Paloma in BA

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.

Paloma Herrera outside of the Museo de Arte Decorativo. (photo by me)
Paloma Herrera outside of the Museo de Arte Decorativo. (photo by me)

 

 

 

Goodbye and Hello

Xiomara Reyes and Sascha Radetsky in Coppélia. Photo by MIRA.
Xiomara Reyes and Sascha Radetsky in Coppélia. Photo by MIRA.

The end of American Ballet Theatre’s spring season brought a trio of farewell performances for the soloists Sascha Radetsky, Yuriko Kajiya, and Jared Matthews. Each led a cast of Coppélia; two were débuts. Quietly, Joseph Gorak also débuted this week as Franz. Recently promoted to soloist, Gorak is a young danseur noble in the making. So it goes in ballet, an art for the young, ambitious, and blindly devoted. Here’s my review for DanceTabs.

Radetsky in Fancy Free. Photo by Marty Sohl.
Radetsky in Fancy Free. Photo by Marty Sohl.
Joseph Gorak in Frederick Ashton's Cinderella. Photo by Gene Schiavone.
Joseph Gorak in Frederick Ashton’s Cinderella. Photo by Gene Schiavone.

Gala x 2: American Ballet Theatre

Opening Night Gala 2013American Ballet Theatre held its spring gala at the Metropolitan Opera House on May 13, kicking off the season. It included the usual mix of excerpts, but also full performances of Balanchine’s Symphony in C and Ratmansky’s Symphony No. 9. You can read my review for DanceTabs here.

And here’s a short excerpt:

“[Students from the Jacqueline Kennedy Onassis School and members of the Studio Company] performed…a charmingly formal demonstration of classroom technique (Cortège)… Each dancer had a moment to shine. The students’ port de bras, soft and beautifully shaped, was a particular pleasure. It was funny to see the contrast between this formal demonstration and what followed: a display of just how un-classical today’s dancers can be. I wonder if the faculty shielded the young dancers’ eyes as Ivan Vasiliev tore across the stage like a panther and planted himself behind Xiomara Reyes, placing his hands on her waist with workmanlike focus….Vasiliev is no paragon of elegance, that’s for sure, but his sheer exuberance, and the power of his jumps and lifts, makes him an undeniable presence onstage. No-one does an overhead lift like Vasiliev; he seems to want to propel his ballerina into the stratosphere. If he could dislocate his shoulder to get her even higher, he would.”