Lon average it is 40 years. Of course, there are those who stop earlier and those much later (Sylvie Guillem retired at 50, Margot Fonteyn at 60, Carla Fracci continued up to over 70). And then there is Alessandra Ferri. A unicum, protagonist of a real revolution. Because it is not vulgarly a question of age, his 59 years have nothing to do with it. It is that no one had ever inspired such a concentration of mature female figures to the major world choreographers: Chéri’s Léa to Martha Clarke (2013), Duse’s Eleonora Duse to John Neumeier (2015), Woolf Works’ Virginia Woolf or the Mother of AphteRite to Wayne McGregor (2015 and 2018).
Prima Ballerina Absoluta and former prima ballerina of the American Ballet Theater, Alessandra Ferri with Herman Cornejo – principal dancer of the American Ballet Theater principal dancer – in “Flair” before the opening at Joyce Theater on March 1st 2016. (Photo credit should read TIMOTHY A. CLARY / AFP via Getty Images)
«In the past there had already been roles of elderly – in L’heure exquise And Les Chaises by Maurice Béjart, for example (two shows that, moreover, he has in his repertoire, ed) … But in fact, yes, there weren’t many “tries to minimize her, who has just received only one case of an artist still in business – the Positano Léonide Massine Award career (“A recognition that I am fond of for its history linked to Nureyev, and for having already received it as a rookie. However, I warned them: I consider it valid for this chapter of my path, eh: let’s see the next ones …” he laughs).
His secret? His weapons, in addition to talent?
Difficult to answer: I don’t plan, I don’t plan, I don’t calculate. I follow instinct and heart. Perhaps authenticity and freedom? If something gives me joy, I do it and amen. Did I need to stop? I indulged her. Did I have the impression of “turning off”? I went back to dancing (she stayed away from the scene from 2007 to 2013, ed). We must detach ourselves from the fears imposed (by the family, by society) or self-imposed. I always feel like doing this (he moves – with extreme grace, ça va sans dire his hands backwards)… Go, leave everything behind.
Should the concept of force be revised?
Strength is accepting vulnerability and being reborn. It is not not falling: it is getting up again. Strength is being able to look at yourself without hitting yourself. Of course, it takes a good deal of courage.
What do you mean?
It’s not that I don’t see myself getting older, it’s not like it’s the same as when I was 20. I continue to train for two and a half hours a day, but I have to “listen” to myself more, not push. But what’s more useless than looking at what one was, for better or for worse? Live the present with the enthusiasm of the future, without too many questions or brooding: “At my age this or that is not right …”. If you feel it right, it is right.
How did this new “chapter” begin?
Walking (laughs). In New York, on the street, I ran into Martha Clarke. 25 years ago she had proposed to me to collaborate and I had had to refuse: a totalizing commitment of months, I was at the height of my classic career … “Today can we work together?” she asked me, and I, immediately (before rationality and fears took over): “Yes!”, and I didn’t even know the details! Then came Duse and Woolf Works. Baryshnikov’s example inspired me.
We do not think they have tailored roles for him or other (male) dancers of age.
Roles maybe not, dance pieces yes. I went to see him he was 64 – with Mark Morris’ company: he wasn’t the Mischa I danced with in the eighties, yet he was wonderful! There I said to myself: talent belongs to the soul, not to the body. You just need to get used to being in tune, body and soul, and the tuning changes according to age.
Who else had a big impact on her?
First of all my mother. She fought for that independence that she did not have (my father was wonderful, unfortunately in the 60s it was not taken for granted that a woman worked): when it became clear that dance for me was not a pastime, she fought so that I could continue, although at that time we had moved from Milan to Monza and attending the Accademia della Scala every day involved sacrifices… And I would mention a teacher, Ljuba Dobrijevic: she did her utmost to have me leave Italy at 15 for the Royal Ballet.
Alessandra Ferri and Herman Cornejo in AFTERITE (2018) – Photo Marty Sohl, courtesy American Ballet Theater
And on an inspirational level?
Marcia Haydée, at the time at the Stuttgart Ballet. So intense, with such a realistic acting… Ah, one moment: I wouldn’t want to forget Kenneth MacMillan! He forged me: he saw my individual talent and brought it out, allowing me to recognize it: at 17 I didn’t know who I really was.
What did he come up with, exactly?
The “natural” interpreter: I acted in ballets not in a melodramatic, theatrical way as it once was. His Romeo and Juliet accompanied me from 19 to 52 years old, it is what characterizes me the most in the world.
The main difference between previous generations and yours?
I think I was one of the first to switch from one company to another. Borders have been broken down a bit: once there were those who belonged to the Paris Opera, those who belonged to the Bolshoi and the exchanges did not exist … I had a rather unique path, I was prima ballerina at the same time as the Royal Ballet, American Ballet Theater and La Scala. Another unicum …
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