Written by: Darko Vlahović Photos: Mara Bratoš
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As of December 2022, the director of the Ballet Ensemble of the Croatian National Theatre in Zagreb has been the Italian choreographer, Massimiliano Volpini, with previous experience in this role, a former ballet dancer with a long career behind him, as well as the author of various dance and music performances and a video artist. Volpini, who danced at Milan’s La Scala for almost two and a half decades, collaborated with ballet ensembles from Venice, Verona, Florence, Palermo and Ljubljana as a ballet dancer, as well as worked with some of the most renowned choreographers of the twentieth century, playing all the canonical roles in the classical ballet repertoire, has choreographed more than 100 drama and opera pieces, musicals and TV performances in New York, Rome, Turin, Kiel and Bordeaux and many other places in the period from 1995 to date, and then settled in Zagreb as director of the National Ballet, the largest and most eminent ballet ensemble in Croatia.
His arrival soon brought about the first major milestone in the history of the Croatian National Theatre in Zagreb. In March 2023, the Theatre put out an audition call seeking new members for the Ballet Ensemble, receiving a whopping 1,200 applications from candidates from all over the world. Newcomers that came to Zagreb from Japan, Australia, Mexico, Spain, and Romania stepped into the ballet shoes of the old-timers, all 28 of them, who were then sent off into retirement with a big Gala concert, which marked the opening of the 2023/24 season of the Croatian National Theatre in Zagreb in the autumn.
The audience had the opportunity to see for themselves how these rising stars of the ensemble further raised the bar of the Zagreb Ballet at the premiere of the new hit of the repertoire, “Hamlet”, directed and choreographed by Leo Mujić. Volpini, who, among other things, boasts a long-term collaboration with one of the world’s leading ballet dancers, Roberto Bolle, says the next step revolves around securing that the Ballet Ensemble of the Croatian National Theatre in Zagreb ranks high in the wider European context.
At the end of his first year as director, Volpini gives us an insight into his perspective on the art of ballet, the dynamics of the ensemble, and his plans for the future.
Let’s start this conversation from the very beginning: Do you remember your first ballet/dance move? Did you already know back then that you wanted to dedicate your life to the art of ballet?
I started dancing by chance, thanks to my sisters who were already in the dancing game. At first, I wasn’t particularly keen on ballet, but I’ve grown to love it soon enough – it came naturally to me. I loved dancing, especially the more challenging moves. This passion grew on me step by step, plié a plié, and then it completely enveloped me. I was 15 when I decided that this was going to be my life. I discussed it with my parents, and they gave me their full support, allowing me to make all the necessary decisions to become a professional ballet dancer.
By its very nature, art transcends the confines of formal definitions, so dancing is not only a form of art but also philosophy. How has ballet shaped the way you perceive the world?
Dancing is not only art and philosophy but also discipline, technique, and effort, with the latter being its perhaps most practical aspect, the one related to daily work on oneself, and the one that has had the greatest impact on my life. You see, over the years, discipline stops being reduced solely to rigour and effort, and it flourishes into the way we deal with life – with dedication, precision, attention to detail, a sense of responsibility, and taking notice of the people and things that surround us.
Dancing is also a quest for beauty, harmony of movement, and a balance that is both physical and spiritual at the same time. All this becomes a philosophy of living at a certain point, as it goes well beyond the everyday practise in the ballet studio.
How much do you owe to certain role models in this regard – ballet artists, choreographers, etc.? Who are the people who have influenced you the most?
I looked up to male role models, as did all male ballet artists of my generation. When I was young, my idol was the legendary Mikhail Baryshnikov. He was an outstanding ballet dancer and a modern star, with a strong presence in theatre and movies, as well as in musicals and classical ballet. I have watched all the recordings of his performances countless times!
Later on, great choreographers such as Mats Ek, Forsythe, and Kylian entered the scene, the trinity that shaped the generations of up-and-coming choreographers in the later decades of the 20th century. When I first saw their work, I felt as if they had opened a window into a whole new world; everything was so fresh and unpredictable. They had different styles and different techniques, but they won me over in the same way. Even today, I feel their influence on my work.
You were forced to give up dancing due to injuries, but you’ve channelled your love for ballet and your extensive performance experience into choreography and directing. Does your background in ballet technique influence your choreographic choices?
My knowledge and experience as a ballet dancer are all the more important for this role. You see, it is imperative for a choreographer to be familiar with the technique. The dancer’s body is a powerful and precious tool, so it is paramount to know what can be done with it and how to achieve the desired effect. It is extremely important for the ballet director to know the art of ballet like the back of his foot, to understand the needs of the dancers, to be able to recognise the best possible ballet masters, and to pick the right choreographers for a specific type of ensemble.
In order to be able to direct professional ballet dancers, you must have the physical experience of dancing.
Art implies continuously working on oneself and having an unrelenting willingness to learn. Has the transition from performer to choreographer changed the way you perceive and reflect on everything you’ve learned before about dancing, ballet, and yourself?
Switching from dancer to choreographer is like changing your perspective – shifting your attention from the mirror to the world around you. The dancer is extremely focused on their body; they are fully committed to working on the details that make up their technique. They stare at themselves in the mirror for hours on end, on the constant lookout for perfection.
The choreographer, on the other hand, needs to broaden their perspective; they need to perceive a wider and more decentralised picture. From that vantage point, dancing takes on a new form: technique becomes less important, and every move, even the smallest one, gains greater value. Where you’re standing really makes a tremendous difference – on stage or behind the scenes.
I really loved dancing and took immense pleasure in it, but seeing others dance to my choreography is also very emotionally fulfilling. The feelings are different, but equally wonderful.
You come from a classical dance background, but your choreographies show that you are equally at home in contemporary dance aesthetics. What do you think about experimenting in dance, and how willing are you to shake things up? Is it possible to push the boundaries of traditional ballet and at the same time stay true to its roots?
I love classical ballet and believe that the classical technique still offers enormous potential. However, it’s critical to add some kind of newer, “fresher” modality to it, to leave old postures and hackneyed pantomimes behind. I believe that it is possible to bring flair even to large repertory ballets without straying too far from the traditions that are there for a reason.
I also like contemporary dance, but I’m attached to the dynamics and physical idea of dancing, and many of the things I see today that are attributed to the avant-garde are, in my opinion, devoid of any aesthetics or corporeality.
I’m perpetually intrigued by the “dance” concept of dancing. When I put it like this, it sounds like something that goes without saying, but having in mind the current trends, it might not be so obvious.
You have been director of the Zagreb Ballet for a year now; how do you feel? Are you satisfied? What’s it like to spend your days at the Ballet Ensemble of the Croatian National Theatre in Zagreb after decades at Milan’s La Scala? What are the advantages, and what are the downsides?
The past year that I spent in Zagreb was absolutely amazing! It was very eventful: there were many changes in the ensemble, we had extremely successful premieres, and we witnessed a surge in interest in ballet. There’s no point comparing the Croatian National Theatre in Zagreb with La Scala: those are two different worlds, but I have a feeling that it’s possible to achieve something great here, and stage big projects. As long as I can count on the support of the intendant, Iva Hraste Sočo, the generosity of the ballet dancers, and the enthusiasm of the audience, I’m sure it will be wonderful to continue working here.
Now that you’ve settled in with the ensemble and reinvigorated it with young blood after the big audition in March 2023, what do you see as the biggest challenge ahead?
Now is the time to make this ensemble famous in Europe and the rest of the world. The ballet dancers are outstanding, the quality of the work is world-class. All guest artists (choreographers, ballet masters and dancers) who stumble upon our humble abode are swept off their pointe feet because they don’t expect such superb quality.
So, the main goal at the moment is to spread the word about our ballet ensemble beyond the borders of Croatia.
The choreographer-director’s vision wouldn’t get very far without all those ballet dancers and ballerinas who turn it into art… What comes first for you – the role of ballet dancer, ballet director, or choreographer?
In fact, the number one thing for me is creativity – even as director of the Ballet, which might seem like a mundane bureaucratic job, but I regard it as an artistic and creative position. First and foremost, I’m a choreographer. I build the deepest and most sincere relationships with the dancers in the ballet studio, conveying my dance visions to them. To be frank, I’m not really sure whether I’m more of a director or a choreographer right now, but I certainly put in all my expertise and passion into leading this wonderful group of artists.
Let’s talk about classical ballet as a narrative form. How do you handle storytelling through movement in the ballet pieces you stage? What role does the narrative play in your choreographic poetics?
I’ve always had a knack for storytelling. I used to write short stories, and then I switched to choreography, directing, and making videos. I have a constant need to tell stories and verbalise emotions. The theatrical aspect is of key importance in all of my choreographies.
I’m trying to bring a modern narrative to the literal spotlight, one that’s not based on pantomime but rather on fresh theatrical ideas and modern dramaturgy. The language of choreography can and must be shaped through storytelling in order to become a narrative without the mimicry and pantomime that have been done to death and should be finally put to rest.
The art of dance is inextricably linked to music. How do you integrate dance, theatre, and music into a unique performing experience? How do you pick the music to go with your choreography, and to what extent does the music influence the choreography?
Music is always my number one source of inspiration. I always come up with an idea for a new ballet piece while listening to music in my car or walking down the street. Even when the music is commissioned – as is the case with my upcoming production at the Croatian National Theatre in Zagreb, which I’ll be putting together with the composer Marjan Nećak – I first build the musical structure on the basis of dramaturgy, and only when the music is ready do I start to visualise and audialise the ballet.
I used all types of music for my ballets, from baroque to jazz, from contemporary music to pop. And I can find inspiration in each one. Even as a casual consumer, when it comes to music, I’m a true omnivore.
You stated in a recent interview that everything is being deconstructed and challenged nowadays, and that it’s time for recomposition with great creative freedom and without prejudice. What do you think the future of ballet holds?
I believe that ballet, just like art in general, evolves in ever-changing cycles. The process is never linear; some things that were considered outdated one day, are back in fashion the next, just as certain things that were considered cool the previous day, seem anachronistic the very next day.
I don’t know the steps to the dance of the future, but I believe dancing will be a blend of different styles and techniques that will coexist in harmony. Ballet dancers are becoming ever better and more versatile, capable of dancing to anything, so I think it’s reasonable to assume that the limits of the technical possibilities of ballet will be pushed even further with each passing day – and I don’t only mean the number of pirouettes or the height of the jump, but precisely the ability to use the body and techniques in unexpected ways.
As far as I’m concerned, chasing trends is not my thing. I’d rather find my own path, which doesn’t have to be new or original at all costs – it’s enough for it to be authentic.
When talking about your professional work, we must bring up your collaboration with one of the greatest ballet dancers in the world, Roberto Bolle. What is it about him that inspires you the most? What made you two “click”?
Not only is Roberto an extraordinary ballet dancer, but he is also an extraordinary man. When we were on tour in Milan as guest artists at the gala concert “Roberto Bolle and Friends”, our ballet dancers were awestruck when they saw him prepare before going on stage. They were amazed by his unflagging dedication and outstanding professionalism, combined with kindness and approachability, atypical of stars of this calibre.
Before going to Milan, the dancers admired him as an artist from afar, and after they’d seen him up close, they started adoring him as a person as well. I am very happy to have met him because he has proven to be a true friend from the beginning of my Croatian adventure, first by performing at the Gala Evening in Zagreb in 2022, and then by inviting the ensemble to Milan. I believe and hope that there will be more collaborations between Roberto and our Theatre.
Lastly, what legacy would you like to leave behind as a choreographer? What would you like Zagreb to remember you by?
As I said earlier, my greatest desire is to make this ensemble famous in Europe and give it an international reputation. But when I think about the legacy I’d like to leave behind, ballet dancers are the first ones that spring to mind. The director influences the careers and lives of the dancers through his daily work – in a good or bad way. I would like to bequeath them a mindset, an approach to work built on a sense of community, mutual trust, and respect.
I like working in a calm and relaxed setting, with a sense of ease that does not imply superficiality – of course, with focus and an emphasis on professionalism, but without stress. I would like the dancers to go on stage without fear or self-consciousness, confident in their abilities and ready to enjoy the performance.
We put in an awful lot of energy into this work; building up negative energy can have a devastating effect. But if all the individual energies join together and merge into a positive wave of enthusiasm, our job can be the most beautiful in the world.
I would like this attitude, this value system, to remain in the heads and hearts of ballet dancers for as long as they dance professionally.
