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Posts Tagged ‘Ratmansky’

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As we prepare to send off 2009 and embrace a new decade, we look back into what was hot, fun & fab around the ballet blogosphere to pick our favorite things this year. Feel free to share yours too.

Favorite Blog Posts

Haglund Heel’s “ABT needs a Mayerling” campaign

The coolest ballet campaign of the year. We keep on crossing our fingers & sending positive vibes for Mayerling to be part of ABT’s repertory someday. We’d definitely cross the Atlantic to see Marcelo Gomes as Crown Prince Rudolf.

You Dance Funny on the mess with “Swan Lake’s third act Pas de Deux”

We love uncovering mysteries à la Sherlock Holmes / Dr. Gregory House.  Divalicious prima ballerina decides she doesn’t like the score for her Swan Lake 3rd Act solo and asks Ludwig Minkus to write another one. This in turn bothers the original composer, a certain Mr. Tchaikovsky, who then writes a second version which never makes it to the final cut after all. Complicated? This could very well yield material for a soap opera.

Bloggerina meets Mr. Clement Crisp

Once upon a time our favorite ballet critic, Mr. Clement Crisp, went on a trip to Canada to see a triple bill composed entirely of new ballets, something sadly unthinkable in our neck of the woods. He met the Toronto ballet audience & spoke about what can be done to ensure the future of ballet. We were left very jealous…

Bella Figura’s Make your own Ballet Xmas in Paris

While Eurostar #FAIL would have surely prevented us from celebrating a balletic Xmas in Paris this year, this post provided us a much needed insight into the pick and mix of POB‘s casting. We are very curious about the darkest of all Nutcrackers and we might be more than tempted next December when the Mariinsky will also be in town. The post also offers a witty description of a certain Bolshoi star who has a habit of hanging on to theatre curtains.

Demicontretemps’s “If Ballet Stars were comic book heroes”

We love graphic novels, comic books and movie adaptations of both. We also often imagine deathmatches between our favorite ballet stars… if only we could pitch this idea to MTV. In this very funny post Eric Taub imagines Ballet dancers as drawn by famous comic book artists.

Veronika Part on Wolcott and Swan Lake Samba Girl

She is one of the most glamorous things to have happened to ballet. Just as gossip started to circulate that she would leave ABT she turned the tables on the rumour mill and bagged a promotion for Principal and a spot on David Letterman. May she long continue to fascinate us.

Favorite Tweets/Social Media Stuff

Sanjoy Roy on How dance companies must embrace the internet. The Guardian dance writer Sanjoy Roy picks up on the Ketinoa debate.

Hedi Slimane’s short film featuring Royal Danish Ballet’s Oscar Nielssen rocking and phrasing beaten steps to the music of Supershine drummer Matthias Sarsgaard. We said it before and will say it again: Ballet Rocks! (as tweeted by @hedislimanetwit)

Crankocast – Who would you be cast as in a Cranko ballet? Over here we got the two Taming of the Shrew sisters, one for each Bag Lady. Spooky! How did they know? (as tweeted by Stuttgart Ballet Principal dancer @EvanMcKie)

Charlotte MacMillan’s Mayerling photos at The Arts Desk – breathtakingly sinister studio shots of one of our favorite dark ballets with one of our favorite casts (as tweeted by @Macmillanballet)

Mariinsky in Japan Little Humpbacked Horse photos – mouthwatering candy store-like pictures of the Ratmansky ballet we are dying to see (as tweeted by the lovely @naomip86 – our Japanese ballet guru)

Favorite Ballet Bag Stuff

Interviews – Three fabulous leading dancers with each of the Mariinsky, the Royal Ballet and ABT. Three very distinct personalities which resulted in very different interviews. We hope you enjoyed them as much as we did. We are crossing our fingers for more.

Bridge Over Troubled Water & other Social media posts – We are big believers in the power of social media. All of these posts were great fun to write & some even managed to stir some controversy (see Sanjoy Roy article above).

Supermassive Black Hole – Our resident physicist analysed BRB’s new ballet based on Einstein’s Theory of Relativity. Perfect for the job.

Grace – This was a tough cookie. Someone asked in our Facebook group if we could write something about the ballerina’s grace. It was hard to put a subjective concept into words but we really liked the final product, not least because it gave us a chance to quote from Pride and Prejudice.

Last but not least

Our favorite Dances of the Decade

Our favorite Dance articles of 2009 (Conventional Media)

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The Royal Ballet’s Sleeping Beauties have just drawn to a close, giving way to the usual Christmas special of Nutcrackers. Notice anything in common? Both are Petipa ballets, both are amongst the safest for box office purposes, with blockbuster works such as Swan Lake and The Sleeping Beauty, their lavish costumes, orchestral music and vast ensemble of dancers, always in demand with regulars and first timers alike. Petipa ballets may be overly done, but they remain definitive classics, with great choreography which survived more or less unscathed over the years since their Imperial Ballet days.

In this post we look at Marius Petipa and the scale of his achievements. This Franco-Russian choreographer changed the face of ballet and created masterpieces – the first ballets that come to mind when one thinks classical dance – that continue to inspire generations of dancers, new choreographers and audiences.

Marius Petipa in a Nutshell

Marius Petipa. Photo: Mariinsky Theatre

Victor Marius Alphonse Petipa was born on 11 March of 1822 in Marseille son of an actress, Victorine Grasseau, and a ballet dancer (and eventually ballet master) Jean Antoine Petipa. Petipa got drawn into the  ballet world early on, starting to train at age 7 in Brussels where his family had moved to. At the time, Petipa attended the Brussels Conservatory, where he studied music. He went to school at the Grand College.

Initially Petipa danced only to please his father who wanted to see him perform. However, he soon became enchanted with the art form and progressed so fast that he debuted at 9 in his father’s production of Pierre Gardel‘s La Dansomani. With the Belgian revolution forcing the family to move again, Jean Antoine secured a job as ballet master at the Grand Théâtre de Bordeaux. There, Petipa completed his training under the watchful eye of Auguste Vestris. By 1838, he had a job as Premier danseur in Nantes.

The following year Petipa and his father toured the United States performing for audiences who had never seen or known about ballet. While the tour was disastrous it had plenty of historical significance. Performing at the National Theatre in Broadway, Petipa was involved in the first ballet ever staged in New York City. From there Petipa travelled to Paris were he debuted at the Comédie-Française (or Théâtre-Français), partnering Carlotta Grisi and at the Théâtre de l’Académie Royale de Musique (Paris Opéra).

In 1841 he returned to Bordeaux as a Premier danseur with the company, studying under Vestris while debuting in lead roles in Giselle and La Fille Mal Gardée. It was in Bordeaux that he started choreographing full-length productions. In 1843 he moved to the King’s Theatre in Madrid where he learnt about traditional Spanish Dancing which would come in handy for making character dances later on. He was forced to leave Spain after being challenged to a duel by a cuckolded husband, the Marquis de Chateaubriand, an important member of the French Embassy. Back in Paris, he took a position as Premier danseur at the Imperial Theatre of St. Petersburg where he arrived in 1847. His father soon followed, becoming a teacher at the Imperial Ballet School until his death in 1855.

Upon his arrival in St Peterburg, Petipa was recruited to assist in the staging of Joseph Mazilier‘s Paquita (originally staged at the Paris Opéra). Helped by his father, he also staged Mazilier’s Le Diable Amoureux. Both productions were praised and Petipa’s skills brought much needed respite to a company then in crisis.

The Mariinsky Ballet in Petipa's Le Corsaire. Photo: Valentin Baranovsky / Mariinsky Theatre ©

Towards the end of 1850 Jules Perrot arrived as Premier Maître de Ballet (Principal ballet master) for the St. Petersburg Theatres. His main collaborator, composer Cesare Pugni, had also been appointed as Ballet Composer at the Imperial Theatres. Petipa danced the main roles in Perrot’s productions and served as his assistant, staging revivals such as Giselle (1850) and Le Corsaire (1858). In parallel Petipa started to choreograph dances for opera and to revise dances for Perrot’s productions.

Petipa was now choreographing more frequently, making ballets for his ballerina wife Maria Sergeyevna Surovshchikova. A rivalry with Arthur Saint-Léon, the new Principal ballet master after Perrot’s retirement (1860) developed, the two competing for the most successful production. But while Saint-Léon’s The Little Humpbacked Horse was very well received he flopped with Le Poisson Doré (1866) and Le Lys (1869) which led to his contract not being renewed. Not long afterwards Saint-Léon died of a heart attack leaving an opening for Petipa to fill the position of Premier Maître de Ballet (March, 1871).

Before being appointed ballet master Petipa had already:

Photo of a scene from the choreographer Marius Petipa (1818-1910) & the composer Cesare Pugni's (1803-1870) 1862 ballet "The Pharaoh's Daughter". The photo shows the Grand pas des chasseresses from Act I of the ballet on the stage of the Imperial Mariinsky Theatre in Petipa's revival of 1898. In the center can be seen the ballerinas (right) Mathilde Kschessinskaya (1871-1970) in the role of the Princess Aspicia, and (left) Olga Preobrajenskaya (1871-1962) in the role of the slave Ramzé.

1898 photo of Petipa's ballet "The Pharaoh's Daughter", Mathilde Kschessinska as Princess Aspicia and Olga Preobrajenska as Ramzé the slave. Photo: Imperial Mariinsky Theatre.

When Don Quixote was lavishly restaged in St. Petersburg its composer Ludwig Minkus became official Ballet Composer of the Imperial Theatres, leading Petipa and Minkus into a fruitful collaboration, with La Bayadère (1877) becoming one of Petipa’s most celebrated works.

Minkus retired in 1886 and Director Ivan Vsevolozhsky did not seek a replacement official composer, allowing instead for more diversified ballet music. This paved the way for Tchaikovsky to collaborate with Petipa in The Sleeping Beauty (1889) and create one of the most successful classical ballets of all time. At that time Petipa was diagnosed with a skin disease which meant long periods away from work. For The Nutcracker (1892) Tchaikovsky worked with Petipa’s assistant Lev Ivanov who would frequently cover for Petipa together with Enrico Cecchetti.

The Mariinsky Ballet in Petipa's Le Reveil de Flore (The Awakening of Flora). Photo: Natasha Razina / Mariinsky Theatre ©

During his tenure as balletmaster Petipa also:

  • supervised Ivanov and Cecchetti in the staging of Cinderella (1894) with italian virtuosa Pierina Legnani in the title role. Here she first performed the famous 32 fouettés en tournant later consecrated in Swan Lake;
  • choreographed The Awakening of Flora (1894) with music by Riccardo Drigo;
  • revived, together with Lev Ivanov, Tchaikovsky’s Swan Lake (1895). Lev Ivanov worked on the second and fourth acts while Petipa was in charge of the rest. Together they turned this previously unsuccessful ballet into one of the all-time greatest;
  • Continued working (coaching Anna Pavlova in her debut in Giselle) despite the deterioration of his health and persecution from new artistic director Vladimir Telyakovsky following an illreceived adaptation of Snow White (entitled Le Miroir Magique);
  • Created a final ballet, L’Amour de la Rose et le Papillon, which was scrapped before its premiere by Telyakovsky due to the impending war with Japan.

Petipa retired to Gurzuf in southern Russia in 1907 at the suggestion of his doctors. He remained there until his death on July 14, 1910. A diary entry dated 1907 reads: “I can state I created a ballet company of which everyone said: St. Petersburg has the greatest ballet in all Europe.”

His Ballets

Petipa will be forever associated with lavish productions, character and classical dances, big ensemble and dramatic scenes in mime or in pas d’action (mime with dance). His dances combine the technical purity of the French school with the virtuosity of the Italian school. He was very involved in the creation of his ballets, researching subject matter extensively and working close with the composer and designer. He created choreography before going to the studio and teaching it to his dancers. He produced more than 46 original works and revised many more (e.g. Giselle), of which a large share is still being performed today.

The Mariinsky Ballet in The Sleeping Beauty. Photo: Natasha Razina / Mariinsky Theatre ©

Petipa’s ballets have survived more of less intact thanks to the availability of the  Stepanov Method of notation from 1891 onwards. The method combines the encoding of dance movements with musical notes, in two steps: first, the breaking down of a complex movement and second, the translation of the broken down/basic movement into a musical symbol. The project was taken over by Alexander Gorsky and eventually by Nicholas Sergeyev, a former Imperial dancer, who later brought Giselle to the Paris Opéra Ballet and The Sleeping Beauty, Giselle, Coppélia and The Nutcracker into The Royal Ballet. These notated versions became the standard choreographic text and have been adopted by nearly every major ballet company in the world.

A (non-exhaustive) list of his works

Original Works

  • Le Carnaval de Venise (Pugni on a theme by Nicolò Paganini, 1858)
  • The Pharaoh’s Daughter (Pugni, 1861)
  • Don Quixote (Minkus, 1869)
  • Les Aventures de Pélée (Minkus/Delibes, 1876)
  • La Bayadère (Minkus, 1877)
  • Roxana, la beauté de Monténégro (Minkus, 1878)
  • Pygmalion ou La Statue de Chypre (Trubestkoi, 1883)
  • La Fille Mal Gardée (with Lev Ivanov and Virginia Zucchi. Hertel / Hérold / Pugni, 1885)
  • Les Pilules Magiques (Minkus, 1886)
  • Le Talisman (Drigo, 1889)
  • The Sleeping Beauty (Tchaikovsky, 1890)
  • The Nutcracker (with Lev Ivanov – Tchaikovsky, 1892)
  • Cendrillon (Staged by Ivanov and Cecchetti under Petipa’s supervision – Fitinhof-Schell, 1893)
  • Swan Lake (with Lev Ivanov – Tchaikovsky revised by Drigo, 1895)
  • Raymonda (Glazunov, 1898)
  • Las Saisons (Glazunov, 1900)
  • Le Millions d’Arlequin (Drigo, 1900)
  • Le Miroir Magique (Koreschchenko, 1903)
  • La Romance de la Rose et le Papillon (Drigo, never premiered)

Revivals/Restagings

  • Paquita (after J. Mazilier with F. Malevergne – Deldevez / Liadov, 1847)
  • Giselle (after J. Coralli and J. Perrot with Jules Perrot and Jean Petipa – Adam / Pugni, 1850)
  • Le Corsaire (after J. Mazilier with J. Perrot – Adam / Pugni, 1858)
  • Le Papillon (after M. Taglioni – Offenbach / Minkus 1874)
  • Coppélia (after Saint-Léon – Delibes, 1884)
  • La Esmeralda (after J. Perrot – Pugni 1886)
  • La Sylphide (after F. Taglioni – Schnietzhoeffer/Drigo 1892)
  • The Little Humpbacked Horse (after Saint-Léon – Pugni, 1895)

Videos

  • Vikharev Reconstruction of Petipa’s Sleeping Beauty with Yevgenia Obraztsova as Aurora, Anton Korsakov as Prince Désiré and Anastasia Kolegova as The Lilac Fairy [link]
  • Vikharev Reconstruction of Petipa’s La Bayadère with Daria Pavlenko as Nikiya, Igor Kolb as Solor and Elvira Tarasova as Gamzatti [link]
  • Ratmansky and Burlaka‘s restaging of Le Corsaire for The Bolshoi, with Maria Alexandrova as Medora and Nikolai Tsiskaridze as Conrad [link]
  • Dance of the Animated Frescoes from The Little Humpbacked Horse, performed by students of the Vaganova Academy. [link]
  • Vikharev Reconstruction of The Awakening of Flora with Yevgenia Obraztsova as Flora, Xenia Ostreikovskaya as the Aurora, Vladimir Shklyarov as Zephyr, Maxim Chaschegorov as Apollo and Valeria Martynyuk as Cupid.  [link]
  • Pas de deux from Le Talisman by students from the Vaganova Academy [link]
  • Pas de deux from La Fille Mal Gardée by students from the Vaganova Academy [link]
  • Burlaka’s Reconstruction of the Paquita Grand Pas Classique with Svetlana Zakharova and Andrei Uvarov [link]
  • Mikhailovsky Theatre‘s staging of the Grand Pas Classique from La Esmeralda [link]
  • Ulyana Lopatkina as Odile and Danila Korsuntsev as Siegfried in Act III of Mariinsky’s Swan Lake [link]

Sources and Further Information

  1. Biography of Marius Petipa: His Life and Work. ArticleMyriad.com [link]
  2. Ballet Met Notes for Marius Petipa, Choreographer [link]
  3. Wikipedia entry for Marius Petipa [link]
  4. The Diaries of Marius Petipa. Edited and Translated by Lynn Garofola. Studies in Dance History, Society of Dance History Scholars. (1992) ASIN: B0006P1DJ6 [link]
  5. Russian Ballet Master: The Memoirs of Marius Petipa. Edited by Lillian Moore and Translated by Helen Whittaker. Dance Books LTD (2009) ISBN-10: 0903102005 [link]
  6. The Cambridge Companion to Ballet by Marion Kant. Cambridge University Press; 1st edition (2007). ISBN-10: 0521539862 [link]

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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]

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Morphoses dancers performing Commedia (via Sadler’s Wells YouTube channel)

Morphoses’ third London season has just come to a close. This year they came almost entirely depleted of their NYCB roster, something we lament since we cannot easily cross over the Atlantic to see that fabulous team at home. Nevertheless Morphoses remains a vibrant company providing the opportunity for an eclectic public to discover a mix of interesting dancers matched to new choreography.

The programme I saw, a tribute to the Ballets Russes and their collaborative spirit, opened and closed with captivating works. Wheeldon’s Commedia is a charming take on the carefree and playful world of the Commedia dell’arte to match Stravinsky’s Pulcinella suite, a spoof on early eighteenth-century music. The simplicity of the set and costumes, the absence of a corps de ballet reminds us that Morphoses works on a tight budget,  but Wheeldon compensates by displaying his gift for fluid choreography added to what is essentially classical dance vocabulary. Although one wishes certain sections of the ballet were expanded on, particularly the solo sections for razor sharp Rory Hohenstein and sparkly Leanne Benjamin, on the whole this is a piece that makes a long trip to Sadler’s Wells on a wintry evening well worth it.

So does Ratmansky’s Bolero, a fine translation into steps of Ravel’s music, also originally composed for The Ballets Russes. Three men (Juan Pablo Ledo, Edwaard Liang and Lucas Segovia) and three women (the always amazing Wendy Whelan, Melissa Barak and Danielle Rowe) dressed as athletes, gradually move from individuality to unison in response to the rising demands of the score. There are no set designs and, unlike the evening’s less strong middle section works, “Leaving Songs” and “Softly as I leave you”, no use of props to maximize dramatic impact. All the better to let the choreography speak.

Tim Harbour’s Leaving Songs was supposed to be about endings and beginnings but stayed in the middle, mixing classical phrases with usual modern moves. It did have one good thing going for it, in the shape and extensions of Rubinald Pronk. Pronk’s chemistry with his regular dance partner Drew Jacoby could also be seen in the next piece “Softly as I Leave You” (by husband and wife team Paul Lightfoot and Sol Leon). Despite the recorded music and the overreliance on a wooden box for drama, there were luscious extensions and lifts as well as a sense of true intimacy between these amazing dancers.

At the start of the performance Wheeldon greeted us with his trademark introduction to the evening’s pieces. But before each section there were also short video extracts on the dancers and/or choreographers. Those videos are a great idea but would perhaps grab us more if screened at the start of the performance or as part of DVD extras. With their third season done and dusted, what is next for Wheeldon’s company? It seems that Wheeldon’s initial plans for a permanent company of 20 dancers are still faraway and the fact that the second circle had plenty of empty seats is worrisome. Is Morphoses going to continue focusing on abstract pieces à la Balanchine because of lack of funding? That would be a shame given Wheeldon’s strength in narrative pieces. I left the theatre thinking that Commedia would also have worked as a narrative one-act ballet and hoping that seasons to come will be able to deliver that sort of thing.

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The Morphoses London Season opens tonight at Sadler’s Wells with a programme dedicated to 100 years of Ballets Russes, an appropriate choice for a company structured in the same way and whose mission to “broaden the scope of classical ballet through the creation of innovative productions and collaboration with the seminal artists of its time” ties in with the feats of Diaghilev‘s own legendary troupe.

Three years and many accolades on, Christopher Wheeldon‘s company continues to match some of ballet’s brightest stars to new work by the best choreographers and designers around.  By nurturing these quasi pro bono collaborations, Morphoses projects the image of a fresh and accessible company whose main objectives are to target the 25-34  year old public not familiar with ballet and to challenge some of the preconceptions associated with the art form.

As part of Wheeldon’s target demographic, we think the existence of a company like Morphoses sends a very positive message, a promise for the future of ballet.  Its mission strongly resonates with us as we also believe ballet can and should be made accessible to younger generations while staying true to its traditions, with no dumbing down of the art form. We only wish their seasons were longer (only 4 days in London) and that we could see more of Wheeldon’s work this side of the Atlantic.

Wheeldon's Morphoses in Commedia. Photo: Erin Baiano © Source: Danceviewtimes

Wheeldon's Morphoses in Commedia. Photo: Erin Baiano © Source: Danceviewtimes

Morphoses in a Nutshell

Morphoses/The Wheeldon Company was founded in 2007 by Christopher Wheeldon, previously NYCB’s resident choreographer, together with Lourdes Lopez, ex-NYCB Principal and Former Executive Director of The George Balanchine Foundation. The troupe attracts dancers from major companies in the world who appear at reduced fees. The repertory is a mix of modern classics and new pieces created by Wheeldon or by guest choreographers, in collaboration with innovative designers and composers, very much in the spirit of Diaghilev’s Ballets Russes.

Originally Morphoses would function as a pickup company, hiring dancers on a season basis until Wheeldon had secured enough financial backup (around US$5 million) to have dancers on a fixed payroll, but the credit crunch  has forced the company to carry on with a small administrative staff of three and to remain at its donated Manhattan base for the present. Dancers continue to be recruited on a season-by-season basis while Wheeldon has kept working as a choreographer outside Morphoses, which allows him not only to continue staging big budget works for the major ballet companies, but also to bring in extra funds for his own Morphoses projects. His long term plan is to  be able to support a permanent troupe of 12 dancers alongside the regular guests.

Morphoses’s inaugural performance took place at the 2007 Vail International Dance Festival. After a heavy media build-up, this first appearance received mixed reviews from the American press. Some critics thought the ballets in the programmes looked too similar, with too many abstract ballets (including pieces by Forsythe and Edwaard Liang) and prominently featuring too many pas de deux, but they generally praised Wheeldon for elevating the artistry in his dancers (NYCB‘s Wendy Whelan, often regarded as Wheeldon’s muse, was nominated for an Olivier Award) and for creating a rapport with the audience by coming onstage to introduce each piece with insightful commentary.

That same year Morphoses became a Guest Resident Company at New York City Center and at London’s Sadler’s Wells. Wheeldon was appointed as Associated Artist for Sadler’s Wells and the London season won a South Bank Show Award. Since then, Morphoses has also appeared at the Sydney Festival.

The Many Faces of Morphoses

Guest Dancers

Tyler Angle, Alexandra Ansanelli, Leanne Benjamin, Hélène Bouchet, Ashley Bouder, Darcey Bussell, Batkhurel Bold, Thiago Bordin, Alina Cojocaru, Jonathan Cope, Ángel Corella, Adrian Danchig-Waring, Jason Fowler, Gonzalo García, Marcelo Gomes, Craig Hall, Drew Jacoby, Johan Kobborg, Nehemiah Kish, Carla Körbes, Maria Kowroski, Edwaard Liang, Tiler Peck, Rubinald Pronk, Teresa Reichlen, Danielle Rowe, Beatriz Stix-Brunell, Michael Nunn, William Trevitt, Edward Watson, Miranda Weese, Wendy Whelan

Collaborators

Composers James MacMillan, Michael Nyman, Steve Reich and Bright Sheng; Artists/Set Designers James Buckhouse and Jean-Marc Puissant, Adrianne Lobel; Designers Francisco Costa, Narciso RodriguezIsabel & Ruben Toledo; Director Nicholas Hytner

Repertory

The inaugural programme presented in 2007 featured two new Wheeldon pieces – “Fool’s Paradise” and “Prokofiev Pas de Deux” – alongside his exisiting works “Mesmerics”, “After the Rain” and “Morphoses”. It also included William Forsythe’s “Slingerland”, Michael Clark’s “Satie Stud”, Liv Lorent’s “Propeller”, and Edwaard Liang’s “Vicissitude”.

The following year brought a mix of premieres led by Wheeldon’s “Commedia” (to Stravinsky’s Pulcinella Suite), Lightfoot León’s “Shutters Shut” (at City Center) and Emily Molnar’s “Six Fold Illuminate” presented together with classic works by Sir Frederick Ashton – The Dream Pas de Deux (in Vail) and Monotones II – Robbins’s “Other Dances” and Wheeldon pieces “Polyphonia” and Fool’s Paradise”.

This year Morphoses brings a host of new works to both its transatlantic headquarters. It also continues to collaborate with influential fashion designers Francisco Costa (Creative Director of Calvin Klein), Isabel and Ruben Toledo. Commemorating the Ballets Russes’ centenary, the first programme will  include Wheeldon’s “Commedia”, Ratmansky’s “Boléro” (to the eponymous Ravel piece) and a new work by Tim Harbour.  Two days later, a second programme brings “Softly as I Leave You”, originally choreographed by Paul Lightfoot and Sol León (resident choreographers of Nederlands Dans Theatre) for dancers Drew Jacoby and Rubinald Pronk, in addition to old and new Wheeldon: “Continuum” and  “Rhapsody Fantaisie”  (a world premiere set to Rachmaninoff’s suites for two pianos).

Extracts of Reviews and Selected Praise:

One of the wonderful things about Mr. Wheeldon’s work is that there are new discoveries to be made each time you watch it. Roslyn Sulcas at the NYTimes [link]

Morphoses does have a provisional air. For the moment it remains an assembly of dancers, albeit extraordinary ones, from other troupes, and Mr. Wheeldon hasn’t yet had the opportunity to develop a group of performers to his own ends. But he is a choreographer with an instinctive grasp of dancers and their abilities…To see major ballerinas like Ms. Benjamin and Wendy Whelan on the same program is reason enough to watch Morphoses. Roslyn Sulcas at the NYTimes [link]

Trained on Balanchine, most New York ballet critics absorb meaning and sense syntactically, because with Balanchine it’s the action between the notes–the syncopated rhythms–that shape the steps and their portent. With Wheeldon, the ballet’s color and emotion may be rooted in the score, but the organizing principle is visual. Apollinaire Scherr at Foot in Mouth / ArtsJournal [link]

Wheeldon has set his standards about as high as a new company could aim for. We can really look forward to what follows. Judith Mackrell at The Guardian [link]

It is an absolute pleasure to watch this group of top-rate dancers running through their paces in this way. With ages from the teens to the over-forties, in all shapes and heights, they are so full of personality and presence that they make this a most uplifting evening. Sarah Crompton at The Telegraph [link]

Sources and Further Information

  1. Morphoses/The Wheeldon Company Website [link]
  2. The Newcomer by Joan Acocella. The New Yorker [link]
  3. Metamorphoses by Astrida Woods. Dance Magazine, October 2008.
  4. Ballet without Borders by Peter Aspden. Financial Times, September 2008. [link]
  5. The dancers are Young, Beautiful, Sexy and Smart by Valerie Lawson. The Sydney Morning Herald, November 2008. [link]
  6. How to watch a Wheeldon ballet by Apollinaire Scherr. Foot in Mouth at ArtsJournal, October 2008. [link]
  7. Risky Business by Gia Kourlas. Time Out New York, October 2007 [link]

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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]

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