Renee’s Interview with Barbara Campanini 2012

Renee: Hi, I’m your host Renee. I am the Television reporter for BALLET-TV. My interview tonight is with world renowned ballet dancer Barbara Campanini. Hi Barbara, how are you doing tonight? 

Barbara: Ciao Renee, I’m doing great. Thanks for having me here.

Renee: So Barbara to start us off tonight, can you describe where you are from and give us a little information?

Barbara: I was born June 7, 1721 in Parma, Italy. Parma actually got its name from the Romans because Parma means round shield. Parma is divided in to two sections by a small stream. I just love Italy. My childhood ballet teacher, Antonio, is also from Italy.  My hometown of Parma is known for its great ham and delicious cheeses. We also have beautiful old architecture surrounded by a gorgeous countryside. It’s a great place to live.  (Surhone, Lambert M. Print)

Renee: Was there a particular event in your early life that made you get interested in the arts?

Barbara: I have always loved Ballet. In 1732, I first appeared on stage when I was only 11 years old dancing for Charles VI. In 1737 I moved to France to study at the Paris Opera. In 1739, when I was 18 years old, I debuted at the Paris Opera where I danced in Rameau’s “Les Fetes d’Hebe , ou Tal ents.”  The Parisians fell in love with me. I don’t mean to sound like I am conceited, but I became an immediate success. I am known as one of the 18^th centuries most important ballet dancers. (webmii.)  (Surhone, Lambert  M. Print)

Renee: Barbara, can you tell us what role mentors played in helping you develop your ballet talents?

Barbara: Well Renee, my number one mentor is my teacher, Antonio Rinaldi Fossano. Antonio is a great Italian choreographer that has worked in Italy, Venice, London and Russia. Besides being my mentor, Antonio had a major impact on the Russian Ballet. Antonio started an operatic dance troupe in Italy and the Empress of Russia, Anna Ioannovna , was so impressed she invited him to bring the troupe to Russia to perform. When Antonio returned to Italy he worked with me and was my choreographer. (Bland, Alexander: print)

Renee: Barbara what was the world of art like in your particular field of ballet when you entered it?

Barbara: When I entered the ballet world I can tell you it was very competitive. Marie Camargo and Marie Salle’ were very talented and prominent ballet dancers when I started performing.  Marie Camargo made some interesting changes such as wearing heelless slippers to accentuate her leaps. Marie Salle’ always tried to wear costumes that matched the scene in the ballet. For example she wore a Greek robe during the Pygmalion Ballet.  Ballet was always very popular with the upper echelon and the opera was the place to be. I came on the ballet scene and made my own mark for my talent and creativity. (Homans, Jennifer. print)

 Renee: How did the major cultural, economic and political situations of the time impact your work?

Barbara: Let’s just say King Frederick II of Prussia, had a great influence over me, in more ways than one….if you know what I mean.

Renee: Barbara, please continue, what exactly do you mean?

Barbara: Well in 1744, I was offered a position to dance at the Court Opera in Berlin by King Frederick himself.  Before I arrived I ran off to Venice with my lover Lord Stuart Mackenzie. King Frederick was upset. He used his political powers to bring me back to Prussia. Economically I was doing quite well. I was able to negotiate my own salary, which was unheard of for a woman to do at the time. My salary was 7,000 Reichsthaler per year, which was very high. Each Reichsthaler contained  25.984g of Silver. This led people to think that I was having an affair with the King, but I don’t always kiss and tell.  (ann-lauren.) (Anderson, Jack. print)

Renee: What were your major accomplishments and the methods you used in your art?

Barbara: My nickname is “La Barberina”. When it comes to ballet, I am famous for my pirouettes and my entrechat huit, which is a jump with four beats. I amazed people with my leaps and pirouettes. My technique was even better than La Camargo’s. I am also known for my expressive facial movements and my flair for comedy. (Lee, Carol. 2002)

Renee: What were the key opportunities you had that led to turning points in your life and art?

Barbara: After dancing at the Paris Opera in 1739 I went on to dance at the Covent Garden in London and Dublin. I later went to dance in Vienna, Austria. I broke up with my lover Lord Stuart Mackenzie. I returned to Paris in 1743 which is when I met the King of Prussia, Frederick II. The King acted like he fancied me. In 1749 though I actually made the King very upset. I accepted a marriage proposal to Carl Ludwig von Cocceji who is the son of the Prussian chancellor Samuel von Cocceji.  He actually proposed to me on stage which landed him in jail. I ran off to London, but then I returned and Carl was pardoned by the King himself. What was exciting is that I secretly married Carl. Carl went on to become the Ambassador and District Governor in Glogau in Silesia where we lived. Carl was appointed by the king. Having connections and talent certainly paid off. (enotes.com) (Ivor,Guest. print) (Lawson, Joan. print)

Renee: What roadblocks did you have to overcome in order to be a ballet dancer?

Barbara: As far as my actual dance is concerned I have always had a job. My roadblocks were always more in the romance department. I moved to Paris, France when I was 16 years old to when study at the Paris Opera.  I became the mistress of the Prince de Carignan, who was the general of the Paris Opera. He helped my career along.  As I said King Frederick acted like he liked me. I became known as his mistress. He would wine and dine me and give me expensive jewels. The King also had artists come in and paint several portraits of me. King Frederick also attended the ballets in my support. But to tell the truth I was his mistress in name only. He supported me and I supported his secret. I was his front to others. It turned out that he was more interested in his male friend’s companionship. This was a secret that I helped him achieve. While I pretended to be his mistress I still had romantic affairs with several young men.(highbeam.com) (Anderson, Jackson. print)

Renee: Who are people that you admire both in the arts and beyond and why do they inspire you?

Barbara: I have always admired Marie Camargo, also known as  La Camargo and also Marie Salle’. Although we were in a bit of a competition, I respect their work. What’s funny is that both of them are known for shortening ballet skirts. They used to be at your ankle and they both shortened the skirts so you could see the ballet dancer’s legs during the dance. The shorter skirts are great for dancing and showing off your skills. Another person I adore is Noverre, who was a famous male dancer. We danced together in Paris and danced for King Frederick II. Noverre went on to become a great ballet master. I also respect my family for supporting me and letting me pursue my dreams and my career. Another person I admire is my dance teacher Antonio. He was an amazing teacher and advanced and innovative choreographer. (balletmovespositions.com) (wish-upon-a-ballet.com) (Beaumont, Cyril: 1947.print) (Kant, Marion. print)

Renee: What personal stories best illustrate how you became successful in the arts?         

Barbara: Renee, my dancing talent combined with my love affairs, always played a great part in my career. I worked extremely hard on my dance.  I followed my heart during my career, which made for a very interesting love life. I dated several aristocrats that were very generous with their wealth. One of my more notable lovers was the Rhineland ruler Prince Carl Theodore. Many of the elite men loved to date ballerinas. After being married to Carl Ludwig con Cocceji who became ambassador, I was given the title of Countess Campanini. Later I bought the Barschau estate in Silesia and was given the title of Countess von Barschau.  Aside from all of my performances and romances I also became heavily involved in charity work. Something that a lot of people don’t know is that I donate a lot of my money to a foundation for poor noblewomen.  For all of my fabulous experiences, the money I have made and all of my personal and professional connections, I am happy to give back to my loving public. Arrivederci! (enotes.com) (ann-lauren.blogspot.com) (Lawson, Joan: 1976.print)

Sources:

(Surhone, Lambert M. Barbara Campanini.2011.Print)

(webmii.asia/result.aspx/Barbara/Campanini)

(ann-lauren.blogspot.com 18^th-cent-ballerina-barbara-campanini.html)

(enotes.com/topic/Barbara_Campanini)

(balletmovespositions.com)

(wish-upon-a-ballet.com/ballet-in-the-1700s.html)

(highbeam.com)

(Homans, Jennifer.Apollo’s Angels: A History of Ballet.New York:2010.print)

(Anderson, Jack.Ballet and Modern Dance: A concise History. New Jersey.1992.print)

(Lee, Carol. Ballet in Western Culture: A History of its Origins and Evolution. New York.2002)

(Kant, Marion. The Cambridge Companion to Ballet. New York:2007.print)

(Ivor,Guest.The Dancers Heritage, New York: 1960.print)

(Lawson, Joan. A History of Ballet and it’s Makers, New York:1973.print)

(Bland,Alexander.A History of Ballet Dance in the Western World, New Jersey: 1976:print)

(Beaumont, Cyril. A History of Ballet.New Jersey:1947.print)

(Lawson, Joan.The Story of Ballet.New York:1976.print)