![]() ![]() The moment was particular: there was light at the end of the tunnel but restrictions on public performance remained in place. ![]() ![]() The dancers, however, were already rehearsing the program Hommage à Roland Petit, presented to live audiences in June, and a new ballet, Le rouge et le noir by Pierre Lacotte, for the 2021-22 season. My conversation with Ludmila took place in April 2021, when the two stages of the Paris Opera were still dark due to the pandemic. Her first name, Ludmila (literally, dear to the people), reveals her Czech roots on her mother’s side, and attests, if only in part, to her gentleness and accessibility offstage. Along with the recently nominated Sae Eun Park, a Korean-born dancer, Ludmila brings a global geography to the cohort of étoiles at the Paris Opera Ballet, a company that deeply cherishes its own centuries-long tradition while also opening up into a more diverse future. Dancing in Paris since 2003, Ludmila attained the Paris Opera Ballet’s highest rank of étoile in 2012, after her performance as Gamzatti in the Nureyev version of La Bayadére. Within a few years, she had successfully auditioned for the Paris Opera Ballet, one of the most venerable temples of dance tradition in Europe. Rigorously trained at the Ballet School of the Teatro Colón in her hometown of Buenos Aires, Ludmila started her dancing career at the age of sixteen with the National Ballet of Chile. LUDMILA Pagliero, étoile of the Paris Opera Ballet, is a dancer of elegant, singing lines and impeccable technique across a diverse repertoire. We Are Here to Dance and to Keep Life Going Interview with Ludmila Pagliero ![]()
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