This page was last updated on 23 November 2019. Some perfume houses have their own pages - if the name is a link, click on it. Perfume houses are alphabetized by first name, so that "Calvin Klein" is listed under C.
Carla and I exchange glances, smile and agree that doing so falls more into the category of a sacrament than a sacrifice, especially if one’s commitment and discipline are at the service of bringing and transmitting the best that humankind can create for generations to come.This page lists perfume houses with names starting with the letter C. Both pursuits aspire to leave the world a better place. “Does it require too much sacrifice?” Earlier, Fracci has raised and dismissed the same question about the life of a dancer. You consider that if you overstay, there will be a surfeit of delightful details to recollect. It’s an evening that promises to be unforgettable. We speak again of Erik Bruhn and the irony that ballet partners often share a lifelong mutual love that is non pareil. “Bruscare” is “to scrape a wooden ship’s hull.” We collapse in laughter at the visual of Rudy handling Carla so brutishly, aware that she harbors more sanguine memories of Nureyev’s generosity and kindliness. Frustrated, she finally says, “He bruscatami, dragged me between his legs!” We are all puzzled by the verb “bruscare.” Beppe leaves the table, returning with a massive Italian-English dictionary. “He…” she hesitates, searching for an English word. Carla says of Rudolf Nureyev, “My God, he was so rough with me!” “How so?” we ask in unison. Also present were Carla’s niece and aide, Barbara Gronchi, and ballet mistress Gillian Wittingham. Her philosophy of sharing her experiences, while leaving space for dancers to shape their own, seemed singularly important to leave the reader with.īeppe, who is charming, well-read, imaginative, interested in activism, and generous, invited me to join Carla and him for dinner at their Rome apartment built into a ruin overlooking the Colosseum. I deliberately chose the chapter on Fracci to be the book’s “closer,” as you would choose a particular ballet work to close a program. Our conversation was wide-ranging (including our ideal casts of present-day dancers for various ballets, the role of the Alonsos in Cuba), and she shared anecdotes about partnering.īelow are some excerpts from First Position‘s final chapter. After the interviews ended, she and her husband, Beppe Menegatti, graciously invited me to their home.
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In October 2006, I had the pleasure of conducting a series of interviews with Fracci for my book, First Position: A Century of Ballet Artists ( ABC-CLIO). Often called the “Duse of the dance” (referencing the great Italian actress Eleanora Duse), Fracci became famous for her bringing vivid spontaneity and depth to her roles, from her signature Giselle to The Accused (Lizzie Borden) in Agnes DeMille’s Fall River Legend.
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She also acted on television and in films, playing Tamara Karsavina in the 1980 movie Nijinsky, and would go on to direct ballet companies in Naples, Verona and Rome. Over her five-decade career she developed partnerships with the greatest male stars of the age, including Rudolf Nureyev and Erik Bruhn. A star whose name was eponymous for La Scala Ballet in Milan, she went on to have an international career with companies including The Royal Ballet and American Ballet Theatre. Last month, the legendary Italian ballerina Carla Fracci passed away at the age of 84.
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