In conversation with Marianela Nuñez（４）

https://www.gramilano.com/2020/07/in-conversation-with-marianela-nunez/

今日はネラがロイヤルバレエに入るところまで

バレエのために都会に行くことが現実になったとき、私たちはコロン劇場スクールから遠くに住んでいたから母は私とたくさん旅をすることになったの。基本的に母と私は常に一緒で、兄たちはその状態に慣れなければならなかった。私たち家族の在り方が大きく変わったわ。祖母が兄たちのために一緒に住んで料理をしてくれた。私は自分の好きなことができて、家族がそのことをサポートしてくれてとてもうれしかった。バレエに興味がなくても私が上達していっているものに興味をもってくれた。
When that finally happened, my mom had to travel around with me a lot as we lived far away from the Teatro Colón school. I basically stole away my mom for me, and my brothers had to adapt to that; so it was a big shift for the family. My grandma would stay and cook for them. But they all did it, and I’m so grateful because obviously I was doing what I loved but the whole family had to support that. Even though they were not interested in ballet, they were definitely interested in what I was doing and my achievements.

今、家族は見に来るの？And do they come and see you dance now?

見に来るわ。オンラインで見てるし、リレー中継がアルゼンチンで見られるときはそれも。私のことが書かれた出版物は全て読んでて誇りに思ってくれてるの。
They do. They watch everything online and if our relays are shown in Argentina they will go. They read everything that’s printed about me and are super proud.

コロン劇場スクールに入ったのは何歳の時？

How old were you when you entered the Teatro Colón School?

コロンスクールには8歳で入って18歳で卒業するの、10年ね。だけど私はその半分。13歳の時にマキシミラノ・ガラが私と踊りたいと言ってくれて。彼は今の私と同じようにヨーロッパの夏のバカンスの間アルゼンチンに来てパフォーマンスを行う予定だったの。スカラ座のプリンシパル、アニタ・マギャリとのアルゼンチンツアーだったの。
At the Colón school you start at eight years old and you finish at 18, so it’s ten years. But I only did half of that because Maximiliano Guerra wanted me to dance with him when I was about 13. He was doing the same as I do now when during the summer break in Europe, he would come to Argentina and do his performances here. There was a tour that he was doing around Argentina with La Scala principal Anita Magyari.

アルゼンチン中を回ったわ。彼らはドン・キホーテの第3幕のパドドゥを踊って、私は二人の友人の一人だった。ツアーの終わりの方でアニタがヨーロッパに戻らなければいけなくなったのだけど、ウルグアイでのステージが残っていたの。そうしたら彼は「よし、君と踊ろう」と言うので、ドン・キホーテと「ダイアナとアクテオン」のパドドゥを踊ることになったの。信じられなかったわ。彼に心を奪われ続けてたわ。素晴らしい存在感があって、でも若くてナイーブだと、何が起こっているのかきちんと見られないのよね。
So we toured around Argentina. They were doing the third act pas de deux from Don Q and I was one of the two friends. At the end of that tour, Anita had to return to Europe and as there were some performances in Uruguay coming up, he said, ‘OK, I’ll dance with you.’ We did Don Q and the Diana and Acteon pas de deux. I mean, unbelievable! I was always super star-struck with him, and he had this wonderful presence, but when you’re young and naïve you just kind of do it, like you don’t really see what’s happening.

ウルグアイの美しいソリス劇場でドン・キホーテを踊り終えて、神様に感謝を告げたわ。だけど観客はコーダを続けるよう要求するの。やったわよ。32回転フェッテをもう一度踊ったの。
We were at the beautiful Teatro Solís in Uruguay and I remember when we finished the Don Q I was thinking, thank God I made it. But the audience went wild and wanted us to repeat the coda. We did. That meant doing the 32 fouettés again.

プレッシャーで熱があったし、夕食時には震えていたけど、素晴らしい体験だったわ。その公演にはコロン劇場の監督でプリンシパルのラクエル・ロセッティが来ていたの。彼女は私にバレエ団に入ってほしいと言ったの。そして14歳で私はコロン劇場バレエ団に入団したの。
I had a temperature afterwards from all the pressure and I was shaking when we were having dinner, but it was wonderful. At that performance was Raquel Rossetti who was the director of the Teatro Colón and had been a principal ballerina. She said, listen, I want you in the company. So I joined the company of Teatro Colón right after that. I was 14.

たくさんのコールドバレエを踊ったけど監督は私を気に入っていたからガラ公演のたびにパドドゥを踊らせたの。そのときにアレと最初に踊ったの。私が14歳の時で彼が24歳の時。ドン・キホーテとグラハムを踊ったの。リンクを送るからネットで観てみて。この年はバレエ団にいたけれど、私は11歳の頃からアルゼンチンの外でキャリアを積みたいと思っていたの。ロイヤルバレエ団が憧れのバレエ団というのははっきりしていたの。
I did a lot of corps de ballet work, but the director really liked me, so whenever there was a gala somewhere, she would take me to do a pas de deux, and that’s when I danced with Alejandro for the first time – I was 14, he was 24! We did the Don Q, and Graham you have to see that online – I’ll send you the link. I stayed in the company that year, but I’d known since I was about 11 that I wanted a career outside Argentina, and I had it clear that The Royal Ballet was my dream company.

ビデオをたくさんもってたわ、リーズの結婚のレスリー・コリア、バヤデールのアルティナイ・アシルムラトヴァ、ダーシー・バッセルとイレク・ムハマドフ、ロメオとジュリエットのアレッサンドラ・フェリとウェイン・イーリング、マノンのアンソニー・ダウエル...こんなバレエは見たことがなかった。コロン劇場でオネーギンを見たとき、私はすごく若かったけど、こんなバレエはこれまでに観たことがなかった。ビデオで見る力強いバレエ、私の好きなダンサーはみんなロイヤルバレエだったの。

I had all the videos: La fille [mal gardée] with Leslie [Collier], Bayadère with Altynai [Asylmuratova], Darcey [Bussell] and Irek [Mukhamedov], Romeo and Juliet with Alessandra [Ferri] and Wayne Eagling, Manon with Sir Anthony Dowell… I had all of them. I had never seen ballets like that before. I saw Onegin at the Colón and although I was really young, I went, whoa, as I’d never seen anything like it. But all the other powerful ballets I saw were on video and with all my favourite dancers at The Royal Ballet.

先生たちはバレエ団のレパートリーの素晴らしさとダンサー人生にレパートリーがとても重要なことを教えてくれた。マッシミラノはこう言ったの「このようなバレエ団に入ったら、君が多くを得るだけでなく、バレエ団も君の才能を求めるだろう。君のように才能のあるダンサーは燃え尽きてしまうだろうが、バレエ団が君を導き、アーティストとして成長するよ」

Teachers explained how the company’s repertoire was amazing and how important repertoire is in a dancer’s life. Massimiliano said, ‘If you go to a company like that, not only will you have all that, but also, they will look after you properly; with someone like you who is super talented, it could easily happen that people will take advantage and you’ll get burnt out, but in a company like that you will be guided, and you will grow as an artist.’

そして憧れのバレエ団のオーディションを受けることにしたの。15歳の誕生日のことよ。15歳の誕生パーティは南アメリカ、特にアルゼンチンでは特別なの。結婚式のようなパーティをして大きなドレスを着るの。両親は「パーティかLAへのチケットかどちらかよ」と言ったの。バレエ団がツアーでLAに来てたのね。だから私はLAに行ってオーディションを受けて、私の場所を手に入れたの。

So I decided to audition for my dream company. It was my 15th birthday. The fiesta de quince años for a girl here in South America, especially in Argentina, is big. You have a party, kind of like a wedding, and you wear a big dress. My parents said, ‘It’s either the party or we’ll pay for the ticket for you to go to LA.’ The company was in Los Angeles on tour, so I went to LA, auditioned, and I got my place.