in her pièce de résistance: the “taquetée” solo that Carla Fracci loved and danced in the mythical movie Le Ballerine, directed by her husband. “La Péri,” an ideal role for our ballerina for its romantic exoticism, was danced in 1972 at La Scala and later at La Fenice theatre in Venice. Chosen among the up-and-coming soloists of the company to dance in the “Rose Adagio,” Agnese Di Clemente is that kind of “petite ballerina” right for Aurora’s role, already confident in the hard passages, and who still has to find her own style.Ĭaterina Bianchi in “Le Péri.” Photograph by Brescia e Amisano / Teatro alla Scala In the Gala, after a classicist “Flowers Waltz” with clarity performed by the corps de ballet, Nicoletta Manni and Timofej Andrijashenko, La Scala’s beautiful pair of principals, danced the Grand pas deux in perfect Nureyev style, with elegant majesty.Īfter her 1966 debut at La Scala as Aurora in Nureyev’s production, Fracci never considered “The Sleeping Beauty” as her favorite ballet, although reviews and videos show her authoritative technique and enchanting in style. La Scala Ballet in excerpt from “Giselle.” Photograph by Brescia e Amisano / Teatro alla ScalaĪmong Fracci’s classic repertoire, “The Nutcracker” and “The Sleeping Beauty” were linked to Rudolf Nureyev’s staging and partnership at La Scala.Īs she wrote in her memory book, Fracci debuted in Nureyev’s “Nutcracker” in 1971, a few months after giving birth to her son, preparing the role in just a handful of days: an anecdotal episode told also in a recent Italian movie.

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