In 1995 he received an award from the Italian magazine “DANZA & DANZA” and an award in Positano (“a promising young dancer of the Italian classical ballet", Italy).
In 2001, he was named best dancer of the year by the Italian magazine “DANZA & DANZA” and received an award in Positano for his active international activities.
He is the winner of many other Italian awards.
Nominated for the Benois de la Danse prize.
Biography
Born in Casale Monferrato (Italy). Studied at the La Scala Ballet School (Milan). The first to notice the young dancer’s extraordinary talent was Rudolf Nureyev, who invited him to perform the role of Tadzio in Flemming Flindt’s ballet “Death in Venice” to the music of B. Britten (the performance did not take place).
In 1996, just two years after joining the La Scala troupe, he took the position of leading dancer. His international career began that same year. He danced in productions of the Royal Ballet Covent Garden, the National Ballet of Canada, the Stuttgart Ballet, the Finnish National Ballet, the Berlin State Opera Ballet, the Dresden Semper Opera, Tokyo Ballet, the Naples Teatro San Carlo, etc., and performed at the Wiesbaden Festival and the International Ballet Festival in Tokyo.
His repertoire included leading roles in the ballets “The Sleeping Beauty” by P. Tchaikovsky (after M. Petipa), “Cinderella” by S. Prokofiev, “Don Quixote” by L. Minkus (all editions by Rudolf Nureyev), “ Swan Lake"P. Tchaikovsky (editions by R. Nureyev, Anthony Dowell, Derek Dean, Vladimir Burmeister), "The Nutcracker" by P. Tchaikovsky (editions by Peter Wright, Ronald Hind, Derek Dean, Patrice Bar), "La Bayadère" by L. Minkus (edition by Natalia Makarova after M. Petipa), “Etudes” to music by K. Czerny (choreography by Harold Lander), “Excelsior” by R. Marenco (choreography by L. Manzotti, revised by Hugo dell’Ara), “Giselle” by A. Adam (choreography by J. Coralli, J. Perrot, M. Petipa, various productions, including Sylvie Guillem), “The Vision of a Rose” to the music of K.M. von Weber (choreography by M. Fokine), “La Sylphide” by J. Schneizhoffer (Pierre Lacotte after Filippo Taglioni), “Manon” to music by J. Massenet (choreography by Kenneth MacMillan), “Romeo and Juliet” by S. Prokofiev (versions by K. MacMillan and D. Dean), “Onegin” to the music of P. Tchaikovsky (choreography by John Cranko), “Cathedral Notre Dame of Paris"M. Jarre (choreography by R. Petit), "The Merry Widow" to the music of F. Legare (choreography by R. Hind), "Ondine" by H.V. Henze, “Rendezvous” to music by D.F. Auber and “Thais” to music by J. Massenet (choreography by Frederick Ashton), “In the Middle, a Little Elevated” to music by T. Wilems (choreography by William Forsyth), “Three Preludes” to music by S. Rachmaninov (choreography by Ben Stevenson), “Agon” by I. Stravinsky, “Pas de deux by Tchaikovsky”, “Apollo Musagete” by I. Stravinsky (choreography by George Balanchine).
Derek Dean, director of the English National Ballet, staged his versions of the ballets Swan Lake and Romeo and Juliet for Bolle, which he danced with this company on the stage of London's Albert Hall.
He took part in a grandiose production of the opera “Aida” against the backdrop of the pyramids of Giza - this colorful performance celebrated the 10th anniversary of the Opera House in Cairo. And soon after that he took part in the production of “Aida” on the stage of the Arena di Verona - the performance was broadcast live to many countries around the world.
Since 1998 he has been a permanent guest soloist ballet troupe Milan's La Scala theater.
In October 2000, at the opening of the next season at Covent Garden, he performed the role of Prince Siegfried in the ballet Swan Lake (edited by E. Dowell).
In November 2000, he took part in a gala concert in honor of the 75th anniversary of Maya Plisetskaya at the Bolshoi Theater.
In 2002, during a tour of the La Scala ballet in Moscow, he performed on stage Bolshoi Theater in the title role in the ballet “Romeo and Juliet” (choreography by K. McMillan; Juliet - Alessandra Ferri).
In June 2002, on the occasion of the 50th anniversary of Queen Elizabeth's accession to the throne, he spoke in her presence at Buckingham Palace.
In 2003, during the celebrations of the 300th anniversary of St. Petersburg, he danced “Swan Lake” with the Royal Ballet Covent Garden on the stage of the Mariinsky Theater.
In the 2003/04 season he was elevated to the rank of premiere of La Scala Ballet.
In 2004, he danced at the festival in San Remo a solo from the ballet “The Firebird” by I. Stravinsky, choreographed for him by Renato Zanella (broadcast to many countries around the world).
In the same year he took part in the III international festival ballet "Mariinsky".
Danced in Paris national opera“Don Quixote” and “The Sleeping Beauty” (edited by R. Nureyev).
On December 7, 2004, in a duet with Alessandra Ferri, he performed in dance scenes in the opera “Recognized Opera” by A. Salieri, shown at the opening after a three-year restoration of the old La Scala theater building.
In 2005, he performed in the ballet "Apollo Musaget" ("Apollo") at the Mariinsky Theater as part of the IV Mariinsky Festival. With the Royal Ballet he danced "Sylvia" by L. Delibes (choreography by F. Ashton) - the performance was broadcast on Christmas Day by the Bi- BBC
In February 2006, at the opening ceremony of the Winter Olympic Games in Turin he danced a solo number choreographed for him by Enzo Cosimi.
He was the partner of the world's leading ballerinas, including Carla Fracci, Alessandra Ferri,
Sylvie Guillem, Isabelle Guerin, Darcey Bussell, Viviana Durante, Tamara Rojo, Svetlana Zakharova, Diana Vishneva, Daria Pavlenko, Polina Semionova.
Ambassador since 1999 goodwill UNICEF.
From the MK dossier: In Italy he is a national hero. His images hang everywhere on the streets. The Italians adore their dancer, call him the golden boy and trusted him to open the Olympic Games in Turin in February 2006 with his dance. And two years ago (2016) he became a guest at the Sanremo Song Festival, performing Mauro Bigonzetti’s number on the song “We Will Rock You” by Queen.
In addition to La Scala, Roberto Bolle is also the Prime Minister of the American ballet theater. Before him, no Italian dancer had received the title of leading soloist in America. IN recent years, as a member of the American Ballet Theater, he regularly performed on the stage of the New York Metropolitan Opera. He was also a guest star of the English Royal Ballet and even danced at Buckingham Palace in front of the Queen on the occasion of the 50th anniversary of Elizabeth's accession to the throne. This performance was broadcast on live BBC in all countries of the British Commonwealth. And on April 1, 2004, in honor of Youth Day, he performed in St. Peter's Square in Rome in front of Pope John Paul II.
And in general, Bolle danced everywhere! Even at the foot of the pyramids of Giza in Egypt in the opera “Aida” - at the celebrations in honor of the tenth anniversary of Cairo opera house. In the same game he performed in new production opera - on the stage of the Arena di Verona. The performance was broadcast live on television channels around the world.
In 2009, Ball was awarded the Young Global Leader Award at the World Economic Forum in Davos. Since 1999, the dancer has been a UNICEF Goodwill Ambassador. In this capacity, he visited Sudan (2006) and the Central African Republic (2010) to raise funds and bring global attention to children experiencing violence. In 2012 he became a Knight of the Order of the Knights of the Italian Republic for services in the field of culture, two years later he received gold medal UNESCO for artistic contributions. In January 2018, he spoke at the opening of the World Economic Forum in Davos.
— Roberto, can I ask you to go back a little and remember your meeting with Rudolf Nureyev? In Russia there is now simply a revival of his cult. It is known that he noticed you and invited you to participate in the play “Death in Venice”...
— This was at the moment when I was studying at the school at La Scala. Nureyev came to check out the scenery for The Nutcracker. He noticed me during a rehearsal, although our subsequent meeting was purely by chance, because I, along with other students, participated in the ballet “The Nutcracker”. And when the next day Nureyev came to practice on stage (despite his age, he continued to practice), I was there at that time, and we had the opportunity to talk in person. And for an hour, when I was practicing, he corrected my movements, suggested, gave some recommendations and advice - he worked with me for an entire hour. Then I had to leave. That same evening, I received a call at my house with an offer to play Tadzio in the play “Death in Venice.”
I must say that, unfortunately, I did not receive permission to participate in this production, since I was underage, and the rehearsals took place not in La Scala, but in another city, so they could not let me go as a minor student. But this meeting had an impact on my later life a very big influence: I realized that what I do is my future.
— Do you regret the failed work with Nureyev?
- You know, at that moment I was very worried, for me it was almost a tragedy. But now I understand: the fact that this did not happen turned out to be much better for me, because I could have literally been incinerated and burned to the ground. I know that Rudolf was very difficult to work with, and I was an absolute child, not prepared for this situation either mentally or physically. And everything could have ended badly for me if I had participated.
— Now in the world of ballet you occupy the same place as Rudolf Nureyev. He had, as you correctly noted, a terrible character, and you were completely different.
- I must say that we are very different in character. It is known that he was very angry, easily succumbed to fits of anger and could not always be correct with his partners during a performance. I differ from him not only in that I behave differently and have a different character - I am completely different, we in no way can be put on the same level. Because it was a completely different era: Nureyev was an absolute myth, an unattainable figure. In our time there are no such figures, and therefore there is no need to compare me and him.
What we have in common with Rudolf Nureyev is that he is open to the rest of the world, and in my work I also try to follow his penchant for experimentation. He participated in television shows, acted in films, and worked in the theater. And I follow him to discover the figure of the classical dancer, who is sufficiently closed and limited in his activities to open up to other types of activities - such as advertising, cinema...
- We are talking, and you, excuse me, are always eating something from a bag. What is it and is it a ballet diet?
“Here I have all sorts of dried fruits - raisins, whole grain muesli. I try to always eat healthy food, because during breaks in work you can usually only eat some kind of crap. And since I’m trying to eat healthy, I ate a banana during the previous break, now I eat cereals with raisins.
- Wow! But what about the fact that Italians are the biggest gourmets and food lovers? Are you not Italian?..
- In this sense, I am not Italian at all, because I don’t eat a lot of things - meat, I very rarely eat pasta, I never eat cheeses, nothing fried, because I have to control my shape very tightly.
(Then they came running for him and called him to a rehearsal. Roberto apologizes, leaves the dressing room, promises to return. He kept his word.)
- So, let's continue. If you are not a typical Italian when it comes to food, then how are you in everything else? Maybe you're a typical American? Or a typical Russian?
— Good question: maybe I really am a typical Russian. I think that I am still a typical Italian, because if we talk about Italy, excluding the aspect of food, then it is a country of beauty. It is sustained not only in famous works art, but also in fashion, in architecture, in everything that surrounds you. I have lived most of my life and continue to live in Italy, surrounded by a wide context of beauty, and here I was formed as a typical Italian.
- Yours physical fitness- and especially her figure - even younger dancers can envy. We've already heard about bananas; Do you do anything besides eating restrictions and ballet training?
- Yes, I think that the most important thing here is a certain constancy and firmness in your habits. In addition to the regular ballet class, in addition to nutrition, the schedule of classes without any concessions is very important. If you want to dance and be in good shape, you shouldn't go to discos, stay up late, etc. I treat myself and my body as a mechanism, because in order for a car to drive well, it must receive fuel, that is, in in this case- nutrition. You don’t need to achieve shape, but maintain it at the proper level, including with the help of a daily routine and very strict adherence to what you do every day from time to time without any deviations.
- Are you so correct? You limit yourself in everything, you cannot allow what others allow...
- Yes, I am extremely far from any kind of violations that many really suffer from. I can say that I don’t drink and never have, I don’t smoke, I very much limit myself in food, but all these sacrifices and refusals are caused by my main passion - the passion for dancing. Therefore, I understand perfectly well that without these restrictions it is impossible to maintain myself in the state in which I maintain myself. Of course, I am a living person, there are some breakdowns. For example, under the influence of stress, I may eat something extra or go to bed later than I should. But these are the rare exceptions that support the rule, and in general my daily routine is very strict.
“But the other side of any passion is loneliness.” Do you experience this feeling?
- You know, I really love solitude. I believe that loneliness is not a curse, but a pleasure. Firstly, I’m used to it and generally consider myself a loner by nature. The fact is that I left my parents’ house at the age of 11 and got used to being alone from an early age. And now, when I travel a lot and am often left alone, I don’t feel any discomfort, just the opposite: I feel absolutely wonderful alone. And I will say even more: if due to circumstances I have to be in big company people, I feel the need to be alone and spend some time alone. This is not what I suffer from.
— The thing is, if you noticed that I have always done nude photo shoots with outstanding top-class photographers. And I want to say that both in my photo shoots and in my profiles in social networks I strive to share the beauty ballet world and beauty in in a broad sense words with viewers who can’t always relate to it. I tried - and I hope I succeeded - to avoid any vulgarity in the photographs. For me, this is first and foremost an artistic photo - with an emphasis on the word “artistic”.
- And you succeeded. You also model for fashion magazines. How interested are you in the world of fashion?
— For me, this is a sufficient part of my life. I have been living in Milan for a long time, at the age of 21 I became the etiquette of the La Scala theater, so from the age of 19 I was invited to various fashion parties, shows... Therefore, the fashion world is an important part in my life - rather, its entertainment part. I make short trips there and then return to ordinary life, with my usual values. And my values lie outside the world of fashion. I worked a lot with Dolce and Gabbana, Feragamo and other fashion houses; I am friends with many representatives of the fashion world and enjoy attending events related to this. But this is a small part of my life.
— Just six months ago we were in Spaletto at the amazing evening “Roberto Bolle and Friends.” What do you need to do to become a friend of Roberto Bolle and get into this wonderful company?
- This program has existed for 15 years, we have shown it at the best venues in Italy - the Colosseum, Arena Di Verona - and this is a great opportunity to combine beauty classical dance with the beauty of the historical places of Italy. I invite different artists, including classical ones modern dance; Both stars and young guys participate, but since I travel a lot around the world, I see and invite many.
— You are known as a wonderful partner. But were there any cases in your stage biography when, excuse me, you couldn’t hold your partner and dropped her, which happens to many?
- I must say, to drop a ballerina just like that... I had the only case in practice when I dropped a ballerina, but that was during the training period. And not on stage, but in the rehearsal room. And I not only dropped her, but I fell along with her. And so far no serious incidents have happened to me on stage - although there are failures due to small things, but, thank God, no serious incidents.
— In Italy, your portrait is everywhere. Are paparazzi following you and how do you feel about it?
- Of course, paparazzi and photographers interfere with our lives, because they do not know how to distinguish private life from public life, and, of course, unpleasant situations often arise. And it's strange that people don't understand the other person's need to remain calm. Although I must admit that for the last two years I have given few reasons - they have practically stopped bothering me, probably because I don’t go anywhere except those places where I have to be for work. I don’t go to discos or restaurants, and they don’t need to keep an eye on me. Actually, I left the house and went to work.
As for fans and restrictions, I can say that because of this I cannot vacation in Italy. I am always forced to go on vacation to other countries, because the people who surround me believe that they must show me their love, affection and happiness from meeting me, and I must be ready to accept this love at any moment. But they don’t suspect that I want to rest and be without them for a while.
— You dance beautifully, but like an Italian, do you sing?
- Very bad, very bad.
— Last question. We would like your dancing career to continue for a long time, but nevertheless, what do you think about doing after your career ends?
“When Makhar Vaziev worked at La Scala, he always told me: “Roberto, you must take my place when I leave.” So I'm going to take Mahar Vaziev's place. But, unfortunately, he left too early, so I cannot end my career now, but sooner or later I will take his place.
In Moscow, in the Kremlin, you once performed in the same program with the troupe of the legendary choreographer Maurice Bejart. Would you like to obtain from the Bejart Foundation (we know that this is very difficult) the right to perform his ballet Bolero? It seems that this ballet is directed right at you, and you can look absolutely irresistible in it...
I will dance this ballet at La Scala in March. Come!
Roberto Bolle, the most famous Italian, the star of the world ballet with the highest stakes, modestly sits in someone else's dressing room and waits to be called to a rehearsal. He flew to St. Petersburg for just two days to take part in a grand gala dedicated to the 85th anniversary of the Mikhailovsky Theater ballet troupe. Exclusive interview he only gave "MK".
From the MK dossier: In Italy he is a national hero. His images hang everywhere on the streets. The Italians adore their dancer, call him the golden boy and trusted him to open the Olympic Games in Turin in February 2006 with his dance. And two years ago (2016) he became a guest at the Sanremo Song Festival, performing Mauro Bigonzetti’s number on the song “We Will Rock You” by Queen.
In addition to La Scala, Roberto Bolle is also the premier of the American Ballet Theater. Before him, no Italian dancer had received the title of leading soloist in America. In recent years, as a member of the American Ballet Theatre, he has performed regularly at the New York Metropolitan Opera. He was also a guest star of the English Royal Ballet and even danced at Buckingham Palace in front of the Queen on the occasion of the 50th anniversary of Elizabeth's accession to the throne. This speech was broadcast live by the BBC throughout the British Commonwealth. And on April 1, 2004, in honor of Youth Day, he performed in St. Peter's Square in Rome in front of Pope John Paul II.
And in general, Bolle danced everywhere! Even at the foot of the Giza pyramids in Egypt in the opera “Aida” - at the celebrations in honor of the tenth anniversary of the Cairo Opera House. In the same role he performed in a new production of the opera - on the stage of the Arena di Verona. The performance was broadcast live on television channels around the world.
In 2009, Ball was awarded the Young Global Leader Award at the World Economic Forum in Davos. Since 1999, the dancer has been a UNICEF Goodwill Ambassador. In this capacity, he visited Sudan (2006) and the Central African Republic (2010) to raise funds and bring global attention to children experiencing violence. In 2012, he became a Knight of the Order of the Knights of the Italian Republic for his services in the field of culture, and two years later he received a UNESCO gold medal for his artistic contribution. In January 2018, he spoke at the opening of the World Economic Forum in Davos.
Roberto, can I ask you to go back a little and remember your meeting with Rudolf Nureyev? In Russia there is now simply a revival of his cult. It is known that he noticed you and invited you to participate in the play “Death in Venice”...
This was at the time when I was studying at the school at La Scala. Nureyev came to check out the scenery for The Nutcracker. He noticed me during a rehearsal, although our subsequent meeting was purely by chance, because I, along with other students, participated in the ballet “The Nutcracker”. And when the next day Nureyev came to practice on stage (despite his age, he continued to practice), I was there at that time, and we had the opportunity to talk in person. And for an hour, when I was practicing, he corrected my movements, suggested, gave some recommendations and advice - he worked with me for a whole hour. Then I had to leave. That same evening, I received a call at my house with an offer to play Tadzio in the play “Death in Venice.”
I must say that, unfortunately, I did not receive permission to participate in this production, since I was underage, and the rehearsals took place not in La Scala, but in another city, so they could not let me go as a minor student. But this meeting had a very great influence on my future life: I realized that what I was doing was my future.
- Do you regret the failed work with Nureyev?
You know, at that moment I was very worried, for me it was almost a tragedy. But now I understand: the fact that this did not happen turned out to be much better for me, because I could literally have been incinerated and burned to the ground. I know that Rudolph was very difficult to work with, and I was an absolute child, not prepared for this situation either mentally or physically. And everything could have ended badly for me if I had participated.
Now in the world of ballet you occupy the same place as Rudolf Nureyev. He had, as you correctly noted, a terrible character, and you were completely different.
I must say that he and I are very different in character. It is known that he was very angry, easily succumbed to fits of anger and could not always be correct with his partners during a performance. I differ from him not only in that I behave differently and have a different character - I am completely different, we in no way can be put on the same level. Because it was a completely different era: Nureyev was an absolute myth, an unattainable figure. In our time there are no such figures, and therefore there is no need to compare me and him.
What we have in common with Rudolf Nureyev is that he is open to the rest of the world, and in my activities I also try to follow his penchant for experimentation. He participated in television shows, acted in films, and worked in the theater. And I follow him to discover the figure of the classical dancer, who is sufficiently closed and limited in his activities to open up to other types of activities - such as advertising, cinema.
We are talking, and you, excuse me, are always eating something from a bag. What is it and is it a ballet diet?
Here I have all sorts of dried fruits - raisins, whole grain muesli. I try to always eat healthy food, because during breaks in work you can usually only eat some kind of crap. And since I’m trying to eat healthy, I ate a banana during the previous break, now I eat cereals with raisins.
- Wow! But what about the fact that Italians are the biggest gourmets and food lovers? Are you not Italian?..
In this sense, I am not Italian at all, because I don’t eat a lot of things - meat, I very rarely eat pasta, I never eat cheeses, anything fried, because I have to control my shape very tightly.
(Then they came running for him and called him to a rehearsal. Roberto apologizes, leaves the dressing room, promises to return. He kept his word.)
So let's continue. If you are not a typical Italian when it comes to food, then how are you in everything else? Maybe you're a typical American? Or a typical Russian?
Good question: maybe I really am a typical Russian. I think that I am still a typical Italian, because if we talk about Italy, excluding the aspect of food, then it is a country of beauty. It is consistent not only in famous works of art, but also in fashion, in architecture, in everything that surrounds you. I have lived most of my life and continue to live in Italy, surrounded by a wide context of beauty, and here I was formed as a typical Italian.
Your physical fitness - and especially your figure - can be the envy of even younger dancers. We've already heard about bananas; Do you do anything besides eating restrictions and ballet training?
Yes, I think that the most important thing here is a certain constancy and firmness in your habits. In addition to the regular ballet class, in addition to nutrition, the schedule of classes without any concessions is very important. If you want to dance and be in good shape, you shouldn't go to discos, stay up late, etc. I treat myself and my body as a mechanism, because in order for a car to run well, it must receive fuel, that is, in this case, food. You don’t need to achieve shape, but maintain it at the proper level, including with the help of a daily routine and very strict adherence to what you do every day from time to time without any deviations.
- Are you so correct? You limit yourself in everything, you cannot allow what others allow...
Yes, I am extremely far from any kind of violations that many really suffer from. I can say that I don’t drink and never have, I don’t smoke, I very much limit myself in food, but all these sacrifices and refusals are caused by my main passion - the passion for dancing. Therefore, I understand perfectly well that without these restrictions it is impossible to maintain myself in the state in which I maintain myself. Of course, I am a living person, there are some breakdowns. For example, under the influence of stress, I may eat something extra or go to bed later than I should. But these are the rare exceptions that support the rule, and in general my daily routine is very strict.
- But the other side of any passion is loneliness. Do you experience this feeling?
You know, I really love solitude. I believe that loneliness is not a curse, but a pleasure. Firstly, I’m used to it and generally consider myself a loner by nature. The fact is that I left my parents’ house at the age of 11 and got used to being alone from an early age. And now, when I travel a lot and am often left alone, I don’t feel any discomfort, just the opposite: I feel absolutely wonderful alone. And I will say even more: if, due to circumstances, I have to be in a large company of people, I feel the need to be left alone and spend some time alone. This is not what I suffer from.
The thing is, if you noticed that I have always done nude photo shoots with outstanding top-class photographers. And I want to say that both in my photo shoots and in my profiles on social networks, I strive to share the beauty of the ballet world and beauty in the broad sense of the word with viewers who cannot always touch it. I tried - and I hope I succeeded - to avoid any vulgarity in the photographs. For me, this is primarily an artistic photo - with an emphasis on the word “artistic”.
And you succeeded. You also model for fashion magazines. How interested are you in the world of fashion?
For me, this is a sufficient part of my life. I have been living in Milan for a long time, at the age of 21 I became the etiquette of the La Scala theater, so from the age of 19 I was invited to various fashion parties, shows... Therefore, the fashion world is an important part in my life - rather its entertaining part. I make short forays there, and then return to ordinary life, with my usual values. And my values - they lie outside the world of fashion. I worked a lot with Dolce and Gabbana, Feragamo and other fashion houses; I am friends with many representatives of the fashion world and enjoy attending events related to this. But this is a small part of my life.
Just six months ago we were in Spaletto for the amazing evening “Roberto Bolle and Friends”. What do you need to do to become a friend of Roberto Bolle and get into this wonderful company?
This program has existed for 15 years, we have shown it at the best venues in Italy - the Colosseum, Arena Di Verona - and this is a great opportunity to combine the beauty of classical dance with the beauty of historical places in Italy. I invite different artists, including classical and modern dances; Both stars and young guys participate, but since I travel a lot around the world, I see and invite many.
You are known to be a wonderful partner. But were there any cases in your stage biography when, excuse me, you couldn’t hold your partner and dropped her, which happens to many?
I must say, to drop a ballerina just like that... I had the only case in practice when I dropped a ballerina, but that was still during the training period. And not on stage, but in the rehearsal room. And I not only dropped her, but I fell along with her. And so far no serious incidents have happened to me on stage - although there are failures due to small things, but, thank God, no serious incidents.
- In Italy, your portrait is everywhere. Are paparazzi following you and how do you feel about it?
Of course, paparazzi and photographers interfere with our lives because they do not know how to distinguish private life from public life, and, of course, unpleasant situations often arise. And it's strange that people don't understand the other person's need to remain calm. Although I must admit that for the last two years I have given few reasons - they have practically stopped bothering me, probably because I don’t go anywhere except those places where I have to be for work. I don’t go to discos or restaurants, and they don’t need to keep an eye on me. Actually, I left the house and went to work.
As for fans and restrictions, I can say that because of this I cannot vacation in Italy. I am always forced to go on vacation to other countries, because the people who surround me believe that they must show me their love, affection and happiness from meeting me, and I must be ready to accept this love at any moment. But they don’t suspect that I want to rest and be without them for a while.
- You dance beautifully, but like an Italian, do you sing?
Very bad, very bad.
Last question. We would like your dancing career to continue for a long time, but nevertheless, what do you think about doing after your career ends?
When Makhar Vaziev worked at La Scala, he always told me: “Roberto, you must take my place when I leave.” So I'm going to take Mahar Vaziev's place. But, unfortunately, he left too early, so I cannot end my career now, but sooner or later I will take his place.
Italian dancer Roberto Bolle -
one of the most bright stars at the modern ballet Olympus.
He is from Piedmont, born in the town of Casale Monferrato in the province of Alessandria.
Roberto Bolle is young, handsome, famous. Women love, adore, idolize him, admiring his talent and beauty.
Bolle's official Instagram page is read by 300 thousand subscribers. Roberto talks about his fame:
Of course, I have to give up a lot and sacrifice a lot, but if I were offered to go through this path again, I would repeat every step, because it brings me great joy and satisfaction, not only on stage, as an artist, but also as a person . When, at the cost of sacrifice, you achieve success and glory, all difficulties fade into the background, and you no longer notice them. I understand that many people, even working hard, do not achieve such success as happened to me. Therefore, I know that Roberto Bolle is a lucky man because he received the best reward for his efforts.
The talented young dancer was noticed at the La Scala Dance School by the legendary Rudolf Nureyev. He was looking for a dancer to play the role of the boy Tadzio for the ballet “Death in Venice” based on the novella by Thomas Mann, which tells the story of the love of an aging German writer for a Polish youth, and his gaze fell on Roberto. Thus began the career of young Bolle. Largely thanks to the ballet “Death in Venice” and a brilliant role in the play “Romeo and Juliet” in 1996, Bolle, at the age of 21, became the premiere of La Scala in Milan, having spent only two years conquering the famous stage.
Roberto Bolle calls Rudolf Nureyev his patron angel, because the teacher gave him the most valuable things - faith, experience and guidance. By the way, Bolle performs his famous roles in “Sleeping Beauty”, “Cinderella”, “Don Quixote” and “Swan Lake” according to a choreographic design created by Nureyev.
A tall, blue-eyed Italian handsome man basks in the glory of his own steps. Some consider him overly narcissistic, but Bolle himself disagrees:
I am focused on myself, on my body, on my technique, but I am not a Narcissist.
If you compare me with mythical characters, then I’m more like Mars. For me, every partner is Venus.
Roberto Bolle conquered the stages of the world's main theaters, but his triumph did not end there. The fashion world could not remain indifferent to his fame and attractive texture. Famous photographers, including Mario Testino and Annie Leibovitz, photographed him for fashion magazines, presenting him as a half-naked god, a fairy-tale prince, or Romeo.
As for his personal life, Roberto Bolle is lonely:
Considering my endless travel, having a family - big problem. I spend my supply of love on stage.
Roberto takes his beauty and sexuality very seriously, working every day on his own improvement:
I believe it is a tremendous gift and a precious tool to be cherished, modeled and perfected. Every day at ten o'clock in the morning I start a lesson lasting an hour and a half. This is followed by five hours of rehearsals.
With Svetlana Zakharova
A protégé of the legendary dancer Rudolf Nureyev, he began his career in Milan, becoming the leading soloist at La Scala at the age of 20. The public in all the cultural capitals of the world wanted to see the handsome and talented Italian. Roberto performed on the stage of the Bolshoi Theater, dancing the part in “Swan Lake” together with Svetlana Zakharova at the evening dedicated to the 75th anniversary of Maya Plisetskaya. 2.5 billion people watched Bolle's graceful steps at the opening of the Olympic Games in Turin. Pope John Paul II also watched the Italian dance at the Youth Day celebrations.
Having the appearance of a Roman god, Roberto became a favorite fashion houses. In 2008, Bolle began collaborating with the Ferragamo brand, and in 2009, the handsome man appeared on the pages of Vogue along with model Coco Rocha. Today the artist is the face of the Dolce&Gabbana brand.
Personal life of one of the most famous dancers ballet - 40-year-old Roberto Bolle has always been shrouded in a haze of mystery. In an interview, the handsome man with a gutta-percha body talks about his long-time love story with a ballerina, but the La Scala theater star avoids any more precise details. The other day, the Italian paparazzi managed to reveal Bolle's secret - the dancer was spotted in the center of Rome with a man with whom he merged in a passionate kiss right in front of passers-by. The dancer's lover turned out to be a 39-year-old plastic surgeon