The opening cast of the premiere was well-known: the étoile Nicoletta Manni and the principal dancer Timofej Andrijashenko. Lately the ballet’s ideal couple have become La Scala’s sweethearts, also viral online for his engagement proposal in front of 12,000 spectators at the Arena in Verona and their wedding in Puglia celebrated in a “masseria.” Their onstage connection is palpable, all the more so in a romantic ballet such as “Giselle,” brought to life through their real loving glances. Different in background and style, as well as in artistic temperament, “Nico and Tima” (as their fans call them) live and dance in a symbiosis that does not overshadow their respective features. A dancer with a contemporary physique and an always strong and perfect technique, has transformed the ‘coldness’ of her early days (criticised by some) into a dramatic intensity given by the role of Tatiana (for which she was nominated étoile). As Giselle as well she is admirable, although the more traditionalists (such as the writer) found in her style wanting of that lyrical pathos inherent to the character. 

Our étoile had also Carla Fracci, shortly before her passing, as a special teacher in a number of memorable masterclasses on “Giselle” at La Scala. Manni recalls that experience whenever the ballet is revived: a legacy, it seems, perhaps more spiritual, as these two ballerinas could not be more different. 

Andrijashenko, instead, is Albrecht, in the sense of the ‘danseur noble’ of the Russian-Soviet tradition (his family is originally from Moscow): from Vladimir Vassilev to Konstantin Zaklinsky to Igor Zelensky, dancers who resemble him even physically, with their beautiful, flowing blond hair. Our principal dancer has certainly a model in his mentor Roberto Bolle, having seen him so many times in as Albrecht: a model for the young generation of La Scala dancers. It is clear in Andrijashenko’s composed elegance, as in the entrée in the second act with the cloak and the bouquet of white lilies: a scene of authentic theatre. Here, too, we find Nureyev’s legacy at La Scala: although he never saw him perform, his compatriot’s spirit must still inhabit the planks of our stage. Andrijashenko looks to Bolle and, certainly, to the young Russian dancers we by now admire only through video clips, displaying the technical prowess of his beautiful 32 entrechats six in the second act. A hugely successful performance, also broadcast on the cultural channel of our national TV RAI.

Instead, with her soft lines and ecstatic aptitude, Martina Arduino embodies the aesthetic and spirit of Carla Fracci’s Giselle, proving to be an admirable prima ballerina in the roles of the French Romantic repertoire. Her identification with the role is striking, but even more with Carla Fracci herself, who, by chance she was performing at that very time in the biopic Carla with Love, a ballet by Stefania Ballone.

The debut as Albrecht by Mattia Semperboni, was exciting as well: he is a soloist I have admired since his days at the Academy: a master of turns à la seconde, not exactly a danseur noble, but able to slips effortlessly and convincingly into the role, enriching him with the sensuality of his sculptural lines and an accuracy in technical and dramatic details. Another show to remember, perhaps less of a draw for the general public but well attended by connoisseurs.