Tag: Fabrizio Ferri

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LAST WEEK AT ABT: ROMEO AND JULIET

 

So, this is the last week of ABT’s Met season, and they are closing out with my favorite, Kenneth MacMillan’s Romeo and Juliet. My recommended casts are both performances on Saturday – Natalia Osipova is debuting as Juliet in the matinee, dancing opposite David Hallberg, and that evening is the lovely Diana Vishneva (who has really been blowing me away this season), with Marcelo Gomes as her Romeo. (Angel Corella was originally scheduled to be Vishneva’s Romeo but he is injured). Also, the Wednesday afternoon cast is good — Hee Seo, who is one of my current favorite Juliets, dances with Corey Stearns. Tonight is your only chance to see Herman Cornejo as Mercutio — he’s my favorite for that part. The leads are Marcelo and Juliet Kent. Go here for the full schedule.

Here is a recently-added YouTube of various clips of La Scala’s production of the same ballet, starring Corella and Alessandra Ferri (my favorite ballerina ever in that role).

Photo at top of David Hallberg as Romeo and Herman Cornejo as Mercutio, by Fabrizio Ferri.

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AMERICAN BALLET THEATER’S NEW NUTCRACKER SEASON AT BAM

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Yesterday morning at the Brooklyn Academy of Music, ABT announced their plan to hold an annual Nutcracker season at BAM. Above is SLSG favorite, soloist Craig Salstein, enthusiastically speaking to the crowd. He was the only dancer to address the crowd; David Hallberg was there too but stood in the back the whole time. A group of young dancers from the Jacqueline Kennedy Onassis School of Ballet (associated with ABT) was there as well — they’ll be dancing in the party scenes when the production opens next year, on December 23, 2010. For the first year, the season will be two weeks, but after that the company hopes to have a longer run.

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ABT resident choreographer Alexei Ratmansky will be choreographing.

 

Here’s a slightly better picture of him, by Fabrizio Ferri. Someday I will get a pro camera, I swear!

This was the first time I’d heard Ratmansky speak. He is very soft-spoken and has a heavy Russian accent and seemed to know what he wanted to say but struggled a bit to get the words out in English. And he makes the same grammatical mistakes as Pasha and Baryshnikov (mainly leaving out articles — there are no definite or indefinite articles in Russian — a, an, the — so they tend to leave those out: “…is great score,” etc.) I think English must be the hardest language to learn, especially for Russians. I know Russian is the hardest language I ever tried to learn…

Anyway, Ratmansky seemed shy and soft-spoken but genuinely excited, especially when talking about Tchaikovsky’s score, which he called the greatest ballet music ever written. I felt vindicated 🙂

But Brooklyn Borough President Marty Markowitz really kind of stole the show with his little speech. He was so out of place in this crowd of rather gentle artists with that booming Brooklyn-accented voice! He of course praised ABT’s decision to hold the season in Brooklyn, then told Ratmansky he should move to the borough since it boasts the greatest Russian population in the U.S. He also called Brooklyn the dance capital of New York (in terms of studio space — which leads to the great number of companies rehearsing there), which is in turn the creative capital of the U.S. These politicians do kind of know how to make their constituencies proud. After bemoaning the fact that the last time ABT was in Brooklyn was before Baryshnikov defected, he called the ABT / BAM plan “a grand jete into the future for Brooklyn.”

The project is expected to cost $5 million and is being partly funded by David A. Koch (yes, of the Koch Theater — he’s matching dollar for dollar donations up to $2.5). ABT also plans to perform community outreach, particularly in Brooklyn schools, including pre-performance workshops for the children, attendance at dress rehearsals, and dance classes.

The rest of the production team includes Jennifer Tipton, lighting designer extraordinaire, and Richard Hudson, an award-winning theater designer, who will design costumes and scenes. Below are some of his sketches:

 

 

 

 

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ABT, LARRY KEIGWIN, AND DANCES INSPIRED BY KANDINSKY AT GUGGENHEIM THIS FALL

 

 

The Guggenheim Museum has just released its Works & Process events schedule for the fall and there’s some good stuff coming up.

On October 11 and 12 ABT will give a program, entitled, The Art of Adaptation, in which dancers will perform portions of the company’s upcoming contemporary season, held this year at Avery Fisher Hall, and panelists will discuss how they’re adapting work for a non-dance venue. (The company is performing at Avery Fisher this year because City Center, where they usually have their fall season, is going to be temporarily closed for remodelling). It hasn’t yet been revealled who the dancers or moderators will be, but I’ll let you know when I do!

On September 23 and 25 there will be a new dance / music commission inspired by artist Vasily Kandinsky’s Blue Rider Almanac of 1912, performed at the Miller Theater at Columbia University. Music is by the Brentano String Quartet, soprano Susan Naruki, and pianist Sarah Rothenberg; the dancing will be by Armitage Gone! Dance. This, along with a couple of art installations in the museum and another music piece, is commissioned in conjuction with a Kandinsky retrospective to show in the main museum.

On September 11 and 12, young choreographers Larry Keigwin and Peter Quanz are each showing a piece they’ve made to Steve Reich’s Pulitzer-winning Double Sextet. Dancers will be from Keigwin + Company and the Royal Winnipeg Ballet. Reich will participate in the panel discussion on the 12th.

And, finally, on October 24 and 25, Shen Wei Dance Arts will perform in celebration of the company’s 10th anniversary and Shen Wei will discuss his creative process.

There are other, non-dance events as well, including a talk on “Sex Stress and Music,” a world premiere by composer Charles Wuorinen, and a spoken word performance inspired by Kandinsky’s Yellow Sound (1912) in which actress Isabella Rossellini will read and Mexican artist Rafael Lozano-Hemmer will generate an array of colors from the sound of her voice. Very cool-sounding!

The schedule’s not yet on line but it’ll be here when it is.

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WHO WOULD MAKE A BETTER MODEL THAN A DANCER?

 

I was in the bookstore the other day looking for literary magazines and somehow got caught up in the latest issue of Vogue Hommes International. I’ve been a fan of Keanu Reeves all the way back since River’s Edge (honestly) and I saw on the cover that there was an interview inside with Bret Easton Ellis (novelist, Less Than Zero, American Psycho, Glamorama, etc. etc.) Interview with BEE is pretty funny, actually, in a way it likely wasn’t intended to be. IE: interviewer: So, you were an icon in, like the 80’s. BEE: Yeah, it was hard being an icon. And confusing. Seriously. I’d get in a fight with my boyfriend and I’d be like, wait, you can’t criticize me; I’m an icon!” But my favorite BEE quote is here.

Anyway, I was flipping through and there are all these little mini interviews with and photos of writers (Stefan Merrill Block too!), architects, actors and filmmakers, of course designers and models.

 

 

 

But not a single dancer anywhere. Why not? They’d make such good models 🙂

 

 

(Sergey Surkov, my photo; Slavik Kryklyvyy from here)

 

 

 

(Arunas Bizokas, my photo; Linas Koreiva, from here and here)

Vogue Hommes should so hire me to compile a dancer spread! Fabrizio Ferri can do the pictures. Maybe Bruce Weber, though he can get kind of cliched and corny… No, Fabrizio.

Then, yesterday, I saw Valentino: The Last Emperor, which was pretty good. The Dolce Vita-esque scenes were the best 🙂  And it reminded me of Fashion Week’s being moved from Bryant Square to Lincoln Center, and I thought how excellent (and fitting of course) it would be to have NYCB and ABT ballerinas as the models, an idea Kristin Sloan had proposed on the Winger a while back. Ballerinas generally have far better bodies than models. Come on!