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A Little Find

As I was doing a bit of research online, I came upon this video of the opening of Balanchine’s Apollo, with Jacques d’Amboise. Ruth Sobotka is Apollo’s mother, Leto.

I can’t resist sharing!

Seeing Balanchine with New Eyes: Pacific Northwest Ballet in NYC (DanceTabs)

When an out-of-town company brings Balanchine ballets to New York, part of the pleasure is seeing  different versions of familiar works. This week, Pacific Northwest Ballet presented a single evening of Balanchine: Agon, Concerto Barocco, and Apollo, all but Apollo staged by Francia Russell, who danced with NYCB in the fifties. Apollo was staged by Peter Boal, now the company’s artistic director. Here’s my review, for DanceTabs.

And a short excerpt:

“One of the thrilling aspects of dance (and anything that involves the body) is that it is constantly in flux. Technique changes, steps are filtered through a company – or national – style, and choreography is remembered differently by different people. Someone who learned a ballet in the fifties will have performed slightly different steps than a ballerina dancing it twenty years later (or earlier). She will then pass on those alternate steps to a particular group of dancers under her tutelage. Not to speak of personal style. Just think of some of the ballerinas who have performed in Concerto Barocco: Suzanne Farrell, Diana Adams, Gelsey Kirkland, Allegra Kent, Tanaquil LeClercq. It’s a surprise we recognize the ballet at all.”

Carla Körbes Gets Ready for New York—an interview for DanceTabs

Carla Körbes in the studio at PNB. Photo by Angela Sterling.
Carla Körbes in the studio at PNB. Photo by Angela Sterling.

I spoke with Carla Körbes of Pacific Northwest Ballet as she prepared for the company’s New York visit, Feb. 13-16 (at City Center). She’ll be dancing the role of Terpsichore in Balanchine’s “Apollo” and Juliet in Jean-Christophe Maillot’s version of Prokofiev’s ballet. Körbes was just as I had imagined her: laid-back, quick to laugh, warm, completely unguarded. These are some of the qualities that make her such a compelling dancer.

You can read the review here.

Q: What’s Terpsichore’s secret?

A: As Peter Boal says, the Muses have trained a lot of gods. I think she’s very wise and cool and looks down at Apollo like, “oh, he’s a baby,” but they do have a special connection. You know sometimes you meet someone and it’s just different. A special connection. I love Suzanne’s interpretation; she looks so cool, sort of like “ok little boy, here we go.”