So, if you missed THE performance of the season last week at ABT (that’s Natalia Osipova’s American debut as Kitri in Don Quixote, with legendary Jose Carreno as her partner), here are some vids I found of her dancing the role at the Bolshoi.
There are actually a couple of videos posted on YouTube that are of the exact performance I’m talking about at ABT, but I know ABT didn’t approve them so I feel weird embedding them here. Click on this link (but fast forward to around the 2:57 mark, when it really starts) and this one to view them – and hurry up before someone orders them taken down! I really hope ABT makes a film of this ballet sometime – with this same cast, but with Marcelo Gomes as Espada and Veronika Part as Mercedes. Although, I have to say … Jared Matthews (who I didn’t like in the role when I saw him live) looks pretty good in those videos. I think I just got spoiled by seeing Marcelo first.
You guys, last week I received this really sweet email from a woman who read my novel. I figured ballet lovers, particularly fans of New York City Ballet, would appreciate it:
“Hello. I hope you don’t mind me writing. But as your email address is listed, I shall write you.
“I first came across you by cruising the Internet and bought your book, Swallow, because my dad’s family, Borree, lived in Florence AZ. There is even a Borree’s Corners in AZ where the family owned a gas station and a grocery store.
“My thoughts about your book. I love NYC, and I have suffered from chronic anxiety all my life til treatment with medication. So your book was really greatly appreciated. I do wonder how you settled on using Florence.
“You may recognize the last name as my mother loved ballet and gave my sister, Susan Borree, ballet classes. Susan was with many different companies and her daughter is Yvonne.
“Out here on the other coast, I have a scholarship to benefit art students. The scholarship is in honor of my mother and my sister who gave their children art and ballet lessons while their families faced great difficulties.
“Sincerely,
Jeanine Borree”
How coincidental — I love Yvonne Borree! And how much do I love that her aunt wrote me 🙂 And so excited to learn that part of her family hails from Arizona — and the same small town I wrote about no less — and that there is a Borree’s Corners, Arizona, which of course I will have to look for the next time I am out there. And I love that they owned a gas station and grocery store. I also love that someone who’s suffered from an anxiety disorder appreciated my book, which centers on a specific anxiety disorder called Globus Hystericus, or Globus Sensation. I’ve heard from some people who have either Globus or problems swallowing that emanate from another condition that they’ve had a hard time reading Swallow, because it’s too close to home. So, I’m very glad to hear someone with another kind of anxiety was able to read and appreciate it.
When I asked Ms. Borree if I could mention the email on my blog and she wrote back, she added that her sister, Susan Borree (Yvonne’s mother) had danced with ABT and Jerome Robbins Ballet. I came to ballet too late, though, to see her dance with either company.
Anyway, I just wanted to share this with my readers since I know so many of you are NYCB fans:) Sweet story, and small world, right!
Last weekend I went to another fabulous Guggenheim Works & Process event, this one in celebration of Frederic Franklin, the 95-year-old formerly of Ballets Russes who’s worked with American Ballet Theater for many years now performing non-dance character roles and setting ballets on the company and its studio company, ABT II. I’ve written about him here.
ABT, ABT II, and some of the Jacqueline Kennedy Onassis School students performed some ballets Franklin has staged for them. My favorite was the Hungarian Czardas section from Petipa’s Raymonda, performed by ABT II, with Irlan Silva and Meaghan Hinkis as the lead couple. So much fun — and really made me want to see the whole ballet. I’ve since gotten my hands on a couple videos — more on them later. But for now I just want to say how wonderful I thought Silva was — how much he stands out, how much strength and discipline and precision he has, along with that ever elusive star necessity, Presence. Even doing basic heel toe steps, he just brings it to another level.
Here are a couple of videos of him at the 2008 Prix de Lausanne, where he danced for his native Brazil and placed very well. The first is of his contemporary solo, a little-seen work by Nijinsky, and the second is his classical variation, from Le Corsaire.
And here is a video I found of that Czardas, danced by others.
Also performed, by others, were the classical Raymonda variations and the Sleeping Beauty Bluebird Pas de Deux. And, ABT dancers were David Hallberg and Xiomara Reyes dancing the Giselle Act II Pas de Deux. Which was far too short! But of course one must never miss the opportunity to see David Hallberg dance up close 🙂 Among other things, he knows how to make the most of a pose, to take the lines — particularly the leg lines — to their fullest and most sublime.
Photo of Hallberg dancing with Gillian Murphy, taken from here.
With all of my book hysteria, I’d missed this news (which was released the same day as the novel): a favorite dancer of mine was finally promoted to soloist.
Here is a YouTube video I found of her (dancing a modern piece with a small company, not ABT):
I’m a little late on this news, but for NYers who haven’t heard, Erica Pereira was recently promoted from corps member to soloist at New York City Ballet. I first noticed her in 2006 when she was the youngest Juliet cast in Peter Martins’ Romeo + Juliet (she was still then only an apprentice with the company). I knew how special she was then, and so I think this promotion is very well deserved.
Getting so excited for NYCB’s Winter season to begin! Nutcracker shows through Sunday, January 3rd, then the regular season begins the following Tuesday, January 5th, when the new Peter Martins will show, along with Balanchine’s Who Cares?
Photo of our Danny Tidwell (in back middle, obviously) recording the Memphis soundtrack, with the Broadway cast. Photo by Jenny Anderson, from Broadway.com.
Haha, I kept my TV on (for once) after SYTYCD ended and I just overheard some story on Fox News about an ABT dancer who also models. I turned around to face the screen and there was our Cory Stearns, lifting Stella Abrera in Benjamin Millepied’s Everything Doesn’t Happen at Once during ABT’s recent season at Avery Fisher Hall! I didn’t hear the first part of the story because I wasn’t really paying attention, but apparently Cory was standing in line at a deli and was discovered by some modeling agent. He’s now a model, as well as of course, an up and coming ABT danseur. Then they showed an excerpt of a music video he did with Kylie Minogue, which he apparently made when he was 17 — so a few years ago. Wow — I’d never seen it: he made her look like a real dancer.
Then they had a little interview with him. They asked him if he had a girlfriend and he laughed and said no, he’s currently available, but added that he prefers dancers. Funny how male ballet dancers (well, the straight ones) always do that. Female dancers seem more willing to “date outside the box” so to speak. Hmmm…
Anyway, since I didn’t get the first part of the story I have no idea what the point was — is he in a new modeling spread in some magazine this month? Did anyone else see it?
Since seeing Frederick Wiseman’s excellent film La Danse a couple days ago — a documentary about the Paris Opera Ballet — I have not been able to get the fascinating etoile (star, highest level of dancer over there), Laetitia Pujol, out of my mind. The film is basically a series of rehearsals with some actual performance footage thrown in, and, unbelievably, it’s absolutely mesmerizing. If anyone’d described it that way to me beforehand — a bunch of rehearsal footage — I would’ve thought I’d be bored out of my mind, but it’s so incredibly interesting watching these dancers rehearse with top choreographers like Wayne McGregor and Angelin Preljocaj and Mats Ek. And the performances — omg – -that company does everything from the aforementioned contemporary choreographers, to Pina Bausch’s Tanztheater, to Petipa to Balanchine. Parisians are so damn lucky! We get either Petipa or Balanchine over here… not at all fair…
Anyway, Pujol blew me completely away. I’d never seen her dance before and somewhere in the middle of the film she’s rehearsing and she does the most mind-blowing series of turns all over the damn room. I’ve spent the past couple hours searching YouTube and, yay, finally found what she was doing! It’s Etudes, here:
For some reason, the spins looked a slight bit faster in the film, but you get the idea.
Here are a couple of others of Pujol:
The first, Le Baiser, which I love,
And Giselle, with Nicolas Le Riche:
One odd thing about the movie is that it’s a documentary, but there are no captions, so you have to try to guess who all the choreographers and dancers are. There are credits at the end, but you can’t possibly figure out who is who at that point, when there are all these names filling up the screen. At first I thought this was kind of a discredit to the artists not to list their names and titles or bios when they are shown in the film, but then I thought, well, it would kind of interrupt the flow of the action; this made it seem more like a narrative film, like one of those narrative films that’s shot with a handheld camera or the like to make you think you’re eavesdropping on someone’s actual life — which, it turns out, you are! Interesting filming device…
The real-life rehearsals do have their moments of (probably unintentional) humor, such as when one of the choreographers is describing to a young dancer learning the role of Medea that she’s portraying a god, a person whose intense, other-worldly powers make loving fraught with danger, and she says “Oh, like Edward Scissorhands.” At times, though, people laughed at seemingly odd things, like when a young dancer new to the company tells the director she longs to dance like Pujol and the director tells her, “Well, she has her own personal intelligence.” People in the audience seemed to think that was funny, but clearly, Pujol does have “her own personal intelligence”; dancing isn’t just about excellence of technique, it’s about using your brain. And these dancers are so fascinating because they’re so clever, they’re such powerful performers.
I have been called a “bad Marcelo fan” for continuously chatting about Roberto Bolle, as I did, for ex., in the last post (I don’t think any current dancer promotes himself quite as much as Roberto, and he promotes ballet with himself, so you can’t help but love him for that reason alone).
Anyway, when I first started blogging there were practically no YouTubes of any of my favorite dancers, but that’s thankfully now changed. So, here are several of Marcelo, still SLSG’s favorite ballerino!, dancing with some of SLSG’s favorite ballerinas.
Here, with Alessandra Ferri in Lar Lubovitch’s gripping Othello pas de deux:
Here with Veronika Part in Swan Lake (video quality is not the best, but oooh, the music!)
Here, his Albrecht variation from Giselle, which is timely since ABT is currently in Ocean County, CA, performing that ballet:
Here, as the wickedly sexy Von Rothbart in Swan Lake:
Here, with Gillian Murphy at the beginning of SL (again as Von Rothbart):
The guy who’s dancing the swamp-creature persona of Von Roth, above, is Isaac Stappas, whose new headshot, coincidentally, I was just sent by the amazing Jade Young, who is practically becoming ABT’s portraitist in residence!
I’ve posted it previously, but here is Marcelo’s which he did a while back:
And one more, with Gillian Murphy again in Coppelia:
I know, the videos are nothing compared the live versions, but the first, of Othello, comes kind of close, no? And the last you can see pretty well, especially around the 4 minute mark when the great one begins his solo.
