On a visit to Montevideo this summer I spoke with Julio Bocca, who told me about taking over the Ballet Nacional Sodre, why Argentine dancers are so go, and being an “hinchapelotas.”
A few weeks ago, Paloma Herrera and I sat down to talk about her training and career, about moving back to Buenos Aires, and about what she thinks has changed in the world of ballet and in the wider culture. Our chat is now up on the DanceTabs website.
When I was preparing for an article for Dance Magazine, Doug Fullington, who runs the audience education programming at Pacific Northwest ballet, and I talked about the recent renewal of interest in the use of nineteenth and early twentieth-century ballet notations. Some excerpts of that conversation are here, on DanceTabs.
Abrera had her début in ABT’s Giselle on Saturday, May 23. You can read my review for DanceTabs here.
I sat down with Ethan Stiefel a few weeks after his return to New York from New Zealand where, for three years, he was the artistic director of the Royal New Zealand Ballet. We talked about his time there, his transition from dancer to director, his choreographic aspirations, and his plans (and non-plans) for the future. You can find the interview here, at DanceTabs.
On Nov. 18-19, the Mikhailovsky performed a triple bill, consisting of Petipa’s 1896 one-act La Halte de Cavalerie, Asaf Messerer’s Class Concert, and Nacho Duato’s Prelude. I reviewed the program for DanceTabs. Here’s a short excerpt:
“The idea behind the triptych is to show three aspects of the company’s style: the classicism and character dance of Petipa; the technical pizzazz of mid-twentieth-century Soviet dance, the eccentricities and atmospherics of contemporary movement. None of the pieces is a masterpiece. However, Petipa’s Halte de Cavalerie, made in 1896, is certainly a charmer, a brainless little farce set to forgettable but lively music by the specialist composer Ivan Ivanovich Armsheimer, with lots of pretty dancing and even more clowning around.”
After a few performances of the Romantic classic Giselle, the Mikhailovsky Ballet moved on to far more original fare: the 1932 Flames of Paris, by Vasily Vainonen. Conceived as a thinly-veiled tribute to the October Revolution, the ballet is a celebration of group action, as represented by the company. The ensembles are as important as the soloists, if not more so. Ditto with “character” (i.e. non-classical) dance. The style ranges from Auvergnat clog-dances to 18th-century court dance to Soviet heroism. The story is rip-roaring, more Scarlet Pimpernel than fairy-tale or reverie. Simply put, it’s great fun, and fascinating to see a ballet in a style we never see nowadays. (Though, in its own way, Christopher Wheeldon’s Alice is not far off.)
Here’s my review, for DanceTabs.