It is the metaphor that Giorgio Panariello dedicates on social media to Carla Fracci. Currently, she holds conferences and organizes exhibitions on dance, while also developing special projects related to performance and research of the Italian dance scene.“A feather abandons itself to a sigh of wind”. She also created a course in ‘Critical Writing’ at the Catholic University of Milan. Beginning in 1999, she became a maître de conference at the Université Paris III - La Sorbonne from 2004, she has held courses in 'Methodology of dance criticism' at Dams of the Alma Mater Studiorum in Bologna, the oldest University in the world. She has written essays and books on all aspects of dance, and on its leading protagonists. Tiene conferenze e ha allestito mostre sulla danza, elaborando altresì progetti speciali.Īn essayist, dance and ballet critic since the 1980s, she teaches aesthetics and dance theory at the university 'Paolo Grassi' Civic Theater School in Milan, and is responsible for the activities of the Dancers’ Course for Dancers. Ospite, dal 1999, come maître de conference all’Université Paris III – La Sorbonne, dal 2004 ha tenuto corsi di “Metodologia della critica di danza” al Dams dell’Università “Alma Mater” di Bologna per sette anni e di “Scrittura critica” presso l’Università Cattolica di Milano per due anni. Saggista e critico di danza e balletto dagli anni Ottanta, è docente di Estetica e Teoria della danza alla Civica Scuola di Teatro “Paolo Grassi” di Milano e responsabile delle attività del Corso Danzatori. All of them were fascinated by her charismatic personality, all were ready to give her a little of their art, or of their memories, perhaps to have in exchange also the caress of her velvet voice.
She loved eating big plates of pasta, she loved the holidays, she loved her many artist friends: poets like Eugenio Montale, painters like Renato Guttuso, sculptors like Marino Marini, playwrights and actors like Eduardo de Filippo who, when she danced his Filumena Marturano, gave her the armchair of Titina, his beloved sister. Not that working hard meant that she didn’t enjoy her life, on the contrary. And I would say that for many, Carla was the very symbol of ballet. Walking with her on the street, as has happened to me many times, meant repeatedly stopping for an autograph and a smile. Having established a radiant company, the couple brought the ballet repertoire, but not only, to every hidden corner of the Bel Paese. The birth of a new project, meticulously created with her husband, made her the most famous dancer in Italy too.
CARLA FRACCI DRIVER
No Giselle, among the many that we have admired and still admire today, has ever managed to make us cry las she did, in the madness scene of the peasant girl betrayed by her love, when she runs, mad and desperate, into her mother’s arms before falling to the ground.īut then the daughter of the tram driver and a worker who loved to dance at popular parties and dance halls must have heard the call of home. Perhaps without Beppe that “nice little face” that then became a 20-year-old lithe body – pure light and charisma from the waist up, and a little more fragile in the legs, in the feet without an enviable instep-she would not have strategically traveled along the way of a true renaissance of Romanticism on point. Well, this is due to her indefatigable and insatiable passion for art that she had chosen, both to the ardent study, technical and theoretical, of the Romantic period to which the theatre director Beppe Menegatti, her cultured husband, submitted her, and with and for whom she has interpreted an infinite quantity of ballets. How did she then become a sort of “new Maria Taglioni”, that is, queen of Romantic Ballet, and recognized as such not only in Italy, but in the world? Margrethe Shanne, Yvette Chauviré, Alicia Markova and Carla Fracci in Pas de Quatre (wikimedia) She certainly did not spare herself, although she was already visibly exhausted, but it was believed this was due to her age she went all out when showing, more than once, the secrets of a role of which she was and still remains, an unsurpassable paradigm to the dancers. Without telling anyone about her illness–a tumor–Carla, who would have turned 85 on 20 August, held a couple of masterclasses in January, launched in streaming, on Giselle for the La Scala Ballet Company, sent with insight by its new Director, Manuel Legris.
That shaky admission, still in Milanese dialect, has now gone down in history, like the whole extraordinary life of this artist who quietly left us.
Then, as the legend says, she was welcomed at the last moment: the last wheel of the wagon, not by virtue of a small, gifted body, but by a whispered “l’ha gaà un bella faccin”.
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