MILAN, ITALY — There’s a new pivotal debut at Milan’s La Scala and within its ballet company, which now adds its first full version of Paquita to its repertoire. Conceived by Pierre Lacotte for the Paris Opera in 2001, it’ll be presented for the first time by a company that isn’t French.
Lacotte was considered a trailblazer in reconstructing ballets from the romantic repertoire, giving new life to this historical title that breaks the cliché of the ballet blanc, focusing on true stories and flesh-and-blood protagonists.
Nicoletta Manni and Nicola Del Freo
In picturesque 19th-century Spain, during the Napoleonic occupation, the thwarted love between the French officer Lucien d’Hervilly and the gypsy Paquita is crowned by a fair marriage after a wealth of complexities.
The origin of the ballet Paquita is French: it was Joseph Mazilier who created this piece in 1846 (made of two acts and three scenes) when the Paris Opera was still located in Rue Le Peletier. The subject, by Paul Fouché, emphasised the exotic charm of gypsies and gypsy women.
“For many of us, it’s the first time dancing Paquita in its full version: Paquita is one of the most demanding ballets I’ve ever danced, precisely because her character requires a number of variations and Pas de Deux, which are really intense,” reflects La Scala’s Étoile Nicoletta Manno. “It was a very difficult and complex work, precisely because it was the first time that we had to learn the style of François Dupuy and the Épaulment.”
Nicoletta Manni, Nicola Del Freo and Corpo di Ballo
Manni deems the preparation process “very intense”, guided by incredible ballet masters who know the style of Lacotte to perfection and his intentions. “They worked with him and some were in the original cast, and this has made it a more interesting work for us because their role was fundamental when we came out of this show.”
Paquita has a lot of aspects: she enters with her energetic, strong and jubilant character, but then later she discovers love, so there’s also the uncertainty of her origin, she shows fragility, but then she’s also playful, and then she reaches the nature of the lady. So there are a lot of nuances in the course of this character, and there is a growth, an evolution, that is why it is so difficult for us.”
Nicoletta Manni, Nicola Del Freo and Corpo di Ballo – prova in costume
This production of Paquita, new for La Scala and its artists, is therefore presented as a homage to Pierre Lacotte, and to his work for the revival of a historic title.
by Chidozie Obasi