Nicoletta Manni, class of 1991, now a prima ballerina at La Scala, was introduced to ballet at only 2 years old thanks to her mother, a dance teacher. Born in Galatina, in the province of Lecce, at age 12 she was admitted to the fourth course of the Academy's Ballet School.
We asked her to tell us her story for the “Hall of Fame” column dedicated to our talents.
“I moved to Milan when I was only 12 years old, after passing the selections for the fourth course of the Academy's Ballet School. I lived in a nuns' boarding school with some of my classmates, but I was the youngest in my class, as I had started elementary school a year earlier. For me, it was a dream to find myself in a big city like Milan, although as time went by I must admit that I missed my family. An ever-present family. Thanks to their support I was able to keep going even in moments of weakness. I owe a lot to my parents, without them I might not have gotten where I am today.”
What do you remember about the audition and then your path to the Academy?
The day of the audition, in 2004: a beautiful memory!
I came accompanied by my mom, I was very tense, but also very determined to enter this prestigious school. I wanted to be a dancer.
The School, first under the direction of Anna Maria Prina and later Frédéric Olivieri, gave me a very high level of training and great professionalism from all the teachers. Honestly, in those years, I did not know if I would ever become a prima ballerina, but I was very motivated and I thank all those who always spurred me on to give the best of myself.
What in particular did the Academy give you?
I was an out-of-state student, so in my case, the teachers were real guides for my path.
While I was studying, I had the opportunity to participate in some Scala productions: I remember my debut at 13 in The Nutcracker, choreographed by Rudolf Nureyev, where I played one of the little mice. I remember it as a magical moment: the Nutcracker was played by Roberto Bolle and playing Clara was Eleonora Abbagnato. It was a moment of high training for me who was still a child, as I had the extraordinary opportunity to see up close how two professional dancers prepared for a real production.
Being a student of a Ballet School linked to such a prestigious Theater, with a company of that level and having the opportunity to perform on that stage as well as being called in productions, is definitely a great advantage.
Once you graduated, how did your career develop?
I graduated from high school in 2009. At that time I was still a minor because, as I said, I had started school a year early and so I was forced to audition abroad, since in Italy it was not easy to find a stable contract for a minor. However, I was very lucky in that I got my first engagement at the Berlin Staatsballett, when I was only 17 years old. It was not so easy at first: I did not know the language and it was the first time I was working in a foreign company. Today, however, I can say that I am happy that I made this choice, which gave me the opportunity to work so much and to perfect myself as a dancer on an international level.
After three and a half years, in 2013, I left Germany to return to Milan, at the request of Director Makhar Vaziev, who wanted me back at La Scala. I was immediately entrusted with solo roles: I danced in Giselle in 2013, in the role of Myrta alongside Svetlana Zakharova and Roberto Bolle, and in the role of Odette-Odile in Swan Lake.
In 2014, at the age of 23, I was appointed prima ballerina. Since then I have had the pleasure of performing many roles alongside wonderful dancers.
How important is the bond with the male partner?
I think a pair of dancers must first and foremost be credible in the eyes of the audience, convey harmony and a real affinity, which is created only by working together a lot. Couple complicity between two dancers in my opinion is consolidated by playing different roles.
What role does the maître d' play for a dancer?
I must say that he is a key figure for young dancers.
When I joined the La Scala company, I could not yet boast of any established experience as a professional, and Olga Chenchikova's presence by my side proved substantial in learning the correct approach to studying and interpreting roles.
It closes, we all hope, a very difficult period for the entertainment world. How have you experienced it?
La Scala Theatre was one of the first to close because of the Covid-19 pandemic. Being away from our theater for several months disrupted our lives and we had to give up contact with everyone, even the masters.
Let's just say we all made do by improvising rehearsal rooms in the living room or kitchen...but of course I'll let you imagine the difficulty. I'm looking forward to slowly getting back to full normalcy.
Would you like to say something to the kids who are going through the selections for the School of Dance these days?
First of all I wish them good luck and then I can only advise them to be tenacious, determined and to believe in their aspirations. Dreams, I assure you, can be realized!
Photo Brescia e Amisano©Teatro alla Scala
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