Pretto, as Esmeralda, with Matthew Poppe. Photo by Marcello Orselli, Courtesy Trockadero.

The Trock Life: Alberto Pretto on Pointe Shoes, Giselle and Channeling Carla Fracci

Giselle is a dream role for most any dancer, and now, Alberto Pretto can count himself as one of the few men to perform it. This month, he made his debut in Les Ballets Trockadero de Monte Carlo's Giselle (Act II). Pointe spoke with Pretto (aka Nina Immobilashvili) about the all-male company's comic twist on the classic.

Legendary Russian dancer and stager Elena Kunikova coached you in the role. What was that like?

More than just the steps, we worked on the character and telling the story through dance. She focused a lot on the way I carry my upper body. I have quite a long neck, so she told me to pull it forward in this very demure and sad position. We also worked on the moments we could make Giselle funny. If I take myself very, very seriously, I can make a joke out of it.


Like when?

When Giselle comes out the grave. Our staging has a coffin that opens, and she comes out apologetically, like, Should I come out? Should I not come out?

What else gives this Giselle the Trockadero stamp?

It's all built on the relationships between the characters. Our Myrta is very strong and butch, and the Wilis aren't regular Wilis. They're almost like mummies. Their hair is all messed up, their faces are scary, they're pale.

How did you prepare?

Svetlana Zakarhova and Carla Fracci are my favorite Giselles, and I did a lot of video research. Carla is dramatic in everything, so by watching all those little moments, you can get the nuance and push it a bit further so that it becomes funny.

Pretto as his alter ego, Nina Immobilashvili. Photo by Zoran Jelenic, Courtesy Trockadero.

What's most difficult about the role of Giselle?

Carrying the upper body in a different way since it's not a ballet from the 20th century. Really understanding the épaulement, how she's bending forward. Nowadays, we dance big, but this isn't about how high the leg is. And achieving the lightness was really hard, especially for a guy—we approach jumps with a lot of energy. For me, I had to work on getting the arms to be really, really light.

Earlier in your career, you danced with other companies like the English National Ballet. What was the road to the Trocks like?

I was in so-called "regular" companies for some time, but at a certain point, I didn't feel very challenged or motivated. Most of the time I was partnering the girl, and I just wanted to dance more. And also, I always had this love for pointe shoes—which were forbidden for men but such a fascination for me. Finally, I was like, You know what? It's the moment for me to embrace that and see if maybe this is something I would like to do. When I auditioned for the Trocks, I discovered this whole world and that it was okay for a man to dance on pointe and make a career out of it. That's just beautiful.

Pretto as himself. Photo by Zoran Jelenic, Courtesy Trocks.

Did you start pointework before you joined the company?

Yes. I would put them on in the corner when no one could see me after class. But I actually started training on pointe a couple months before auditioning for the Trocks. I joined a beginner ballet class for girls on pointe and started from scratch all over again. It was a humbling moment, for sure, but I felt like it was necessary for me to go through that to achieve the strength needed to go up on pointe properly. I needed that to get stronger technically.

Latest Posts


Peter Mueller, Courtesy Cincinnati Ballet

2020 Stars of the Corps: 10 Dancers Making Strides In and Out of the Spotlight

The corps de ballet make up the backbone of every company. In our Fall 2020 issue, we highlighted 10 ensemble standouts to keep your eye on. Click on their names and photos to learn more!

Dara Holmes, Joffrey Ballet

A male dancer catches a female dancer in his right arm as she wraps her left arm around his shoulder and executes a high arabesque on pointe. Both wear white costumes and dance in front of a blue backdrop onstage.

Dara Holmes and Edson Barbosa in Myles Thatcher's Body of Your Dreams

Cheryl Mann, Courtesy Joffrey Ballet

Wanyue Qiao, American Ballet Theatre

Wearing a powder blue tutu, cropped light yellow top and feather tiara, Wanyue Qiao does a piqu\u00e9 retir\u00e9 on pointe on her left leg and pulls her right arm in towards her.

Wanyue Qiao as an Odalisque in Konstantin Sergeyev's Le Corsaire

Gene Schiavone, Courtesy ABT

Joshua Guillemot-Rodgerson, Houston Ballet

Three male dancers in tight-fitting, multicolored costumes stand in positions of ascending height from left to right. All extend their right arms out in front of them.

Joshua Guillemot-Rodgerson (far right) with Saul Newport and Austen Acevedo in Oliver Halkowich's Following

Amitava Sarkar, Courtesy Houston Ballet

Leah McFadden, Colorado Ballet

Wearing a white pixie wig and a short light-pink tunic costume, a female ballet dancer poses in attitude front on pointe with her left arm bent across her ribs and her right hand held below her chin.

Leah McFadden as Amour in Colorado Ballet's production of Don Quixote

Mike Watson, Courtesy Colorado Ballet

Maria Coelho, Tulsa Ballet

Maria Coelho and Sasha Chernjavsky in Andy Blankenbuehler's Remember Our Song

Kate Lubar, Courtesy Tulsa Ballet

Alexander Reneff-Olson, San Francisco Ballet

A ballerina in a black feathered tutu stands triumphantly in sous-sus, holding the hand of a male dancer in a dark cloak with feathers underneath who raises his left hand in the air.

Alexander Reneff-Olson (right) as Von Rothbart with San Francisco Ballet principal Yuan Yuan Tan in Swan Lake

Erik Tomasson, Courtesy SFB

India Bradley, New York City Ballet

Wearing a blue dance dress with rhinestone embellishments and a sparkly tiara, India Bradley finishes a move with her arms out to the side and hands slightly flexed.

India Bradley practices backstage before a performance of Balanchine's Tschaikovsky Piano Concerto No. 2.

Erin Baiano, Courtesy NYCB

Bella Ureta, Cincinnati Ballet

Wearing a white dress with pink corset, Bella Ureta does a first arabesque on pointe in front of an onstage stone wall.

Bella Ureta performs the Act I Pas de Trois in Kirk Peterson's Swan Lake

Hiromi Platt, Courtesy Cincinnati Ballet

Alejándro Gonzales, Oklahoma City Ballet

Dressed in a green bell-boy costume and hat, Alejandro Gonz\u00e1lez does a saut\u00e9 with his left leg in retir\u00e9 and his arms in a long diagonal from right to left. Other dancers in late 19-century period costumes watch him around the stage.

Alejandro González in Michael Pink's Dracula at Oklahoma City Ballet.

Kate Luber, Courtesy Oklahoma City Ballet

Nina Fernandes, Miami CIty Ballet

Wearing a long white tutu and crown, Nina Fernandes does a saut de chat in front of a wintery backdrop as snow falls from the top of the stage.

Nina Fernandes in George Balanchine's The Nutcracker

Alexander Iziliaev, Courtesy Miami City Ballet

Evelyn Cisneros-Legate. Photo by Beau Pearson, Courtesy Ballet West

Ballet West Academy's New Director on Dream Building During COVID-19

Evelyn Cisneros-Legate is bringing her hard-earned expertise to Ballet West. The former San Francisco Ballet star is taking over all four campuses of The Frederick Quinney Lawson Ballet West Academy as the school's new director.

Cisneros-Legate, whose mother put her in ballet classes in an attempt to help her overcome her shyness, trained at the San Francisco Ballet School and School of American Ballet before joining San Francisco Ballet as a full company member in 1977. She danced with the company for 23 years, breaking barriers as the first Mexican American to become a principal dancer in the U.S., and has graced the cover of Dance Magazine no fewer than three times.

As an educator, Cisneros-Legate has served as ballet coordinator at San Francisco Ballet, principal of Boston Ballet School's North Shore Studio and artistic director of after-school programming at the National Dance Institute (NDI). Dance Teacher spoke with her about her new position, her plans for the academy and leading in the time of COVID-19.

Keep reading SHOW LESS

Complexions Contemporary Ballet's Tatiana Melendez Proves There's No One Way to Have a Ballet Career

This is Pointe's Fall 2020 cover story. Click here to purchase this issue.

Talk to anyone about rising contemporary ballerina Tatiana Melendez, and one word is bound to come up repeatedly: "Fierce." And fair enough, that's a perfectly apt way to describe the 20-year-old's stage presence, her technical prowess and her determination to succeed. But don't make the mistake of assuming that fierceness is Melendez's only (or even her most noteworthy) quality. At the core of her dancing is a beautiful versatility. She's just as much at ease when etching pure classical lines as she is when boldly throwing herself off-balance.

"Selfish choreographer that I am, I want Tatiana to stay with Complexions for all time," says her boss Dwight Rhoden, Complexions Contemporary Ballet's co-artistic director and resident choreographer. "She has a theatricality about her: When the music comes on, she gets swept away." Not too shabby for someone who thought just a few years ago that maybe ballet wasn't for her.

Keep reading SHOW LESS

Editors' Picks