La Scala Theatre Ballet Paquita Review
June 25, 2025 | Teatro alla Scala – Milan, Italy
On Wednesday, June 25th, I had the opportunity to attend the penultimate performance of Paquita this season at Teatro alla Scala in Milan.
The performance marked a historic moment for the company – not only was it the first time La Scala’s dancers performed Paquita, but it was also the first time Pierre Lacotte’s full reconstruction of the ballet was staged outside of the Paris Opéra, with the help of the present-day choreographers Jean-Guillaume Bart and Gil Isoart, as well as La Scala’s Frédéric Olivieri. The orchestra was directed by Paul Connely.
Originally premiered in 1846 at the Paris Opéra with choreography by Joseph Mazilier and music by Èdouard Deldevez, Paquita is a ballet that has undergone numerous transformations over the years.
Its evolution into a technical and theatrical showcase came largely thanks to Marius Petipa, who revived it for the Imperial ballet in St. Petersburg in 1881. Petipa retained Mazilier’s original framework but expanded it with dances that are now commonly produced worldwide in excerpts: the Grand Pas Classique, the Pas de Trois and the famous Mazurka des Enfants.
For these additions, he collaborated with composer Ludwig Minkus, renowned for his work on Don Quixote and La Bayadère, and whose music gave Paquita its grandiose characteristics for which it is famous today.
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La Scala Theatre Ballet Paquita Review
Lacotte’s 2001 reconstruction is a vividly colorful and fun-to-watch version that leans on strong storytelling and realism.
The ballet tells the story of a young Romani girl in 19th century Napoleonic Spain who meets and saves the life of a French Officer, Lucien d’Hervilly, from Iñigo, the “gypsy leader”. Amid trials and tribulations both personal and political, she discovers her previously hidden nobility and thus marries the man she comes to love, Lucien.
While some earlier versions of the ballet hint at darker implications, Lacotte reinvented the protagonist as a heroine of strength.
It could be understood that the narrative, scenery, costumery and energetic choreography led to a very interactive audience. The choreography and music boasted pieces largely comprised of grand allegro, paving the way for a night that felt similar to a lively Spanish party for the audience. And for the dancers, a tour-de-force performed with precision and expertise.
The penultimate performance featured, among others, Martina Arduino as Paquita, Timofej Andrijashenko as Lucien d’Hervilly, Marco Agostino as Iñigo, as well as Cimlla Cerulli, Agenese di Clemente and Edward Cooper in the pas de trois, and students from La Scala Ballet School in the Mazurka des Enfants.
Arduino performed stunningly and theatrically throughout the ballet, bringing the audience along for a dramatic and, at times, humorous act. It was particularly in her last solo of the wedding scene that she left the audience breathless – not one step was out of place or seemingly difficult.
A similar observation holds true for the ballet corps that filled the stage subsequently. There was a moment in which eight ballerinas held an arabesque for about ten seconds before dipping gracefully and totally in sync into penché, a movement that had me perched on the edge of my seat, exhaling only once. I saw it flawlessly executed.
Andrijashenko, as always, commanded the stage with his presence, delivering a solid performance as both actor and dancer. His partnering was confident and attentive, and his technique strong.
However, there were moments where his energy seemed to dip; perhaps a sign of fatigue or simply an off-night. Still, his interpretation of Lucien remained compelling and grounded in the narative.
One of the standout moments of the evening was the pas de trois in Act I.
Cerulli, Di Clemente and Cooper delivered a performance marked by power and buoyant energy. Their cohesion as a trio made the variation feel seamless and vibrant, and their stage presence drew the eye without overshadowing one another.
For me, they were the unexpected stars of the first act, and after their performance, I was left with a lingering feeling that I want to see more of them in similar roles in future productions.
The scene of Lucien’s attempted murder by Iñigo, portrayed by Agostino, was another breath of fresh, modern air in the reinterpreted classical ballet, showing Lacotte’s clean storytelling abilities.
The scene, which was stripped of dancing and relied purely on acting, took place in about ten to fifteen minutes, featuring Agostino, Andrijashenko and Arduino. It offered a dramatic pause that grounded the story in emotional realism, an aspect that most likely wasn’t present in previous versions of Paquita.
Paquita, who saves Lucien in this scene, is now able to escape the intricacies of her past and move towards her happily-ever-after. This scene offered the audience an opportunity to absorb the plot and understand the movements to follow.
It is of course always brilliant to see the young talents of La Scala Ballet School, and the audience was offered this opportunity during the Mazurka des Enfants.
While the first act offered lively performances filled with Napoleonic villagers and matadors, it was the second act, with its rich diversity of ages, costumes and movement, that almost felt like a familial parade.
Act II brought a sense of celebration to the stage, leaving the audience with a feeling of contentment as the evening drew to a close.
Overall, the performance was a clear success in capturing the essence of Lacotte’s Paquita.
Despite the evident physical demands of the choreography, the dancers radiated a sense of joy on stage, which, in turn, was a sense mirrored by the audience. It proved to be a night in which technical precision and stamina met theatrical delight, a combination that we may not see too often.
Featured Photo of La Scala Theatre Ballet‘s Agnese Di Clemente, Edward Cooper, and Camilla Cerulli in Pierre Lacotte’s Paquita. Photo by Brescia – Amisano © Teatro alla Scala.
