AFTER A successful fourth edition of La Scala’s famed Gala Fracci, its Étoile—Nicoletta Manni—alongside Royal Ballet Principal Reece Clarke weighed in on their Onegin variation, the thrills of dance and the pivotal influence of the late artist.
Photographer: Luca Stefanon
Nicoletta Manni, Étoile, Teatro alla Scala (Milan)
“On such a special evening, I had the opportunity to dance two pieces that were part of Carla Fracci’s famed repertoire. Both were quite different: the poignant Pas de Deux from the second act of Onegin with Reece Clarke, and the iconic one from Excelsior with my husband, Timofej Andrijasenko. Onegin is a ballet that has marked my artistic career, helping me to discover many aspects in my pursuit for the best interpretation. Above all, it’s the ballet that earned me the title of étoile at La Scala, when I danced alongside Roberto Bolle.
John Cranko’s Onegin is one of the ballets I love most in the entire world: his is one of the best examples of narrative dance, a true masterpiece. Here, the choreographer truly managed to convey the drama, touching the hearts of the audience through the marriage of movement and music both in the Pas de Deux and within emotionally-tasking group pieces.
Photographer: Luca Stefanon
Naturally, a contribution is made by the intensity of a pool of artists; that is, by their ability to construct credible roles, as well as by their harmony on stage. Depending on the different partners in the interpretation process, one can notice different aspects being emphasised throughout. It’s an incredible story to experience: poignant, moving, and at the end of the performance one simply cannot hold back the tears.
Onegin truly occupies one of the top spots in my heart. I appreciate it very much because, in addition to being a classic ballet, it has the merit of epitomising a theatrical narrative. I loved experiencing this emotion with Reece: an exceptional artist and partner with whom I shared the stage for the first time last year in L’Histoire de Manon.
Photographer: Luca Stefanon
I feel very privileged to have had this opportunity to dance Onegin together. The Pas de Deux is amazing, and it feels like we’ve danced together countless times, as everything is naturally and spontaneously synchronised the moment we do. It’s very rare to find this kind of harmony, and I hope we’ll have other opportunities to dance together soon.
Thanks to Carla’s generosity and love for dance, she managed to bring classical dance to a wide audience. It’s precisely thanks to her that many people have been drawn to this art form and the wealth of characters on stage; in fact, the interpretations that distinguish her will remain alive and within me forever.”
Photographer: Luca Stefanon
Reece Clarke, Principal Dancer, The Royal Ballet (London)
“For this year’s Gala Fracci in Milan, I made my debut as the male lead character of Count Danilo Danilowitsch in The Merry Widow, choreographed by Ronald Hynd, alongside the wonderful Marianela Nunez as Hanna Glawari. After seeing video footage of Marianela in the female lead, I was truly excited to have made my debut opposite her in a role that’s perhaps different to my usual repertoire. “
I also performed one of my all time favourite characters of Onegin, in the final ‘rejection’ Pas de Deux which is super dramatic and emotional. Who better to be dancing as Tatiana, than prima ballerina assoluta, Nicoletta Manni, whom I made my debut at Teatro alla Scala last summer alongside in Kenneth Macmillan’s Manon?
Photographer: Luca Stefanon
Onegin is an extremely complex and layered character. When we find him in the third act, he’s been travelling to reflect on his life and the decisions he has made throughout his life.
He’s no longer the confident, overly charismatic individual we find in the first two acts: he’s more thoughtful and pensive in manner, yet still he shows his passion and determination as he tries to convince Tatiana to choose his love over her husbands.
Photographer: Luca Stefanon
Nicoletta and I were very lucky to travel to Stuttgart to work with Reid Anderson for a single rehearsal in preparation for this performance. This Pas de Deux is full of emotion from beginning to end and the trust between the two leads has to be there 100%, especially as there are some lifts that are some of the hardest in the classical repertoire and require freedom and abandonment.
Thankfully this came very quickly and naturally for Nicoletta and myself, very much like our first rehearsal of Manon together last summer and we mostly had to fine tune smaller details like musicality and artistic choices.
It was a real honour for me, as a guest artist, to come to La Scala and pay tribute to the incredibly influential Carla Fracci. One thing I find iconic about Fracci is how she not only popularised dance around Italy and of course had international acclaim but also how she continued to perform in her later years, demonstrating that age need not be a barrier to artistic expression.
Photographer: Luca Stefanon
To me Carla Fracci is a symbol of grace, artistry and dedication and I feel honoured to have been invited to perform here alongside two beautiful ballerinas, Nicoletta and Marianela.”
by Chidozie Obasi
Photography: Luca Stefanon @lucastefaon
Stylist: Chidozie Obasi @chido.obasi
Hair: Alexander Markart @alexander_franzjoseph
Makeup: Diana Djurdjevski @dianadee_makeupartist
Fashion Coordinator: Luca Miceli @luca.miiceli
Fashion assistants: Loris Vottero @loris_vottero + Cloe Rubinato @cloe_rubinato + Alberto Michisanti @albe.michi
Look 1, 2: GIORGIO ARMANI
Look 3: TOD’S
Look 4, 7: Nicolleta, GIORGIO ARMANI | Reece, blazer TOD’s; trousers PAUL SMITH
Look 5: Shirt HERMES; trousers HOMME PLISSÉ ISSEY MIYAKE
Look 6: DIOR MEN