Dancing around the world with Giada Rossi

Happy birthday!

Giada Rossi defines her relationship with dance as “a necessity”. Italian by birth, Giada trained at some of the most prestigious schools in Europe, such as the Paris National Superior Conservatory of Music and Dance or London’s Royal Ballet Upper School. She has been part of the Compañía Nacional de Danza for seven years and, since 2019, has also been a soloist dancer. At the CND she has danced Love Fear Loss by Ricardo Amarante, Arriagaby Joaquín De Luz, Pino Alosa and Mar Aguiló and Apolloby George Balanchine, among others.

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Photo: Alba Muriel

You begin to develop your first steps as a dancer at the AC Ballet Centre in Florence. What is it about dance that makes you feel you to want to devote yourself to it?

Dance… dancing, for me, is a necessity, it makes me happy and makes me suffer at the same time. It takes me away from my family and my country but sometimes it is also what reunites us… And even after twenty-three years of sacrifices, I need it.

Photo: Alba Muriel

You trained in different schools such as the Paris National Superior Conservatory of Music and Dance or the Royal Ballet Upper School in London, where you graduated. Do you consider that such variety contributed to creating your style as a dancer?

Every place you are, every school, every company and every person can contribute and teach you something; I have tried to take what was best for me, adding each aspect to my work and expanding my knowledge. The more experiences you have, the more you learn and the more you enrich yourself.

Photo: Alba Muriel

In 2009, as soon as you finish your studies, you join the Bordeaux National Opera. What did the opportunity to start your career in such a prestigious company mean to you?

The Royal Ballet School often helps dancers to find work. Unfortunately, it wasn’t like that with me, so getting a contract at the Opéra National De Bordeaux was a big win for me.

Once there, you got to dance numerous interesting pieces such as Les Quatre Temperaments, Un Américain À Paris or Le sacre du Printemps. Which of them was the most exciting? And which involved the most work for you?

One of the most beautiful memories I had in Bordeaux was dancing Balanchin’s Who Cares? I felt so much freedom when dancing it! And also Sleeping Beauty. That is a beautiful and delicate ballet. It was a very difficult job because, in addition to the difficulties of the ballet itself, the biggest obstacle was working with the teacher I had at the time. In dance, as in life, we can’t please everyone, it’s understandable. But whoever tries to take away or lower the self-esteem of a dancer sooner or later loses. In any case, I put them on the list of thanks because, when time passes, you realize the strength you have gained from bad times.

Photo: Alba Muriel

During your career you have participated in several competitions. In the Prix de Lausanne, specifically, you were a finalist. What was it like achieving this success?

The Prix de Lausanne was a beautiful and unique experience! It gave me the opportunity to choose where to continue my studies after Paris—from among ten different schools—and this was the greatest success for me.

Photo: Alba Muriel

In 2015, you joined the Compañía Nacional de Danza under the direction of José Carlos Martínez. Why did you opt to dance in Spain?

Why Spain? Because I wanted new horizons, new motivations, new experiences… And that’s how it was! A company with such a varied style that makes you discover yourself every day.

This last season, under the direction of Joaquín De Luz, you have been able to repeat the ballet Giselle playing the main part. What was it like working this role?

Dancing Giselle was a huge thrill. It is a work that does not end, it has no end… Such a subtle role full of love and feeling, a continuous search to live this incredible story.

Photo: Alba Muriel

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