Stars of the 21st Century

By Patricia Boccadoro

PARIS, 30 September 2002 - For the last three years, Richard Stéphant and Solomon Tencer have organised galas at the Théatre des Champs-Elysées where international stars have presented interesting and varied programmes of classical and contemporary works. This year was no exception, although one can only deplore both the choice and quality of the taped music. The sound level at times was agonising.

The twelve dancers, from six important companies included the popular African Americans, Linda-Denise Evans and Matthew Rushing, both magnificent in Pas de Duke and the joyous duo Wade in the Water, two of Alvin Ailey's timeless works. Lorna Feijoo and Oscar Torrado from the Ballet of Cuba were almost as well-received in an unsurprising programme of the White Swan pas de deux , followed by Alicia Alonzo's Don Quixotte in which they gave a resounding demonstation of their irreproachable technique.

Linda-Denise Evans and Matthew Rushing in Wade in the Water
Photo: J.C. Gesquière

However, the revelation of the evening, for French audiences at least, was the surprise appearance of the young Roumanian ballerina, Alina Cocojaru, who flew in as it were, to replace Bolshoi star, Svetlana Lunkina. She interpreted the pas de deux from the second act of Giselle partnered by the Bolshoi's excellent Dimitri Goudanov, although she had never danced with him before.

Alina Cocojaru and Dimitri Goudanov in Giselle
Photo: J.C. Gesquière

The Royal Ballet's new star is fragile -looking, tiny and so moving in her simplicity. Having read articles and seen photographs of her, my expectations were very high, but she surpassed them. It's hard to dream of a more perfect Giselle. She has the grace and romantic aura associated with the role, coupled with a steely technique. Yet it is not even a matter of technique. One only sees the beauty of her movements. Her footwork is exquisite, and her arms of incredible beauty as they reached outwards and up.

Only the appearance of the beautiful Spanish star, Lucia Lacarra, brought a halt to the applause. Slight, dark and delicate, Lacarra and her partner, Frenchman Cyril Pierre, were sensational in Gerald Arpino's spectacular Light Rain. What could have been mere gymnastics with other interpreters became a lyrical and refined duet which had the audience on their feet, hoarse with cheering, and clapping and stamping for more. Earlier in the programme the pair had stunned with their impassioned rendering of Val Caniparoli's La Dame aux Camelias, when, fluid and light, aloft in the air, Lacarra seemed to float through space. This ravishing ballerina could have had no finer partner.

Lucia Lacarra and Cyril Pierre in La dame aux camélias
Photo: J.C. Gesquière

In Conversation with Lacarra

Over tea in the hotel Melia Royal Alma earlier, I recalled the last time I'd been there, for breakfast with ballet director/choreographer Victor Ullate, possibly the greatest dance teacher in Europe. He'd been telling me about his pupils, including Angel Corella, Tamara Rojo, and Lucia, his pearl, the ballerina closest to his heart. He didn't speak simply of her flawless technique, but more of her qualities of expression, her grace and her gentleness, and of his sadness that she had had to leave his company because there was no future for an artist of her stature in Spain. It wasn't the first time I'd heard of her. Muse for a short time like Alessandra Ferri before her, to that grand "old" man of dance in France, Roland Petit, he also had spoken of her with admiration and delight.

Lucia Lacarra was born in March 1975, in a small village not far from San Sebastian in Northern Spain. Like Trinidad Sevillano and contemporaries Rojo and Corella, Lacarra studied with Victor Ullate in Madrid, and bears the hallmark of his impeccable training. Sharp, clean footwork and intense musicality, together with undeniable charm. In addition, the star from the Ballet of Munich possesses an aura of magic around her, so much so, that after she has left the stage, it is still filled with her presence. With her supple, pliant body, and softness and beauty of movement, she is totally out of the ordinary.

"As far back as I remember, I used to dance", Lacarra told me after the gala. "I needed to dance, but at three years old, nobody took me seriously, and besides, as Spain was a country with no ballet tradition there was no ballet school near my home. I didn't begin formal training until I was eleven.

Lucia Lacarra and Cyril Pierre in Light Rain
Photo: J.C. Gesquière

"I won a local competion and used the prize money for tuition, and then I met Mr Ullate at a summer school. I'd dreamed of becoming his pupil as he was known to be the best teacher in Spain.

"He was always full of enthusiasm, and so happy to have me as his student. Then one day while I was watching a rehearsal of Balanchine's Allegra Brillante, there was a problem with one of the dancers and before I knew what was happening I found myself in her place. "From then on, it was one of the most exciting periods of my life", she continued. "Although I was only fifteen, he gave me every opportunity possible, building up my confidence because I knew he trusted me. I owe him my technique, and all my classical base . He taught me that dance isn't just movement, but the expression of what you feel. The whole meaning of dance is to give, which is what makes it such a unique art."

In 1994 Lacarra moved to National Ballet of Marseilles as principal dancer, and interpreted the title role in Petit's Coppelia. "His ballets were very dramatic, theatrical, and a joy to dance", she said, "and I learned a lot from him, but after three years, when my boy-friend, Cyril Pierre joined the troupe in San Francisco, I accompanied him for a week's vacation. I took class with the company, and when I saw the level and repertory of the company, I knew I didn't want to dance only Roland Petit for ever. I needed the challenge of the classics."


That challenge came from Helgi Tomasson, one of the most acclaimed classical dancers in America in his time, director of San Francisco Ballet since 1985. He gave her the title role of "Giselle" in his re-staging of the nineteeth century classic, followed by Odette/ Odile in 1999.

Lucia Lacarra
Photo: Icare

Nevertheless, as happy as she was with the American company, Lacarra suffered large bouts of home-sickness. San Francisco was just too far away from home , and accepting the occasional gala here was not enough. When the opportunity arose for her and Cyril Pierre to join the Ballet of Munich, neither hesitated.

"Europe is the cradle of classical dance", she said, "and I don't want to be forgotten. Moreover, I love their repertory with contemporary works by John Neumeier as well as the classics and the ballets of John Cranko. Later on in the season, I'm dancing his "Onegin"."

Reason enough to head North for Munich, to sit alongside Victor Ullate , who rarely misses an opportunty to see her dance when his timetable will allow it. America's loss is Europe's gain!