{"id":69104,"date":"2026-05-12T11:14:33","date_gmt":"2026-05-12T11:14:33","guid":{"rendered":"https:\/\/www.danceforyou-magazine.com\/?p=69104"},"modified":"2026-05-12T11:15:20","modified_gmt":"2026-05-12T11:15:20","slug":"the-role-gamzatti","status":"publish","type":"post","link":"https:\/\/www.danceforyou-magazine.com\/en\/the-role-gamzatti\/","title":{"rendered":"THE ROLE: GAMZATTI"},"content":{"rendered":"

Great ballet roles live through the artists who dance them. In each issue, a dancer from a leading company shares a personal perspective on one of the most iconic characters in the ballet repertoire.<\/strong><\/p>\n

I reach Susanna Salvi\u2019s dressing room at the Rome Opera House during the interval of a performance of La Bayad\u00e8re<\/em>. A principal dancer of the company, she has just danced Gamzatti, the Raja\u2019s daughter, in the first two acts, which in Benjamin Pech\u2019s version are fused into a single uninterrupted one. She asks for a couple of minutes to remove her heavy red-and-black tutu, glinting with burgundy reflections, and slip into a tracksuit. Then, still fully made-up, she sits down in front of her mirror.<\/p>\n