Feeds:
Posts
Comments

Posts Tagged ‘Paloma Herrera’

Ratmansky Head Shot

Alexei Ratmansky. Photo: MIRA / ABT ©

As long as there are choreographers like Alexei Ratmansky around our hopes for the future of classical ballet as an art form are renewed. Now one of the world’s most sought-after choreographers, Ratmansky started his career as a ballet dancer with the Kiev Ballet in the Ukraine. Dancing soon took him out of Eastern Europe to various companies in the West where he was exposed to different choreographers and styles. Absorbing all these influences he started developing his own choreographic language, a personal mix of influences by Petipa, Bournonville, Ashton, Balanchine and Tudor woven into narrative or abstract choreography.

His achievements as the Bolshoi’s Artistic Director and a winning streak of new works, including those for New York City Ballet (NYCB), put him center stage. This led to his recent appointment with American Ballet Theatre (ABT) as Artist in Residence, a role tailored so that Ratmansky can create new work for ABT whilst continuing to choreograph worldwide.

While we follow his ABT career with interest and keep crossing our fingers for more of Ratmansky’s work in London, we leave you with some interesting facts & web notes on him.

Alexei Ratmansky in a Nutshell

Alexei Ratmansky was born in St. Petersburg in 1968. He grew up in Kiev, Ukraine where his father – a former gymnast – worked as an aeronautics engineer and his mother as a psychiatrist.  At the age of 10 he was accepted into the Bolshoi Academy (Moscow Choreographic Institute) to train under the guidance of Pyotr Pestov and Anna Markeyeva. His classmates included former ABT star and current Berlin Staatsballett Artistic Director Vladimir Malakhov, current Bolshoi director Yuri Burlaka and Bolshoi star Nikolai Tsiskaridze.

From early on Ratmansky showed an interest in experimenting with choreography but despite his talents in performing and in creating dances he was not accepted into the Bolshoi. Instead, he joined the Kiev Ballet as a soloist, dancing leading roles in the classics. During this period he met his soon to be wife, fellow dancer Tatiana Kilivniuk and juggled his dancing career with studying at the Choreographers’ Faculty of GITIS (today, The Russian Academy of Theatre Art – RATI). There he had the opportunity to stage his first ballet, La Sylphide-88. Set to Shostakovich‘s music this was a short work given in one single performance.

In 1992 while on tour in Canada, Ratmansky and his wife were invited to join the Royal Winnipeg Ballet. He continued creating small pieces, mainly for Tatiana, and became familiar with the works of Tudor, van Dantzig, Neumeier and Balanchine.

He quit The Royal Winnipeg Ballet and returned to Kiev in 1995 as a freelance dancer but left again to join The Royal Danish Ballet in 1997. During his seven years in Denmark, Ratmansky immersed himself in August Bournonville’s works. There he continued to create choreography whilst also becoming a principal dancer (2000).

Nina Ananiashvili soon spotted his talent and asked him to create short works for her international tours (the Golden Mask Winner Dreams of Japan, set to taiko drumming and flutes). The touring of these works boosted Ratmansky’s profile and led to his first commissions by the Mariinsky Theatre and the Bolshoi.

In 2002, he staged Cinderella for the Mariinsky and, in 2003, The Bright Stream, for the Bolshoi, as part of their Shostakovich celebrations. The Bright Stream had been originally created in 1935 by Fyodor Lopukhov to Shostakovich’s music but immediately discarded given Stalin‘s disapproval of “peasants on pointe”. Because of this Lopukhov was fired and Shostakovich never wrote a ballet score again. Reinventing the choreography on top of the original libretto, Ratmansky turned this “rejected ballet” into a great success.

Ratmansky full

Alexei Ratmansky Photo: MIRA / ABT ©

The Bolshoi Years

Golden Mask Prize winner The Bright Stream led to Ratmansky’s appointment as the Bolshoi’s Artistic Director in 2004. His mandate was to focus on modernising the company and reconciling the new repertoire with the classics.

The Bolshoi’s five years under Ratmansky have been celebrated as a golden age. The company rejuvenated and regained artistic credibility with new works. For Ratmansky it must have been a draining period with a lot of compromising and pacifying different personalities and artistic egos,  leaving him with little time and energy to choreograph. He has said in the past that Russia is not very friendly to choreographers given its emphasis on the classics and inherited traditions, with certains dancers limiting themselves to new opportunities and holding on to the belief that they can only be creative within the boundaries of the old repertoire.

During Ratmansky’s tenure 25 new ballets were acquired for the company including works by Balanchine, Roland Petit, Twyla Tharp and Léonide Massine. In addition to The Bright Stream he also successfully restaged lost ballets such as Class Concert, The Flames of Paris and a lavish and critically acclaimed reconstruction of Le Corsaire.

In addition to developing dances Ratmansky is also credited with nurturing and creating opportunitities for such new talents as Natalia Osipova, Ivan Vasiliev, Ekaterina Krysanova, Nelli Kobakhidze and Denis Savin, while also showcasing the artistry of dancers Maria Alexandrova, Ekaterina Shipulina and Svetlana Lunkina, by casting them in new roles.

On the Dnieper 2

Veronika Part, Marcelo Gomes and Paloma Herrera in Ratmansky's On the Dnieper. Photo: Gene Schiavone / ABT ©

From Bolshoi to ABT

Early in 2008, rumours started circulating of Ratmansky departing to NYCB as resident choreographer, to follow in the steps of Christopher Wheeldon. But the terms of NYCB’s offer would have restricted his ability to create work outside the company so, instead, he decided to join ABT as an Artist in Residence, a role that gives him enough freedom to pursue other collaborations.

Ratmansky’s Ballets

For Ratmansky, classical ballet can be kept alive as long as its human content is relevant, narrative being a particular trait in his works. Ratmansky often mentions that while for George Balanchine, one of his influences, it was all about the steps and abstraction, for him the steps are part of a conversation that blends craft and passion.

His works are considered musical and fluid, probably a direct influence from his experience with Bournonville. He considers his choreography to be instinctive, the product of an analytical reaction to the score and physical response to the music (he used to put on music and film himself to observe how his body reacted naturally). That explains his preference for a more naturalistic port de bras, open chested stands, patterns that are circling, dynamic and constantly shifting, with suggestions of folk dance, as is the case with his Russian Seasons.

Some of Ratmansky’s works

  • A Fairy’s Kiss (Tchaikovsky, 1994) – Kiev Ballet
  • Capriccio (Stravinsky, 1997) – Bolshoi
  • The Charms of Mannerism (Strauss, 1997) – Postmodern-Theatre
  • Poem of Ecstasy (Scriabin, 1998) – Mariinsky
  • Middle Duet (Hanin, 1998) – Mariinsky
  • Turandot’s Dream (Hindemith, 2000) – The Royal Danish Ballet
  • Bolero (Ravel, 2001) –  International Ballet of Copenhagen
  • Flight to Budapest (Brahms, 2001) – International Ballet of Copenhagen
  • Nutcracker – Re-staging after Petipa (Tchaikovsky, 2001) – The Royal Danish Ballet
  • The Firebird (Stravinsky, 2002) – The Royal Swedish Ballet
  • Cinderella (Prokofiev, 2002) – Mariinsky
  • Le Carnaval des Animaux (Saint-Saens, 2003) – San Francisco Ballet
  • The Bright Stream (Shostakovich, 2003) – Bolshoi
  • Leah (Bernstein, 2004) – Bolshoi
  • Anna Karenina (Schedrin, 2005) – The Royal Danish Ballet
  • Bolt (Shostakovich, 2005) – Bolshoi
  • Russian Seasons (Desyatnikov, 2006) – NYCB
  • Middle Duet (Hanon, 2006) – NYCB
  • Le Corsaire – Restaging after Petipa, with Yuri Burlaka (Adam, 2007) – Bolshoi
  • Jeu de Cartes (Stravinsky, 2007 ) – Bolshoi
  • The Flames of Paris – New staging with use of original choreography by Vasily Vainonen, based on original libretto by Nikolai Volkov and Vladimir Dmitriev (Asafiev, 2008. )
  • Pierrot Lunaire  (Schoenberg, 2009) – For Diana Vishneva as part of her show Beauty in Motion
  • Concerto DSCH (Shostakovich, 2008) – NYCB
  • The Little Humpbacked Horse (Schedrin, 2009) – Mariinsky
  • On the Dnieper (Prokofiev, 2009) – ABT
  • Scuola di Ballo – Restaging after Massine (Bocherini, 2009) – The Australian Ballet
  • Seven Sonatas (Scarlatti, 2009) – ABT
  • Don Quixote – Restaging after Petipa (Minkus, 2010) – Dutch National Ballet

Awards and Honours:

  • Golden Mask  for Dreams of Japan (1999)
  • Golden Mask for Best Choreographer, The Bright Stream (2004)
  • Knighted in Denmark (order of the Danish Flag) for his contribution to the arts (2002)
  • Benois de la Danse for Anna Karenina production for the Royal Danish Ballet (2005)
  • Golden Mask for Best Choreographer, Jeu de Cartes (2006)
  • Critics’ Circle National Dance Award for The Bright Stream after the Bolshoi’s London tour (2006)
On the Dnieper

Paloma Herrera as Olga and Marcelo Gomes as Sergei in Ratmansky's On The Dnieper. Photo: Gene Schiavone / ABT ©

Videos

The following short extracts should give you an idea of how rich and varied Ratmansky’s choreography is and how widespread it has become.

  • Extract of Russian Seasons as danced by Dutch National Ballet [link]
  • Pas de deux from Anna Karenina, danced by Gitte Lindstrøm and Mads Blangstrup from The Royal Danish Ballet [link]
  • Nina Ananiashvili in Leah, from Ratmansky Gala at the Bolshoi [link]
  • Le Jardin Anime scene from Ratmansky’s Le Corsaire, with Svetlana Zakharova as Medora and Ekaterina Krysanova as Gulnare [link]
  • Extract of Bolt, featuring Denis Savin, Anastasia Yatsenko and Andrei Merkuriev [link]
  • Diana Vishneva and Andrei Merkuriev in Cinderella [link]
  • A short feature on Scuola di Ballo for The Australian Ballet [link]
  • Alina Somova and Vladimir Shklyarov in an extract of The Little Humpbacked Horse [link]

Extracts of Reviews and Selected Praise

Of The Bright Stream:

The final offering of the season was The Bright Stream. In 1935, when Shostakovich’s sunny score was staged in Moscow with choreography by Fyodor Lopukhov (and initially much liked), it drew down Stalinist wrath as “balletic fraud”, wholly irresponsible in portraying the nature of collective farming. It has been Alexey Ratmansky’s achievement to rehabilitate the piece, by rescuing the score and taking an amused look at its narrative and, most significantly, at the aesthetic and political conventions of ballet in the 1930s. Clement Crisp at the Financial Times (2007) [link]

Alexei Ratmansky, who completely rechoreographed it for the Bolshoi in 2003, didn’t have to worry about toeing the party line and was free to do whatever he wanted with Shostakovich’s jolly music and Piotrovsky and Lopukhov’s lighthearted libretto. His new production honours them both with wit and compassion, and a stream of wonderful — and very funny — choreography…All in all, the best new ballet to come out of Russia in years. Debra Craine at the Times (2006) [link]

Of Bolt:

Though I hope other choreographers will give sharper visual style to this unusual and instantly appealing music, I feel that Ratmansky deserves the highest credit here. He may not have produced a definitive new Bolt, but he has given the full ballet score to the world to play with, a marvellous gift. Ismene Brown at The Telegraph (2005) [link]

Of The Little Humpbacked Horse

This ballet is life-affirming and rich in humanity. Ratmansky’s choreography is masterly, and has a clear form and shape. His narrative is clear, and each scene is of the right length. The final transformation scene of Ivan into a young tsar is effective and witty. The two classical duets are full of heart-warming tenderness. The duets for Ivan and the Humpbacked Horse in Act I are spirited and lively. Kevin NG at The Saint Petersburg Times (2009) [link]

Of On the Dnieper:

Ratmansky, as always, produces lovely movement—the solos for both men are particularly telling. And he never loses his touch with groups of dancers, their extended passages both coherent and effective in themselves and reflecting the emotional trajectory of the story. Robert Gottlieb at The New York Observer (2009) [link]

Mr. Ratmansky gleans every bit of story possible from the Lifar-Prokofiev original and makes the most of it. (…) What Mr. Ratmansky captures beautifully with these characters (and less eloquently with Natalia, described in the program as “grief-stricken yet noble”) is what it is like to be torn by opposite emotional impulses. The choreography’s other felicities include some lovely subtleties of ensemble and striking instances of dancers standing or moving with their backs to us. Alastair Macaulay at The New York Times (2009) [link]

Of Russian Seasons

His “Russian Seasons” finally received its world premiere on Thursday evening at the New York State Theater, and it was worth the wait (…) It would be too easy to say that the choreography owes its originality to its inspirations from folk dance, though it does make happy use of such dancing. Mr. Ratmansky is a fountain of movement ideas, with sweeping stiff arms and vigorous floor-stamping and clapping and every sort of catlike pose, from freshly funny to deeply tragic. Intimations of character and personality never get in the way of pure dance. John Rockwell at The New York Times (2006) [link]

Leaving the theater, I could have danced for joy, especially if I had been choreographed by Ratmansky. A new choreographer has come to light – and the dance world is a better place. Clive Barnes at The New York Post (2006).

Of Concerto DSCH

Concerto DSCH is an endlessly suspenseful choreographic construction, with passages of breathtaking dance brilliance. Again and again, you find yourself thinking, “I didn’t realize this was going to happen after that,” and “What exactly were those steps that flashed by just now?” Better yet, it’s marked by tender pure-dance poetry. Alastair Macaulay at The New York Times (2008) [link]

Certainly “Concerto DSCH” seems at first glance – even second glance – a weird name for a ballet, but Alexei Ratmansky’s new work created for New York City Ballet on Thursday night is a gold-plated, copper-bottomed hit. Clive Barnes at The New York Post (2008) [link]

Sources and Further Information

  1. Alexei Ratmansky’s Biography from the Bolshoi’s Website [link]
  2. Alexei Ratmansky’s Biography from the Benois de la Danse Website [link]
  3. ABT’s Alexei the Mild? by Robert Greskovic. The Wall Street Journal. June 2009 [link]
  4. Interview with Alexei Ratmansky by Natasha Dissanayake. Ballet.co Magazine. July-August 2004. [link]
  5. Freelance Freedoms. Alexei Ratmansky in conversation with Marc Haegeman. Dance Now Magazine. Vol. 17, No. 4. Winter 2008/09.
  6. Ballet’s future Russian Ahead by Leigh Witchel. New York Post. October 2009. [link]
  7. Ratmansky Takes Manhattan by Marina Harss. The Nation. September, 2009. [link]
  8. Bolshoi Director May Take Job at City Ballet by Gia Kourlas. The New York Times. February 2008 [link]
  9. For Bolshoi Ballet, Two Steps Forward, One Step Back by Nora Fitzgerald. The Washington Post. February, 2007 [link]
  10. Alexei Ratmansky and the new Bolshoi by Margaret Willis. Dance Magazine, November 2004. [link]
  11. New Home, New Job and New Moves for Alexei Ratmansky by Roslyn Sulcas. The New York Times, May 2009. [link]
  12. The Bolshoi in Paris: An interview with Alexei Ratmansky by Patricia Boccadoro. Culturekiosque, February 2004. [link]
  13. Alexei Ratmansky by Roslyn Sulcas. The New York Times. November, 2009 [link]

Read Full Post »

Veronika Part. Source: ABT. Copyright Ballet Theatre Foundation ©.

Veronika Part. Source: ABT. Copyright Ballet Theatre Foundation ©.

On one side her admirers and knight-in-shining-armour defenders. On the other those who see her as an inconsistent performer. It doesn’t matter on which side one stands,  all this debate  has helped American Ballet Theatre‘s newest Principal dancer Veronika Part become the equivalent of a ballet cross-cultural phenomenon. Other than achievements such as her success whilst still a soloist-doing-principal roles,  being hailed by London critics in the most recent ABT Coliseum season and forming together with ABT guest artist Roberto Bolle one of Ballet’s most picture perfect partnerships, Veronika has also  managed to electrify jaded ballet-goers, bring new audiences into the theatre, and bag an invitation to The Late Show with David Letterman, one of the US’s hottest talk shows, giving ballet a much needed mainstream boost, charming audiences with her grace and personality, not to mention her gorgeous face.

Londoners had the pleasure of seeing Veronika last March before her promotion to Principal dancer. She performed here amid rumours that she might be leaving the company in the absence of an overdue promotion. The British critics fell under her spell and she wowed me too: watching Veronika as one of the three odalisques in ABT’s Le Corsaire, it was not only clear that she outshined the other two women (ABT soloists Maria Riccetto and Kristi Boone), but she also commanded the stage like few do. It was no surprise to learn shortly after Part’s London stint that she had finally been promoted.

Product of the Vaganova machine, Veronika exhibits all the traits that  are so distinctive in Russian dancers: wonderful port de bras, a musical and plastic upper body, regal and elegant lines. She might not be so much the technical whiz as some of her ABT colleagues (like Gillian Murphy, Paloma Herrera or Michelle Wiles), nor did she get to the top as fast as her former classmates Svetlana Zakharova and Daria Pavlenko, however, as a tallish (5’8” = 1.72 m) womanly bodied dancer, she  knows how best to use her physical gifts to convey artistry: she makes you feel Odette’s pain, follow Odile’s flirtatious face and make the audience, rather like prince Siegfried, forget about everyone else on stage.

The best description I found of what Part brings as a dancer and why she has gathered so many admirers is by Tony Mendez, a former professional ballet dancer, turned guest finder for Letterman, who is, of course a huge Veronika fan:

Inconsistency kind of gives a dancer an edge. When I go and see Gillian (Murphy) and Paloma (Herrera), I know they’re going to be perfect… So when I see Veronika Part, there’s a little more of a human thing about her—you don’t know how well she’s going to do, and when she does really well, it’s exciting. And her beauty onstage— she’s beautiful to look at. I don’t think that Veronika Part looks like a ballerina. She looks like a beautiful woman who dances.

Veronika Part in a Nutshell

Born in St. Petersburg, 1978 into a family with no ballet connections. A nurse mentioned to her mother that she had pretty and long legs, so she might make a great ballerina, though before taking up ballet, Veronika trained in artistic gymnastics.

She started ballet at age 10 after being accepted at the famous Vaganova Academy to study under the guidance of Inna Zubkovskaya.

Veronika graduated in 1996, joined the Mariinsky as a member of the corps de ballet and was promoted to Soloist in 1998. Her first major role was Myrtha in Giselle, which she danced just months after having entered the company (January 1997).

Veronika Part as Myrtha. Source: Broadwayworld.com. Copyright belongs to its respective owners.

Veronika Part as Myrtha. Source: Broadwayworld.com. Copyright belongs to its respective owners.

Coached by Gabriella Komleva she danced her first principal role: Swan Lake’s double act of Odette/Odile, but her favourite classical role is  actually Raymonda, where she drew favourable comparisons with former teacher (and coach for the role) Inna Zubkovskaya.

In 2002, during a Mariinsky tour to New York where she received glowing reviews for her performances as the second soloist in Balanchine’s Emeralds, Veronika accepted Kevin McKenzie‘s invitation to stay in the US and join ABT as a Soloist.

Veronika has mentioned several times that those initial years in NY, with no friends or family, made her a stronger person. Word is that she learned English while watching episodes of the popular TV series Seinfeld.

A string of uneven performances in 2006/2007 (including Nikiya in ABT’s 2007 Paris Tour) prompted much discussion about Veronika’s stamina, technique, and whether or not nerves were getting in the way, reviews shifting between positive and negative from one season to the next (For instance, this review by Alexandra Tomalonis and this one by Gay Morris, both from Danceviewtimes).

Her big break with ABT happened in 2007, when she was cast as Aurora in the opening night of the McKenzie/Kirkland/Chernov new production of The Sleeping Beauty. Although she still got mixed reviews for this notoriously challenging role and some questioned her technical suitability for it, she generally started to get more attention in soloist and principal roles alike.

Despite the overall good reviews and an ever increasing fanbase, ABT still seemed reluctant to give her a promotion or to throw more principal roles at her (besides Odette/Odile, Nikiya and the Sugar Plum Fairy), so rumours were that she would leave in 2008. Luckily for her fans this never materialized and it is thought it was perhaps the appointment of Alexei Ratmansky as ABT’s resident choreographer which contributed to Veronika’s change of heart.

Veronika performed Odette/Odile during ABT’s London tour to outstanding reviews, rekindling the debate amongst critics and audiences about her overdue promotion. Veronika was finally made a Principal dancer in April 2009.

She is often partnered by Marcelo Gomes a tall, handsome dancer and a good match for her physique. Recently she also found another match for her “in looks” as a much commended sold out performance of Swan Lake alongside Roberto Bolle was labeled by avid fans “the best looking partnership in the history of ballet”.

Veronika is a spokesperson for Gaynor Minden Inc. and a wearer of their pointe shoes since 2002.

Veronika Part and Marcelo Gomes in Le Corsaire. Photo: Gene Schiavone/ABT ©. Source: Danceviewtimes

Veronika Part and Marcelo Gomes in La Bayadere. Photo: Gene Schiavone/ABT ©. Source: Danceviewtimes

Videos

  • A very young Veronika dances a Fairy Variation [link]
  • 1992’s 4th Year class of the Vaganova Academy. We can see her taking class together with future Mariinsky Star Daria Pavlenko. [link]
  • Veronika’s recent appearance in The Late Show with David Letterman [link]
  • Part dances the lead role in the Mariinsky’s production of Raymonda. Performance videos, parts 1 [link] and 2 [link].
  • Veronika as Odette with Marcelo Gomes as Siegfried in ABT’s Swan Lake. [link]

Extract of Reviews and Praise

Of her Odette/Odile

Ms. Part, whose clean style is tinged with an intriguing blend of languor and voluptuousness (…). She offered a superbly tender and sad Odette. With eyes down, lips parted and head thrown back, she evoked a spellbound princess. Her adagio in Act II was conventionally lyrical in the best sense: she wreathed Mr. Korsuntsev’s head with her arm with the softness that colored all her gestures. Yet sharply bent forward, she was a swan maiden with a broken wing, wounded by love and fate. Anna Kisselgoff at the NYTimes [link]

Ms. Part’s performance is always about the irreducible structural components of classical ballet. She pruned away mannerism as much as is possible or desirable to do an art form that is itself somewhat manneristic. She was technically sound, but her “Swan Lake” was not technical acrobatics; nor was it about realistic drama or animal imitation. She preserves the stylistic imprint of the role without a lot of flapping or pecking. She maintains a rare equilibrium between the linear and sculptural elements of classical ballet. Joel Lobenthal at the NYSun [link]

Veronika Part, with her broad-shouldered Joan Crawford looks, gave the most assured and intense performance I have seen from her in a major ballerina role. Her Odette, full of yearning backbends, is awash with feeling; her Odile glamorously exultant. Alastair Macaulay at the NYTimes [link]

Part offers dancing and interpretation of a voluptuous grandeur, Odette’s tragedy saturating movement and pose, Odile’s malevolence an intoxication of the spirit that will dazzle Siegfried utterly. The role is luscious in phrasing, ever expressive, true. Clement Crisp at the Financial Times [link]

Of her debut as Nikiya in ABT’s La Bayadère (May 2007)

Ms. Part is a great adagio technician, perhaps the greatest in Kirov lineage since Natalia Makarova and Alla Osipenko 40 years ago. During her lamenting variation in the Pas d’Action… we saw a marvel of scale, ease, and refulgence. No one onstage today better demonstrates the Russian ideal of movement originating from the back, radiating to the extremities and beyond… She is part of an epic ballet spectacle, and her outpouring of emotion is as lush and grand as her physical production. Joel Lobenthal at the NYSun [link]

and of a more recent performance of the same role (2008)

Ms. Part is a highly individualistic dancer who represents several traditions in addition to her own individuality. She epitomizes the Russian emphasis on legato movements, a bel canto all its own… Very few others have succeeded artistically as well as Ms. Part. She lets her height and flexibility expand, but not traduce, the architecture and poetics of classical ballet; her taste is exemplary. Joel Lobenthal at the NYSun [link]

Nikiya the temple dancer – or bayadere – was the St. Petersburg-born Veronika Part, dancing with poignant eloquence and impeccable style. Clive Barnes at the NYPost [link]

Of her roles in The Sleeping Beauty:

First, as Aurora

Veronika Part’s lush, emotionally eloquent dancing as Aurora in the Vision Scene was the sole unarguably wonderful element in ABT’s new version of “The Sleeping Beauty”…The Kirov-trained ballerina’s work in the arduous first act had been admirably strong and clear. But here — seemingly impalpable, yet making it clear that she is longing for the Prince as much as he is for her — Part worked the real ballerina magic of transforming steps into atmosphere and feeling. Tobi Tobias at Bloomberg [link]

and as the Lilac Fairy

She (Part) reclaimed her rightful role as the Lilac Fairy, for which she’s perfect and in which she has lengthy experience. Ms. Part danced and declaimed magnificently. As exciting as the sweep and aplomb of her movement were the many shades of character she brought to the role, appropriate for a deity who should ideally encompass all the attributes that are presented to the infant Aurora in the Prologue by Lilac’s attendant fairies. Joel Lobenthal at the NYSun [link]

Clement Crisp comments on Part’s various appearances in London:

Balanchine’s Symphonie Concertante

…The corps was nattily exact, much given to eager smiles as if trying to jump a queue, and it was the presence of Veronika Part (as the viola’s representative) who brought the piece, and the evening, to glory. We remember her as a young divinity with the Mariinsky Ballet and the dignity and amplitude of her St Petersburg style, the voluptuous, luscious grace of her every action, pouring some noble and heady wine for us, breathed life, meaning, into her role. She was a diamond set amid rhinestones, Pouding Nesselrode as an alternative to water ices. Clement Crisp at the Financial Times [link]

and as one of the three Odalisques in Le Corsaire, last March:

Veronika Part appeared, a divinity in exile, as an odalisque. Clement Crisp at the Financial Times [link].

Sources and Further Information

  1. Veronika Part’s Official Website [link]
  2. Profile for Kirov Ballerina Veronika Part by Marc Haegeman, from For Ballet Lovers Only [link]
  3. Gaynor Minden Dancer Profile, written by Eliza Minden and Karen Lacy [link]
  4. Veronika Part interviewed by Graham Watts. Ballet.co Magazine, March 2008 [link]
  5. A Reason to Go on Living, blog post by James Wolcott. VanityFair.com [link]
  6. Assoluta by Laura Jacobs. Dance critic for The New Criterion [link]

Share

Read Full Post »