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Posts Tagged ‘Carlos Acosta’

19th century ballet had no qualms about favoring the ballerina over the danseur. The bulk of the classical repertoire seemed intent on relegating male dancers into partnering or brief virtuoso solos tailor-made for a particular dancer (think Cecchetti‘s Bluebird). But the 20th century saw balance  restablished with a generation of danseurs like Nureyev and Baryshnikov following in Nijinsky’s example and reclaiming back the spotlight. Royal Ballet Guest Principal Carlos Acosta, one of the most popular classical dancers around today, has carried the male dancer manifesto into the next century. His blend of jaw-dropping technique, sparkling bravura, with added Latin charm seems to captivate audiences beyond the ballet regulars, drawing crowds into sold out performances.

Carlos Acosta and Begoña Cao. Photo: Johan Persson / Sadler's Wells ©

In his latest show Acosta sets to explore the role of the male muse in ballet, focusing on such strong danseur roles as evening opener Afternoon of a Faun. Clear of nods to Nijinsky’s original scandalous, sexually powered version, choreographer Jerome Robbins’s version uses Debussy’s Prélude à l’après-midi d’un faune to frame an encounter between two dancers in a ballet studio. They observe themselves and each other in the mirror as they go about their daily exercises. Although this mirror effect will be lost to anyone not sitting at stage level, this is a great opportunity to see a subtler side to Acosta, without the outrageous leaps and turns that so define him. Instead we get charm, exhuberance, a true sense of intimacy (which is sometimes lost in larger stages) and chemistry with his partner Begoña Cao (ENB).

Young Apollo, created by Adam Hougland for the Manchester International Festival precedes and opposes Balanchine‘s Apollo. It showcases young, up-and-coming Junor de Oliveira Souza (ENB), a talented Brazilian with legs that stretch on forever. Junor alternates bursts of solo dancing to match Britten‘s soaring music with an athletic pas de deux with Erina Takahashi. Their ever changing bodies and the piece’s contemporary vocabulary at points reminded me of McGregor sans tech paraphernalia.

A Suite of Dances, originally created by Jerome Robbins for male superstar Baryshnikov, sets itself the almost impossible task of matching ballet to music by Bach. In one corner renowned cellist Natalie Clein plays selected movements from Bach’s cello suites. In another, a blasé Acosta, dressed in a strange combo of red tee and bright orange trousers, responds to the music, feigning improvisation. As he tries, in vain, to impress the cellist with his moves he dishes out dazzling grand pirouettes and tricky beaten steps (let us not forget who this piece was originally created for). In a final desperate attempt he cartwheels towards Natalie who remains resolutely indifferent, unlike the audience who reacts with thunderous applause.

Carlos Acosta. Photo: Johan Persson / Sadler's Wells ©

Evening closer Apollo sees Acosta alongside the similarly proportioned ENB trio of Daria Klimentová, Begoña Cao and Erina Takahashi, respectively, muses Terpsichore, Polyhymnia and Calliope. Acosta might look more Herculian than Apollonian but his moves are godlike and virile, with elegant lines that stretch and linger on Stravinsky‘s score. If the purpose of the evening was to explore the male muse, no other work would have been more fitting. Acosta owns it, he knows it and so does his adoring audience.


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Triple bills are a great opportunity to discover rarer ballets along with new works, an essential ingredient in preserving the future of this art form. The Royal Ballet’s latest features a modern and sizzling combination well suited to those seeking refuge from an evening of tutus and tiaras.  It opens with Agon, Balanchine’s iconic work in collaboration with Stravinsky and follows with Glen Tetley’s Sphinx, originally created for American Ballet Theatre (ABT) and newly acquired for the company. The bill closes with Wayne McGregor‘s new ballet, Limen, successor to his previous works Chroma and Infra.

Ed and Melissa in Limen

Melissa Hamilton and Edward Watson in The Royal Ballet’s Limen, choreographed by Wayne McGregor. Photo: Bill Cooper / ROH ©

Even if modern is not your thing, the genius concept behind Agon merits a visit. Balanchine built it from the interplay between 12 dancers and combinations of patterns and shapes. It demands pristine technique and inherent musicality to sustain the choreography. The steps are akin to those every dancer executes in class but here they do so with a twist (e.g. exaggerated arabesques) and at an incredibly fast tempo. It is always interesting to see the Royal Ballet tackle this type of abstract work because of their dramatic tradition and natural bond with the Ashton and MacMillan repertory. In their hands Agon goes beyond the exploration of movement and amalgamation with music (or its realisation in choreographical terms) and you sense at times they are trying to convey a string of short episodes.

The first cast includes up-and-coming soloists (Yuhui Choe, Hikaru Kobayashi and Brian Maloney) alongside established principals Carlos Acosta and Johan Kobborg and rising star Melissa Hamilton,  fresh from her MacMillan debut as Mary Vetsera last week. The leading men (Acosta and Kobborg, plus Valeri Hristov and Brian Maloney) make Agon’s tricky footwork sequences and off-centred positions look easy, though Daniel Capps‘s conducting seemed to be going against them towards the finale. The ladies were led by Mara Galeazzi, a charmer in the Bransle Gay and by Melissa Hamilton, in the pas de deux with Acosta. 21 year-old Melissa seemed entirely at home in the intricacies of the pas de deux, sinking into a penché so deep that her nose touched the knee as if it were no trouble at all. It was inspiring to see her unique blend of suppleness and elegance contrasting the earthy quality of Acosta’s partnering.

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Rupert Pennefather and Marianela Nuñez in Tetley’s Sphinx. Photo: Bill Cooper / ROH ©

Tetley’s Sphinx fits the company and this particular cast of dancers as snugly as their bodysuits. It must be quite a challenge to balance Tetley’s high-powered choreography with the characterization of each role but Edward Watson‘s acid orange Anubis dazzles and threatens with swirling diagonals while Rupert Pennefather, looking every inch the greek hero, partners solidly. The heart of the ballet comes in the shape of Marianela Nuñez as the Sphinx who risks her life in exchange for a promise of love, and who is ultimately betrayed. She initially appears dominant and powerful, with arms that recalled an elegant bird of prey, but after she whispers the answer to  her own riddle to Pennefather’s Oedipus she changes into a hopeless, defeated creature who now embraces mortality. Sphinx might not be everyone’s cup of tea (its costumes and designs look more Studio 54 than ballet) and those not familiar with Jean Cocteau’s take on Oedipus will be left scratching their heads. We like it, not only for the literary souces, but for its athleticism and this particular cast’s foolhardiness in performing this exhausting piece brilliantly in three consecutive days.

Ed in Sphinx

Edward Watson as Anubis in Glen Tetley's Sphinx (with Marianela Nuñez and Rupert Pennefather in the back). Photo: Bill Cooper / ROH ©

McGregor’s Limen is centred around the themes of life and death, light and darkness and the thresholds in-between, to align with Kaija Saariaho‘s cello concerto “Notes of Light”. Again McGregor taps strongly into technology, via Tatsuo Miyajima‘s designs and amazing lighting by Lucy Carter, to set the mood for the various movements in the music. Limen features a cast of 15 dancers, including many of his regulars.

The choreography stays true to McGregor’s trademark quick movements, contortions and extensions, although since Chroma he has been progressively softening his edgy dance language. There are also nods to previous ballets Agon and Sphinx (e.g. the iconic Agon attitude wrapping the man and the pirouettes with arms à la Sphinx) and, as such, Limen might be McGregor’s own version of a Balanchine ballet: what we are seeing really is a representation of the music and its subliminal message of light against darkness.

Limen opens with a translucent curtain in which numbers are projected, representing the passage of time. The cello’s voice cues in the orchestra  and behind the curtain we see Edward Watson mirroring the music and slowly moving through extensions while new dancers start to emerge  to match the remaining instruments. The second movement is led by Steven McRae and an ensemble of dancers, who become “alive” as they enter a colourful square of light. The orchestra takes over and energetically fights the cello, serving as a backdrop for McRae’s remarkable solo, which combines McGregor’s language with classical vocabulary.

Sarah and Eric in Limen

Sarah Lamb and Eric Underwood in The Royal Ballet’s Limen, choreographed by Wayne McGregor. Photo: Bill Cooper / ROH ©

Classical dance fully inhabits the third and fourth movements and their lyrical pas de deux. Marianela Nuñez and Brian Maloney echo the brief harmonious dialogue between the cello and the orchestra, while Sarah Lamb and Eric Underwood represent Saariaho’s cello eclipse. As Underwood embraces and lifts Sarah, she folds her body in every possible way (with the costumes and dark lighting enhancing the effect) to the fading sound of the instrument.

The final movement is a return to the light, symbolised by a panel of blue LED lights which loom over the dancers now dressed in flesh coloured leotards. Watson carries the emotional baggage of the movement, once more showing his wonderful use of extension. The ballet (or is it the music) ends with a question, as the cello sings its last note (a very high F sharp): have we reached the heart of light or are we back into darkness? The dancers face the back of the stage and the lights dim, Watson the only dancer who stands at a threshold between this ensemble and the front of the stage. Once again McGregor has delivered a keeper, perhaps even a natural conclusion to the trilogy that started with Chroma (Chroma is the absence from white, while Limen might be the absence of colour). It has become clear that he is now more comfortable with classical vocabulary and could be interesting to see what choreographic surprises he might throw at us from now on. We can’t wait.

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We are back with another edition of Bag of Steps. This time we look at every turning trick designed to make us go “whoa” and typically reserved for the grand finale, such as in the coda from a Pas de Deux .

Turns include female and male pirouettes and their offshoots. For the ballerina they are the signature bravura step, the ability to turn in 32 fouettées being her ultimate technical benchmark. For the danseur they are powerful wizardry tools, especially those multiple turns generated from a single impulse.

Pirouette

Spin. A complete turn of the body on one foot. The supporting foot can be either on pointe or demi-pointe, with the working leg positioned sur le cou-de-pied, in arabesque, à la seconde, in attitude, etc. Legs give the impulse from a deep plié in preparatory position, arms control the turning speed and the head is the last part of the body to turn away from an imaginary “spotting” point and the first to hit the point again once the body completes the turn.

Pirouette en dedans: a pirouette which turns inwards. The body turns towards the supporting leg, so if the dancer turns on the right foot, the dancer turns to the right.

Pirouette en dehors: a pirouette which turns outwards. The body turns towards the raised leg, so if the dancer turns on the right foot, the dancer turns to the left.

A dancer from Pennsylvania Ballet demonstrates a sequence of pirouettes en dehors.

Grand Pirouette, Pirouette à la seconde (also, Tours à la seconde): Pirouette with one leg raised at 90 degrees. These are typically performed by men. Starting from fifth position with a grand battement into second position, legs lower into demi-plié to propel the turns. The arms start in second position and close in first, the right leg is raised into second with a swift movement for each turn en dehors.

Mikhail Baryshnikov does a Grand Pirouette in this video of ABT’s Don Quixote.

Fouetté

Whipped. In this step the raised foot undergoes a short “whipped” motion as it passes in front of, or behind, the supporting leg to the opposite direction. There are many types of fouettés. Here we will focus on those en tournant (ie. while turning).

Grand Fouetté en Tournant (Italian Fouettés): Starting in arabesque, the dancer goes from a deep plié into a series of relevés en pointe or demi-pointe while swinging the back leg to the front. The arms move from first to fifth position. In a half turn, the body moves away from the lifted leg and ends in arabesque (or attitude, with the back to the audience). In a full turn, the leg is held devant until the body shifts through arabesque to start the movement again with the leg swept from the back.

Yekaterina Kondaurova does a series of (full) Italian Fouettés in the Queen of the Dryads Variation of Mariinsky‘s Don Quixote. Move forward to the 1:21 mark.

Fouetté Rond de Jambe en Tournant (Russian Fouetté turns): Starting on fourth, the dancer does a pirouette en dehors and then a demi-plié (fondu) while the working leg is thrown à la seconde. While the supporting leg relevés to pointe the dancer turns bending the working leg’s knee and passing the foot from behind to the front of the supporting leg. At the start of the series the arms open in second position to follow the leg and are brought into first while turning.

Svetlana Zakharova throws a sequence of fouettés en tournant during the coda of Don Quixote’s Grand Pas de Deux.

Fouetté Rond de Jambe en Tournant (Cecchetti Fouetté turns): Instead of extending the working leg à la seconde, the dancer throws the leg towards croisé devant en l’air, sweeps it à la seconde and turns while bringing the working foot from the side to the front of the supporting leg.

Tamara Rojo executes Cecchetti style Fouetté turns in the same Don Quixote coda (adding a couple of multiple pirouettes). Move forward to 9:52 to watch.

Piqué Tours

Piqué means Pricked or Struck.

Piqué Tours en dedans (or Pirouette Piqué): the dancer steps en pointe onto a straight leg and turns while the opposite leg is brought into passé (so the turn is done towards the supporting leg).

Polina Semionova does a series of piqué turns (en dedans) en manège, at the 1:34 mark, in Giselle’s first act variation.

Piqué Tours en dehors (or “lame ducks”): the dancer steps en pointe onto a straight leg, half turns to place the opposite leg on the floor and picks up the original leg into passé. The turn is then done away from the supporting leg.

Svetlana Zakharova does a series of “lame ducks” at the 1:47 mark in Swan Lake’s Odette’s Variation.

Tours Châinés (or Tours Châinés Déboulés)

A chain of “rolling balls”. In a diagonal, straight line or in circles, the dancer does a series of rapid turns on pointe or demi-pointe. When moving to the right, the turn is on the right leg and at the end of the turn the left foot is placed on the spot where the right foot began.

At 1.21, Alina Cojocaru zips through a series of châinés (and some piqué turns sur le cou-de-pied) in this fragment of Ashton‘s Cinderella.

Note. We recommend you also have a look at videos featuring such notable “human-spintops” as  Maria Alexandrova, Gillian Murphy, Natalia Osipova, Tamara Rojo and Viengsay Valdés, not forgetting male dancers Carlos Acosta, Misha Baryshnikov, Ángel Corella and Leonid Sarafanov.

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Going for thirty six days without any ballet is quite a challenge for a balletomane, therefore I could not pass up the opportunity of seeing Carlos Acosta & Guests Artists, a mixed ballet bag of short pieces featuring from modern Brandstrup to chic & classical Ashton’s Rhapsody, and ranging from the overdone (a “male” Dying Swan) to the rarely seen (Azary Plisetsky’s Canto Vital & John Neumeier’s Othello).

Carlos Acosta as Spartacus. Source: Comono. Copyright belongs to its respective owners.

Carlos Acosta as Spartacus. Source: Comono. Copyright belongs to its respective owners.

Given the variety of flavors, it’s a good show for those wishing to sample ballet before committing to full length traditional or modern works. I took my visiting 11 year old niece who had not seen much dance before, she left impressed and willing to return. Acosta makes the right call as he opts for an informal atmosphere. The show opens with the dancers arriving in their leg warmers and changing into performance gear at the deep end of the stage revealing to us what goes on behind the scenes. While “The Ballet Boyz” did the same thing more effectively by streaming a live video from the dressing rooms in their gala a few years ago, this is a budget friendly way to strike the same chord. The evening kicks off just as informally with a barre at centre stage and Stevenson’s Three Preludes segueing into Cuban choreographer Ivan Tenorio’s Ritmicas, a great way to show the contrast in dance classwork, one with soft adagio moves (danced by English National Ballet‘s Principals Begoña Cao and Arionel Vargas) and the other much  jazzier, with plenty of speedy turns and modern extensions.

Acosta steps in to show off his Spartacus best in two solos, replacing the well known pas de deux, given Bolshoi’s Nina Kaptsova‘s withdrawal a few weeks ago. The crowd roars but blink and you will miss those jetés and tours à la seconde, which are gone in 60 seconds. Although I understand Acosta’s motives for including a hint of Spartacus in the programme (a crowd-pleaser & also his favorite role) I doubt those in the audience not familiar with this ballet will care to find out more just from seeing a short extract in a vacuum, but in addition to its “wow factor”, Spartacus is certainly an effective gauge to the evening’s high testosterone levels: after Ashton’s lovely Rhapsody Pas de Deux (sadly minus the variations!) we had an Othello (Hamburg Ballet’s Amilcar Moret) wearing nothing but well defined muscles and a scarf, soon unravelled by his Desdemona so that we catch a glimpse of a dance belt (instructive for those who wonder what male dancers wear underneath tights!), followed by “Canto Vital” which I nicknamed “Spartacus x 4“. This particular piece, choreographed to show off Ballet Nacional de Cuba’s best virtuoso dancers, pretends to be about three forces of nature – beast, fish and bird – struggling to survive but in reality it’s like the Neolithic version of Les Lutins without the comedy & the clothes, with plenty of opportunity for the men (Acosta plus Royal Ballet’s Steven McRae, Amilcar Moret and Arionel Vargas) to wear very little and impress us while trying to outdo each other, McRae in particular showing off some seriously juicy double “rondes de jambe en l’air” and leaping 2 storys higher than all the other men combined (Canto Vital can be found on YouTube: here are parts 1 and 2).

The Dying Swan is never going to feature in my personal ballet gala wishlist, it is a piece I dislike in any shape or form (with possibly one exception: this version danced by Igor Kolb) and I was not converted by this particular Michel Descombey version picked by Acosta, to me it seemed more like yoga’s Swan dive than ballet’s Swan death. “Over There” choreographed by Ramon Gomes Reis over Dido’s lament (taped music) reminded me that we had recently seen it better sung and more originally choreographed a few blocks down the road. A few other breezy and fun pieces such as Derek Deane’s Summertime were served until the grand finale (and Cuba’s answer to Don Quixote) with Georges Garcia’s “Majisimo”, which I presumed from the programme note to be a staple at every Acosta & Guests. Majisimo gives the ensemble an opportunity to shine and to end on a high, especially Acosta and his leading lady for the occasion Royal Ballet principal Roberta Marquez. My niece was very impressed by Roberta’s speedy turns (lovely Italian fouettées followed by piqué turns) and I liked how she added flirty Brazilian spice to Acosta’s Cuban charm, a good match. I left the theatre wishing I could see Roberta and Acosta dancing together more often. And even if not every item on the bill was my cup of tea, seeing Acosta & Marquez & McRae in great shape definitely cured my ballet blues!

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The 2008/2009 Royal Ballet season was filled with golden tickets, but which acts made the Bag Ladies tick the most? As we gear up to restock for the new season (tickets go on public sale in 2 weeks), see our top dancers & top dances below and feel free to use the comment form to opine on who was just the ticket for you!

Melissa Hamilton in Infra. Photo:Laurie Lewis - Royal Ballet ©. Source: The Independent.

Melissa Hamilton and Eric Underwood in Infra. Photo:Laurie Lewis - Royal Ballet ©. Source: The Independent.

Best “New Kid On The Block”: Melissa Hamilton

She was a golden vision in her first big role, stepping in for (and looking remarkably like) Sarah Lamb on L’Invitation au Voyage, but Melissa soon made a mark of her own in a selection of modern pieces like McGregor’s Infra, Acis & Galatea, Wheeldon’s DGV and Marriott’s Sensorium, making the most of her edgy line and incredible extensions.

Comeback Guy: Steven McRae

Injury may have robbed him of touring last summer & of some chunky debuts (including Lescaut in Manon) but McRae returned to the stage just in time to sparkle in The Nutcracker, shine as the Golden Idol, create principal roles in McGregor’s sleek productions of Dido & Aeneas/Acis & Galatea and bag a promotion to Principal, no mean feat! (For a full feature on Steven, see our previous post).

Comeback Girl: Alina Cojocaru

Alina was sorely missed at Covent Garden for over a year, which was more or less the time it took her to undergo & recover from neck surgery. But in April she returned triumphantly in one of her signature roles, Giselle, amongst a shower of daffodils for the ages. She also managed to play her quirky side in the sweet & short Les Lutins, glow like the most brilliant jewel in Diamonds and join the RB summer tour for the first time since 2006.

Alina Cojocaru and Johan Kobborg in Giselle. Photo: Tristram Kenton ©. Source: The Guardian

Alina Cojocaru and Johan Kobborg in Giselle. Photo: Tristram Kenton ©. Source: The Guardian.

Drama Guy: Johan Kobborg

From his intense and deep reading of Des Grieux and the teacher in The Lesson to his display of virtuosity in classical roles such as Solor, Siegfried and Albrecht, Johan keeps showing us he still has it at 37. We may have missed his partnership with Alina, but at least there was that one Giselle. His future as a choreographer looks promising, given that he got stellar reviews on his short work for the Linbury, Les Lutins.

Drama Girl: Tamara Rojo

Intensely beautiful in Ondine, beautifully intense in Isadora, lush in Manon, luxe in Emeralds, Tamara squeezed dramatic juice in every role she was cast and brought home two DVDs (soon to be released “La Bayadère” and “Manon”, both with Carlos Acosta) to add to her Romeo and Juliet which is rumoured to be “on its way”.

Whiz Guy: Sergei Polunin

We knew we could expect great things from Polunin, after that taste of his Golden Idol last season. With outstanding debuts in Tetley’s Voluntaries, as Solor and in the Nutcracker, he spent all season stealing the thunder from more established colleagues. The reward was a deserved promotion to First Soloist, and a main feature in the ROH media campaign for the upcoming season. All of this at 19!

Marianela Nuñez. Source: Opusarte ©. Copyright belongs to its respective owners

Marianela Nuñez. Source: Opusarte ©. Copyright belongs to its owners

Whiz Girl: Marianela Nuñez

A great season for Marianela, with lots of opportunitities to display her pristine technique and to bag big roles such as Giselle. Her “4 great Swan Lakes in 7 days” deserves a wizardry award of  its own, but on top of that, she gave stellar performances in abstract pieces, from which we definitely remember Voluntaries, Serenade and that Pas de Deux in Infra.

All-rounder Guy: Ed Watson

Yes, we know that this category seems lifted from the 2008 Dancing Times Award where both Ed and Yuhui (see below) won accolades but Watson was truly a “man for all seasons”, dancing in 13 out of 24 ballets (the busiest principal of all) and leaving a mark of diversity both in the quality of his dancing & repertoire, which spanned from old classics (Giselle, Firebird, Ondine) to the 20th century classics (Manon, Dances at a Gathering) and the contemporary (Infra, Acis & Galatea, DGV).

All-rounder Girl: Yuhui Choe

Injuries for some, opportunities for others. Added to scheduled debuts as the Sugar Plum Fairy and Nikiya, Yuhui also made the most of whatever chances she got to cover for her seniors, displaying her ethereal dancing, strong musicality, those trademark soft arms (Dances At a Gathering, Les Sylphides), coupled with energy & attack (The Lesson, Rubies).

Carlos Acosta and Alexandra Ansanelli in Rubies. Photo: Johan Persson- Royal Ballet ©. Copyright belongs to its respective owners.

Carlos Acosta and Alexandra Ansanelli in Rubies. Photo: Johan Persson- Royal Ballet ©. Copyright belongs to its respective owners.

Best Partnership: Alexandra Ansanelli & Carlos Acosta

Fair enough, Alexandra and Carlos were never really a partnership (they had a brief stint in La Bayadère, back in January) but the sizzling chemistry they displayed in Rubies, in roles which were  so in tune with their own abilities, made us wish, first that Alexandra would have been cast to dance with Carlos in Dances at a Gathering back in March and second, for a world in which Alexandra was not retiring, so we could see them paired again. Easily the best couple in Jewels, it  was clear that Carlos found his match in Alexandra’s flirty and bendy ruby.

Best Narrative Production: Giselle

The Royal Ballet has productions of the classics that either go over the top of glittery & sweet or fall short when compared to its counterparts in other big companies, but Giselle truly deserves being nicknamed as “The Jewel in the RB’s Crown”. Sir Peter Wright‘s production brings the story to life with beautiful designs, costumes and most importantly, coherent storytelling through both the mime and choreographic sequences.

Best Abstract Production: Dances at a Gathering

DAAG really is like Mr. B said to Mr. Robbins: like popping peanuts in one’s mouth. The combination of the Chopin piano pieces, the delightful choreography and the RB’s unique imprint is so addictive we could watch it over and over again.

Best International Acts:

It’s not all about the RB all the time! While the dancers below have individually left their marks on us while visiting London throughout 2008/2009, hearsay is that even greater things happen when you pair them with their fellow company members. Mariinsky recent cast changes frustrated our plans to see team Obr/Shk, but we have not yet lost hope. So, which couples would you recommend we travel far to catch? Here is a shortlist that we assembled based on our exchanges with fellow Twitterers:

Tiler Peck & Daniel Ulbricht, NYCB

Yevgenia Obraztsova & Vladimir Shklyarov, Mariinsky

Veronika Part & Marcelo Gomes, ABT

Please cast your vote on our Facebook page (link to the poll), or let us know who you think deserves the accolade. 

And last but not least,

Dancers who will be missed:

RB’s Alexandra Ansanelli , RB’s Isabel McMeekan, PNB’s Louise Nadeau, SFB’s Tina LeBlanc.

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This post is devoted to big jumps, usually the territory of  male dancers, though some of them are also done by ballerinas. These tend to draw gasps and applause from audiences (after all, some of them are extremely hard!) and comments in dance reviews. Given there are plenty of jumps in the ballet syllabus, we will focus first on a small subset. As usual, our intention is not to teach but to pass on general knowledge and illustrate the movements with words, images and video links.

Grand Jeté

This is probably a jump that features on most ballet performances. Jeté means, literally, thrown. In this step the dancer throws each leg at 90 degrees (and opposite directions) while jumping. It is usually preceded by a step like a glissade to gain momentum, followed by an arabesque position or attitude.

Alina Cojocaru and Johan Kobborg doing parallel grand jetés. Photo: Bill Cooper - The Royal Ballet ©. Source: Dansomanie

Alina Cojocaru and Johan Kobborg doing parallel grand jetés. Photo: Bill Cooper - The Royal Ballet ©. Source: Dansomanie

When grand jetés are done around the stage in a continuous sequence, as is typical in a classical male variation (note the princes’s variations in Swan Lake & The Sleeping Beauty), they are usually refered to as Jetés en manège.

Jeté Entrelacé (or Tour Jeté)

A grand jeté done in a circle. While the dancer throws the front leg, the body turns and the second leg is thrown to the back.

Here Dutch student Marijn executes a beautiful entrelacé.

Cabriolé

A step in which both legs are beaten in the air. The dancer starts with a grand battement and the leg that is underneath follows and beats the front leg, sending it higher. The dancer lands on the leg underneath. If there are two beats, it is usually referred as double.  This step can be done from any position of the body (devant, derriere or à la seconde).

The Royal Ballet’s Johan Kobborg executes a couple of cabriolés, in the Don Quixote variation.

Saut de Basque

This is a travelling jump. The dancer starts with a grand battement à la seconde, and the body turns, while the pushing foot folds into the other leg, positioning itself in a coupé position (that is, in front of the ankle) and landing in fondu.

Here Houston Ballet’s Randy Herrera does a saut de basque at the end of a sequence of turns.

Barrel Turns

This is a very flashy bravura step. The dancer turns in the air, throwing one leg to the back in attitude to lead the movement, while bringing the other leg along.

The Royal Ballet’s Carlos Acosta does a series of barrels (around the 1.53 mark), in this extract of Le Corsaire, with some saut de basques at the beginning.

The “540”

A variation of the barrel turn where the body turns 540 degrees. The throwing leg stays in the same position, while the other leg moves over it. This daredevil, not-your-everyday-jump is usually reserved for galas.

Here Mariinsky’s Denis Matvienko does a couple of 540’s in the coda of Le Corsaire.

Sources and Further Information:

Technical Manual and Dictionary of Classical Ballet by Gail Grant. BN Publishing. ISBN 1607960311.

Note: Whilst we have used widely known names for these jumps, note that terminology might vary slightly from school to school.

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Better late than never! The Royal Ballet troupe are now well into their summer tour while ballet orphans count the days until the Mariinsky set up camp in Covent Garden to alleviate those dance blues.

That’s over here in London, but if you are lucky enough to be out there (see schedules below) over the next months we suggest you bag some great ballet treats, including MacMillan’s Manon which kicked off in Washington last night and runs until Sunday afternoon. We note, en passant but with a mega pang of jealously, that Alina Cojocaru & Johan Kobborg will be performing it tonight and also in Havana (18 July) while in the UK they have not danced together in a MacMillan ballet for quite some time (Mayerling in early 2007 if memory serves me right). So there you have it, a golden opportunity to watch a golden ballet couple in the great “modern classic” that is Manon.

Alina Cojocaru & Christopher Saunders (as Monsieur GM) in Manon. Photo by Johan Persson. Source via PlaybillArts (copyright belongs to its owners)

Alina Cojocaru & Christopher Saunders (as Monsieur GM) in Manon. Photo by Johan Persson. Source via PlaybillArts (copyright belongs to its owners)

Otherwise if you wish to take your ballet addiction much further (literally!) we also list below a selection of performances and galas that will be happening over the summer. Travel safely everyone!

The Royal Ballet Summer tour 2009 in a nutshell

Kennedy Center, Washington, USA

23 and 24 June
Mixed Programme: Wayne McGregor’s Chroma/Frederick Ashton’s A Month in the Country/Christopher Wheeldon’s DGV

25, 26, 27 (mat and eve) and 28 June (mat)
Manon

Alhambra Gardens, Granada, Spain

7 and 9 July
Swan Lake (see casting details below)

Gran Teatro de la Havana, Sala Garcia Lorca

14, 15 and 16 July
Mixed Programme: Wayne McGregor’s Chroma/Divertissements: Frederick Ashton’s Voices of Spring and Thaïs pas de deux/Kenneth MacMillan’s Romeo and Juliet pas de deux and Winter Dreams pas de deux/Le Corsaire pas de deux/Frederick Ashton’s A Month in the Country/Johan Kobborg’s Les Lutins

Teatro Karl Marx, Havana

17 and 18 July
Manon

Special Performances & Galas (based on information from the dancers’s official websites – listed on our right column – and/or theatre websites and subject to change)

Picture 13

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