Review: Carla with Love – a royal tribute to Carla Fracci in Turin

In a unique celebration of the iconic Italian ballerina Carla Fracci, the performance "Carla with Love" was staged against the lavish backdrop of two of Turin’s most historic sites: the Reggia di Venaria and the Palazzo Reale di Torino. These former royal residences of the House of Savoy, rulers of Italy from unification until the mid-20th century, now serve as museums that provided an opulent setting for this tribute.

The event, conceived by Francesco Borelli—a former dancer turned educator and manager—originated from a personal conversation with Fracci herself. The production was brought to life at the Palazzo Reale’s Hall of the Swiss Guards, a grand space chosen due to the delicate condition of the ballroom, which could not accommodate stage and lighting equipment. The setting was further enriched by the display of six costumes once worn by Fracci, enveloping the audience in a tangible connection to her legacy.

Choreographed and directed by La Scala’s Stefania Ballone, the program featured principal dancer Martina Arduino embodying Fracci, with Jacopo Bellussi portraying multiple key figures from her life, including her husband Beppe Menegatti and her father. The narrative unfolded through a series of vignettes that traced Fracci’s journey from childhood through landmark moments in her career, all performed without dialogue except for a recorded voice excerpt of Fracci near the conclusion.

The performance opened with scenes evoking wartime dance halls where young Carla learned foxtrot and rumba with her parents. It progressed to intimate portrayals of her early years at La Scala—highlighting her debut principal role as Cinderella when she stepped in for Violette Verdy—and explored personal and professional relationships, including moments shared with Maria Callas. Iconic ballets associated with Fracci’s career, such as La Sylphide, Romeo and Juliet, Sleeping Beauty, and her acclaimed interpretation of Gelsomina in La Strada, were subtly referenced.

Musical direction by Mirko Maria Matera offered a creative reinterpretation of familiar scores, blending recognizable themes with innovative arrangements that supported the choreography’s fluid storytelling. Three standout segments featured enclosed classical numbers: a pas de deux from Cinderella reconstructed from Alfred Rodrigues’ 1955 choreography for La Scala, a rendition of Giselle—recently performed by Arduino at La Scala—and an original duet choreographed by Ballone to the 1960 pop hit “Il nostro concerto,” a song deeply cherished by Fracci.

While the minimalist costume choice of white Lycra as a foundational attire received mixed reactions, the dancers’ performances maintained engagement throughout. Arduino’s portrayal was especially compelling in moments of solitude, such as her silent rehearsal scenes conveying Fracci’s dedication and discipline. Bellussi’s charm and versatility enhanced the narrative’s emotional depth, offering credible portrayals across various characters.

Adapting classical choreography to a compact 8 × 8 meter stage posed challenges, yet the Giselle pas de deux was skillfully modified to fit the space without losing the essence of the original. This offered an unusual vantage point for viewers familiar with the ballet, presenting the choreography from a near-wing perspective.

The inclusion of Rodrigues’ Cinderella choreography was a notable rediscovery, shedding light on a largely overlooked repertoire. Rodrigues, a South African choreographer connected to notable companies like Sadler’s Wells and La Scala, had crafted this work over six decades ago, and its revival here was both fresh and nuanced.

The evening culminated with Ballone’s choreography set to Umberto Bindi’s “Il nostro concerto,” a piece carrying personal significance to Fracci through her husband’s theatrical collaborations and its prominence as a 1960 chart-topper. Ballone’s work balanced dramatic intensity with moments of playful surprise, tailored to the strengths of Arduino and Bellussi and showcasing their dynamic chemistry.

Supporting dancers Giulia Gemma Manfrotto, Martina Scaglione, Cristian Prebibaj, and Raffaele Sibilio contributed to the depth of the production, with Scaglione’s spirited presence particularly noted. Despite some logistical constraints posed by the unconventional performance venue, “Carla with Love” emerged as an evocative homage that offers potential for future tours.

This tribute not only honors Carla Fracci’s enduring influence on ballet but also highlights the intersection of dance, history, and place by situating the performance within spaces steeped in Italian cultural heritage. The production’s thoughtful choreography and historical references invite audiences to rediscover Fracci’s legacy through a contemporary lens, underscoring her impact on the art form.