Eight years ago, Alessio Carbone, then principal dancer, had the brilliant idea of uniting his compatriots and colleagues within the Paris Opera ballet. Thus was born the troupe of Italians of the Paris Opera which will enjoy vibrant success throughout the world. On Tuesday July 2, Alessio Carbone’s dancers will perform on the stage of the Jean-Deschamp theater. For the occasion, the man who does not consider himself an artistic director answered our questions.
Tell us how the “Italians of the Opera” troupe was born?
In November 2016, I was offered a gala in Venice, my hometown where I had never danced. Given the small budget, I couldn’t afford a big production. So I imagined bringing together my comrades and compatriots from the Opera on stage. Of the sixteen foreign dancers in the Ballet, there are eleven Italians. The performance was a great success and subsequently earned us several offers in France and around the world.
I rather have the impression of being a big brother to the dancers I hire
Do you consider that there is a difference between the French and Italian approach to dance?
All the dancers come from the Paris Opera. So there is still a common trademark, typical of the French school. Despite everything, some of them grew up in Italy and spend all their free time there. Thus, on stage, we inevitably find a Mediterranean side. Even if we feel the technique of the Paris Opera, we also feel the vibrant Italian heart, a little freshness and sunshine of the country.
For this show at the Carcassonne Festival, what repertoire should the Aude audience expect?
We have extracts from the mainly classical repertoire. Especially because current generations love the classic. This is a request from the dancers themselves. Since this is the first time we have come to Carcassonne, I have really selected the heavy artillery of the classic. There will be small 10-minute extracts from great ballets like Don Quixote or Romeo and Juliet. Afterwards, I also love contemporary and I cannot put together a program solely composed of classical dance. I’ll try to balance things out a little.
What kind of artistic director are you?
I feel more like a big brother to the dancers I hire. There is so much affection between us. When it doesn’t happen of course on scene, because these are things that can happen, I’m more in a brotherly state of mind. I can’t really sanction it. I don’t consider myself an artistic director. I try to do the best I can and keep an open mind.
Do you have future plans for your “Italians of the Opera”?
For now, we are trying to imagine a tour in China for the coming year. We really hope that this will come to fruition. In the meantime, when I am not able to bring together all the Italians from the Opera for various reasons, I send the dancers who have already worked with me to participate in other shows. I try to promote them that way and I follow them very closely.
