I wrote this short piece about the flamenco exhibit at the New York Public Library for Humanities Magazine last summer.
Here’s a short excerpt:
“Despite his Spanish name and dark good looks, Greco was born in Italy and grew up in Brooklyn. Like many other dancers in the show, he often crossed over into the arena of less-than-authentic Spanish dance. The pursuit of “purity,” a slippery concept when discussing a dance form that is itself a hybrid of gypsy, Arab, and Spanish folk elements, did not become a burning issue until the irruption of Amaya’s fiery, “unschooled” style. The impresario Sol Hurok called her ‘the human Vesuvius.'”
Edward Villella is back in town, unbowed by his Miami City Ballet experience and ready to begin the next chapter of his life. I sat down with him recently at a café around the corner from his Hamilton Heights brownstone to talk about his life in dance, Balanchine, his experiences in Miami, and his plans for the future. You can read the interview here, in DanceTabs.
I recently sat down with the dance historian Nancy Reynolds to talk about her life in dance, which began in 1957 when she joined the New York City Ballet. After five difficult years in the company she went on to study art history, edit Lincoln Kirstein, collaborate in the creation of the International Encyclopedia of Dance, and write a series of essential dance books including Repertory in Review and No Fixed Points. Since 1994 she has been involved in the Balanchine Archives, a project which she conceived and which consists of filming working sessions with the original creators of Balanchine roles as they pass on the choreographer’s instructions to a new generation of dancers. She has filmed Maria Tallchief coaching Firebird, Alicia Markova recreating her solo from Le Chant du Rossignol, Frederic Franklin remembering steps from the version of Baiser de la Fée that he danced with the Ballet Russe de Monte Carlo, and many others.
“Balanchine was a god. Everybody says that, but it’s absolutely true. Most people who were there just worshiped him. I knew Stravinsky was around, and I saw some Agon rehearsals. It was obvious that Agon was an extraordinary event. Balanchine was around all the time; it was nothing special to see him in the hall. But I will tell you, there were lots of empty seats at City Center. We had Sunday evening performances, and from the stage you’d see rows and rows of empty seats. Balanchine said the same thing about Diaghilev’s company: there were full houses on glamorous opening nights, but often many empty seats after that. I was always a little embarrassed to say I was with NYCB, because the Ballet Russe de Monte Carlo and Ballet Theatre seemed like much more important companies. But I felt I was a pioneer, bringing Balanchine to the great public.”