The internationally acclaimed artist unpacks coming of age, imposter syndrome and the fascinating parallels of physicality and sensibility with GLASS.
OUR ATTITUDES towards influential figures involve some stunning doublespeak. My own family tells the story quite well. My parents’ generation, of labourers on one side and scholars on the other, were influenced by leaders whose values were steeped in popular culture by defying expectations. Their generation lived in an age where societal shifts were pursued via tangible actions, not digital tractions.
Although modern-day influencers are considered glamorous and successful, there is a question as to whether artists of a high degree are allowed to fall into that category. I know this because today’s society, which doesn’t seem to have a problem with triviality per se, points to acknowledging the feats of those leading the way through easy means.
But at a time when the world’s changing and downturns are increasingly commonplace, the poised demeanour of an artist great enough to soothe the spirits like the softness of an adage is a welcome respite: that is, if like myself you admire the potent vein of art, and all the sensibility it harmonises.
Photograph: Cosimo Buccolieri
“I was born in a little town nestled in Piedmont, where I started ballet aged six because I had a friend who attended school there,” blithely recalls Roberto Bolle, the Italian-born sensation who just spotted a jar of fresh fruits in the corner of the south Milanese studio we’re in. I’m not sure I’ve ever seen anyone so jauntily poised, but then it’s 1 pm on a cold October afternoon and after days of rehearsals it’s little wonder that the 49-year-old is in need of a mineral boost.
His energy levels are imposing, and Bolle certainly knows how to fine-tune them when he needs to — unsurprising given that he’s been on stage practically his whole life. “[My friend] showed me how to execute movements and the approach to take ballet classes,” the artist reflects pre-shoot.
“Out of curiosity, I joined my first one back in the day but I was disappointed because I was the only male kid, so the moment I stepped into the studio shreds of discomfort prevailed. I was doubtful over the classical technique as I liked movement free from restraints and that tackled my emotions through a breezy flow”.
Photograph: Cosimo Buccolieri
He is correct, although breezy isn’t the word I would use to describe Bolle’s impassioned dance versatility. Moving, yes, even pioneering. Back in 1990, when Bolle was just 15 years old and the word “versatile” was barely part of our collective vernacular, he had met the late dance phenomenon Rudolf Nureyev. Later, at Milan’s famed La Scala theatre, he performed MacMillan’s Romeo and Juliet and was promoted to Principal the following year.
“I liked to dance whenever music was playing, but then I didn’t quite understand why all those positions and structures were put into place,” he says, between sips of water. “However, since I was there, I took the plunge and attended classes in this small sports centre for a couple of years. It became a routine before moving to Vercelli, which is a slightly bigger city in the same region. I stayed there for three years before leaving for Milan where I attended Teatro alla Scala’s ballet school”.
And so, given his busy childhood, musing over the past year and what it meant was an effortless choice. “Extremely exciting!” he squeals, beaming. “I took on a wealth of wonderful projects, starting from productions at the theatre, of course, but also the new TV programme for Rai1 that was aired on the International Ballet Day on April 29”. Bolle also had the chance to dance L’Histoire de Manon’s with London’s Royal Ballet, in Covent Garden.
Photograph: Cosimo Buccolieri
Photograph: Cosimo Buccolieri
“We celebrated the 25th anniversary of dancing with them, which was amazing,” he says. “So I did Manon with Marianela [Núñez], I flew to Japan for the World Ballet Festival, toured between Arena di Verona and Caracalla and in September, with the Lady of the Camellias, I celebrated my 30th year of starting my professional career at La Scala Ballet company. Considering my age and the point I’m at now in my career, it’s very exciting.” Indeed.
Growing up in Italy influenced his artistic identity, an added value that made him feel welcome when travelling abroad for work. “Of course, for us Italians, it’s common to come across the beauty, the architecture, the churches, and buildings of different eras, from Roman and Mediaeval, Renaissance, to Brutalist,” he says.
“Having the opportunity to travel to other countries I realised how important it is to come from a place where everything is related to culture, and how it influences the taste; moreover, I’ve always felt that being an Italian artist coming to London or New York was something deemed special, because we had great actors who were notable for their passion, craft and for their acting prowess, so its something that puts one in a good light”.
Photograph: Cosimo Buccolieri
Wary of sounding preachy, the artist adds that he “always liked dancing, and never thought about doing anything else” in his life. “I liked sports when I was a kid: I took swimming lessons or other kinds of activities, but I found my world in dance,” he says.
“I could combine the physical performance with a softer edge, which is the sensitivity that I have, so I later discovered the possibility to express my emotions and something deeper inside.” Through the shifts in character studies, Bolle discovered why he liked ballet. “The truth is that it really combines physicality with sensitivity, bringing forth the possibility to express a fantastic range of emotions.”
Bolle credits his own gumption for his artistic awakening as a teenager (“I’m very proud of how it all began because I had difficult times leaving home and I felt very nostalgic”). His trip to Milan fuelled his fighting spirit. “I gained the strength to be by myself in Milan, and to be left alone at that age,” he recalls, his face filling with emotion.
Photograph: Cosimo Buccolieri
“Since I was young, it was difficult to take those opportunities because I felt unprepared and insecure. But at the same time I had to give my best and grab those gigs, which were a turning point for me: being a guest with the Royal Ballet, the English National Ballet, the World Ballet Festival in Japan and for Her Majesty The Queen was extraordinary, but fragilities kept knocking,” he says.
He went through a period where he didn’t feel prepared for the exposure, the spotlight, and the tension, which was a hard slog. “But the only thing I could think of was for me to do my best, and whatever happened, I knew I did the maximum.” And the sacrifices made for a rewarding aftermath as opportunities arrived in full shot.
Having already paved the way for young artists, I ask what dance meant to him then and now. “It’s something that defines me, and I am who I am because of it and for the value that it gave me, because of my discipline and rigour,” he answers. When he speaks to politicians, advising on how important it is for young people to approach this art form, he emphasises the value that this practice has as you can achieve everything by working every day.
“No one is going to give anything for free: you have to really achieve step by step with a lot of work and a lot of pain, so you have to sacrifice yourself, and this consciousness is fundamental for the young generation”.
Photograph: Cosimo Buccolieri
But references, can one ever have enough? “When I was young, Nureyev and Baryšnikov were two ballet idols I had of course, as they were the two most important because of the media,” he remembers. On the thrills of dance, Bolle speaks with unguarded honesty – soothing and empowering in equal measure.
“At the beginning, I’d say adrenaline, fear, and excitement,” he says. “But there’s also insecurities, because you can’t predict what’s going to happen nor the audience’s reaction. But then again that’s the most beautiful part of our job, because you live someone else’s story, and it’s something incredible while on stage.”
It’s a story that anyone who took drama classes at least once in their lifetime can relate to. Does the fascination with certain roles change sometimes? “It certainly does through the years!” he exclaims, showing no signs of braggadocio on display.
“At the start of my career, I’d pick any between Romeo and Juliet and L’Histoire de Manon, which I love so much. Recently, I discovered more Onyegin, because it’s a darker and more troubled role, for which a level of maturity is required. I’m more like a lyric and an impassioned kind of dancer though”.
Photograph: Cosimo Buccolieri
The sacrifice that comes with being a ballet dancer is no mean feat, teamed with the crisis of hyper saturation, uncertainty and the politics of perfection. In a sea of talented candidates, Bolle managed to shine and grow into one of the most acclaimed artists of our time. “You need to have the ambition of doing something different,” he says.
“In my case, I had the ambition of not being only a ballet dancer in the theatre, but outside too. Bringing it to different venues, in the cities’ squares, in the streets, in TV shows. It seems easy, but it’s not because when you do, it’s very challenging and you never know how it’ll turn out. I didn’t feel comfortable doing such at the beginning, but I told myself that it’s an important step. I could feel that I had the possibility to do something more for this art form in my country.”
Photograph: Cosimo Buccolieri
But with sacrifice comes downturns, which have seen Bolle go through a major injury. “I went through pretty difficult times especially 15 years ago, as I had a significant back injury,” he opines. The dancer felt pain and uncertainty like never before and wasn’t sure he was able to come back to practising.
“It took me a lot of discipline and physiotherapy, and it felt like the pain was just best friend because when you have something such as a strong back injury, then everything else is affected. So even if the pain sits at your back at the beginning, after a few months it goes up and down, making you feel quibbled and unbalanced.”
It’s clear that Bolle has relished gaining control of his path after all these years of performing in major productions, offering classes to the youth willing to venture into the dance world and successfully managing to democratise such a medium by dipping it into the mainstream. “I think I made it because of the empathy I have, and the honesty that the people see I have towards my art form, doing as much as I can to give the best result,” he says.
Photograph: Cosimo Buccolieri
With a recent participation in La Dame Aux Camélias’ production at La Scala, his performance and characterisation were stellar. From the lifts to the impassioned pas de deux of the second act, there was something so dramatic yet so real about his role. “It’s one of the masterpieces that every time you have the opportunity to work on, it’s extraordinary,” admits Bolle.
“It’s great choreography, great music, and taking the story from a beautiful novel or book that is such a well-portrayed character that is like a thousand emotions that you can express is so deep, because you really enjoy the process of working in the studio. It’s a practice that becomes enriching.”
Photograph: Cosimo Buccolieri
It’s evident though, that while Bolle looks back at his career he feeds his hopes from the upcoming generation of dancers that are in the present. “I’d love to give the young generation the opportunity to access ballet. I recently created a foundation with my name, to help the young ones to better organise events like the one with the free open classes and evenings of dance and ballet,” he says, explaining how he wants to “give youngsters hope.”
It’s also why he’ll keep fighting for accessibility in the dance system, four decades since he first stepped into class. “Through the Roberto Bolle Foundation, a new venture that aims to push new opportunities to young dancers, I feel inspired to see these emerging artists grow,” Bolle reflects. “I think we have a wonderful new generation that is exciting to see maturing, bringing something exciting to the table. That’s what we need.” His 6-year-old self would be proud.
by Chidozie Obasi
Photographer: Cosimo Buccolieri (@cosimobuccolieri)
Stylist: Chidozie Obasi (@chido.obasi)
Producer: Jessica Lovato (@jessicalovato_)
Contributing Editor: Leonardo Martino (@leonardomartino_)
Fashion Coordinator: Leonardo Vantaggi (@vantaggileonardo)
Grooming: Daniel Manzini (@manzinidaniel)
Set Designer: Alina Totaro (@alinatotaro_studio)
Photography assistant: Antonio Crotti
Styling assistants: Francesca Melis (@francescameelis) Gaia Citiso (@gaiacitiso_) Salvatore
Sperandeo (@salvosperandeo)
Set design assistant: Francesca Consonni (@frameeme__)
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