Maria Celeste Losa on Gratitude, Growth and the Power of Dance

MILAN, ITALY — Argentina-born, Milan-hailed dancer Maria Celeste Losa speaks with great poise and a soft demeanour, no mean feat in a world of stilted Zoom conversations.

“My first memory of dance goes back to when I was very little,” she recalls, as we begin to settle into our conversation. “I didn’t know anything about ballet, but I remember standing on my tiptoes in my street shoes while experimenting with movement,” she says.

A soloist in Milan’s famed La Scala corps de ballet, she grew up in La Plata, where her whole family still lives and where her passion for ballet first began. “I carry both my Argentine and Italian heritage with me, as my great-grandfather was Italian, and at eighteen I travelled the 11,000 kilometres from La Plata to Milan to follow a dream that has guided me all my life,” she reflects. “Dancing at La Scala feels like a bridge between where I come from and the artist I am becoming.”

Losa’s first real experience within the dance spectrum took place in a creative movement class at her local dance school. “I remember auditioning for Teatro Colón’s Institute in front of a jury,” she says. “They asked me to improvise while the pianist played, and at first I felt very shy because I had never done anything like it, but then I let go and really enjoyed it,” she adds.

At the time, something clicked for Losa, and ever since, she has felt a special connection with this art form that has never shown signs of fading. Below, she grabs five with GLASS, unpacking influences, career feats, and future hopes.

_{Photographer: Cosimo Buccolieri}

Who were your key and biggest influences while growing up?

My family has always been my greatest support, giving me the strength and confidence to pursue this path. One of my earliest and most important influences was my teacher, Lilian Giovine, who guided me from a very young age and helped shape me as a dancer. I was also deeply influenced by Iñaki Urlezaga, and I try to carry something with me from every teacher I’ve had the pleasure of working with.

I have also always found inspiration in dancers like Marianela Núñez, Sylvie Guillem, Svetlana Zakharova, and Ulyana Lopatkina, whose artistry and individuality continue to inspire me.

When did you realise that dance was the art form you wanted to pursue professionally?

I knew dance was what I loved most, but I don’t think I fully realised at first that it could become my career and such a big part of my life. My first professional contract was at the age of 12, and by 15 I was already working with a company and treating it as a real job. Before I knew it, I was living it every day.

Could you unpack your wildest pinch-me moment?

There have been several unforgettable moments, but a few really stand out. Joining Teatro alla Scala as a young dancer was an incredible milestone and the start of so many amazing experiences. Being chosen by William Forsythe for a new creation at La Scala was unforgettable – we spent many focused hours in the studio working closely.

Performing with Roberto Bolle was another incredible experience; he is an extremely sensitive artist and so down-to-earth as a person, which made me feel completely comfortable working with him. Preparing Odette-Odile at La Scala with Manuel Legris guiding me through the process, along with the Scala teachers and Isabelle Guérin, was an amazing and intense experience.

Debuting as Kitri at Teatro Colón as a guest artist, invited by Julio Bocca, whom I had the opportunity to work with during my time at the Colón, was another milestone I will always treasure.

_{Photographer: Cosimo Buccolieri}

And speaking of roles, which one have you related to the most throughout your career?

I would say Kitri, Myrtha, Odette-Odile, and Sylvia. Each of these roles has challenged me in different ways and allowed me to explore different aspects of my artistry. Kitri is fiery and playful, Myrtha is strong and commanding, Odette-Odile embodies both vulnerability and power, and Sylvia is graceful, lyrical, and a true fighter, which I love bringing to life.

I also feel very comfortable dancing neoclassical and contemporary works, and I really enjoy performing in the Balanchine style. All of these roles and styles reflect different facets of who I am as a dancer and as a person.

And how about the ones you didn’t feel particularly aligned with?

Honestly, I can’t think of a role I didn’t feel connected to. I try to immerse myself in each character, enjoy the process, and let it unfold naturally so the performance feels real. That’s also what ballet and art are about: exploring aspects that don’t naturally belong to us and making them our own so they feel genuine and align with our personality.

From contemporary to neoclassical productions, theatre performance to traditional ballet roles, your career could spark pangs of envy in your closest peers. What’s been a highlight for you since joining La Scala?

Since joining La Scala, I’ve had the opportunity to interpret a wide range of roles, which has been incredibly enriching for me as an artist. One of the highlights has been working across such a diverse repertoire, from the classical tradition of Rudolf Nureyev to choreographers like George Balanchine and Kenneth MacMillan, as well as more contemporary voices such as William Forsythe, Wayne McGregor, and Jiří Kylián.

Having the chance to perform roles like Odette/Odile in Swan Lake, Gamzatti in La Bayadère, Gulnara in Le Corsaire, and the principal role in Diamonds from Jewels has been particularly meaningful, as each requires a very distinct artistic voice and allows me to explore different dimensions on stage.

What I value most is this constant dialogue between styles, from classical to neoclassical and contemporary, which continues to challenge me and shape me as an artist.

_{Photographer: Cosimo Buccolieri}

You were also a guest at Colón’s theatre last summer. How did that experience shape your artistic practice?

Very much so. It was my first time performing on the stage of Teatro Colón, one of the most beautiful theatres in the world. Performing a full-length ballet as a guest artist – with all the responsibility that comes with it – and dancing for the audience that saw me grow up, with my family, friends, and colleagues in the theatre, was truly incredible.

Working with Julio Bocca and Luis Ortigoza was also a very enriching experience, as was sharing the stage with David Motta Soares from Berlin. And of course, performing alongside Marianela Núñez, who also danced Kitri, and sharing the stage with friends and colleagues, was incredibly inspiring for me.

Moving on to the latest production you’re featured in, with works from McGregor / Maillot / Naharin: could you recount what it was like and the complexities of building it as part of the corps de ballet?

This production features three completely different works, and I am fortunate to be performing in two of them: Chroma and Dov’è la luna. I’ve danced various pieces by Wayne McGregor, and I really enjoy his movement style; extreme positions, lots of energy, and very precise accents. He works with so many details, and you have to be very attentive to every nuance.

Working with Maillot for the first time was an incredible experience. His style is clean, elegant, and emotionally rich. I also had the pleasure of working closely with Bernice on the role that was created for her, and her sensitivity and profound way of connecting with dancers made the process inspiring and enjoyable. Learning this role with their guidance was a wonderful experience, and sharing the piece with Roberto and other amazing artists in the company created a beautiful connection on stage.

As for Naharin’s work, I’m not performing in it, but I won’t miss seeing a performance. I feel a deep pride in my colleagues because it’s a completely different style from what we are used to, and seeing them transform on stage is truly inspiring.

_{Photographer: Cosimo Buccolieri}

What are your hopes for the future?

I hope to continue exploring a wide variety of roles and styles, both classical and contemporary, and to keep challenging myself as an artist. I look forward to collaborating with inspiring choreographers and colleagues, and to sharing performances that connect deeply with audiences.

Ultimately, my goal is to keep growing, learning, and expressing myself fully on stage and eventually achieving the position of principal within the company, which would be a dream milestone in my career.

Final thoughts and reflections

I feel incredibly grateful for the opportunities I’ve had so far, from performing diverse roles at La Scala to working with such inspiring choreographers and colleagues. Every experience continues to teach me something new and pushes me to grow as an artist.

Above all, I hope to keep sharing my love for dance with audiences, bringing both emotion and energy to every performance, and continuing to be challenged and inspired on stage. I also believe deeply in the importance of promoting the arts and encouraging more people to connect with them, because art is truly inspiring, has the power to heal, and continues to motivate me to grow every day.

by Chidozie Obasi