Why did you leave the Bolshoi for the Mikhailovsky?
It’s one of the only companies led by a major choreographer today. I worked with Nacho Duato for Kings of the Dance, and had been dreaming of collaborating with him again. I also value the freedom I have now to expand my repertoire and perform with other companies.
What inspires you?
What’s helped me lately is that I got a pair of Nureyev’s shoes as a present. I visited his grave while we were on tour in Paris, and I thanked him for his contribution to ballet.
What quality do you admire the most in other dancers?
Sincerity. I’ve seen a lot of phenomenal technicians, but what I really like is when someone brings true emotion to the stage.
How nervous do you get before performing?
Incredibly nervous. But I think it should be that way—otherwise you can become robotic. It’s the best drug in the world, and it creates magic onstage.
Did you feel different once you were named principal?
Not really: I’m dancing, and that’s what’s important. I’m just flying business class now!
You and Natalia Osipova are offstage partners. How do you feel onstage with her?
Dancing together has become so natural for us. We can change any movement without even discussing it beforehand. We understand each other.
What music do you listen to when you’re not dancing?
Opera, Russian and foreign rock bands. I love Queen—Freddie Mercury for me is like Nureyev in ballet; he has the same kind of energy.
What’s your favorite dish?
Oysters and escargots. Meat also, with blood!
What’s your biggest indulgence?
If I really want something, I can be pretty stubborn. Once I bought this huge remote-control helicopter I could operate from my iPhone. It’s on a shelf now, but at the time it was a lot of fun.
What skill would you most like to have?
I would love to speak English. I try when I’m traveling, but I never learned it in school. And of course I’d love to be tall, blond and have blue eyes…and to have Wolverine claws!
Why did you leave the Bolshoi for the Mikhailovsky?
Clear your schedule now for Monday, January 29th, 2:45PM (EST)/ 11:45AM (PST). Pacific Northwest Ballet will be live-streaming rehearsal from Kent Stowell's Swan Lake, straight from their Seattle, WA-based studios. To psych us up for their on stage performances February 2nd - 11th, PNB is letting us in on their Act II rehearsal.
From the corps of swans to Odette and Prince Siegfried's pas de deux, and the infamous four swans, this rehearsal is not to be missed. You can sign up now for a live-stream reminder on their site. In the meantime, we'll be brushing up on our Cygnets with this PNB sneak peek.
Rigorous program, check. Well-rounded technical training, check. Purposeful liberal arts curriculum, check. Study your craft abroad, check! If you are looking for all the above, the Joan Phelps Palladino School of Dance at Dean College truly has it all.
Videos are a great alternative when auditioning in person isn't possible. Here are some general guidelines for making a good impression.
1. Follow directions. Before filming, research what each school you're interested in requires. "It demonstrates your ability to follow instructions, and schools pay attention to that," says Kate Lydon, artistic director of American Ballet Theatre's summer intensives and the ABT Studio Company. "If the guidelines haven't been followed, your video might not be watched the whole way through." You may need to make multiple versions to accommodate different schools.
2. Videos should be no longer than 10 minutes. "Keep it short, simple and direct," advises Philip Neal, dance department chair at The Patel Conservatory and artistic director of Next Generation Ballet. "You have to be sensitive to how much time the director has to sit down and look at it." Barre can be abbreviated, showing only one side per exercise, alternating. Directors will be looking at fundamentals—placement, turnout, leg lines, stability—but don't ignore musicality or movement quality. Make sure music choices match combinations and are correctly synced in the footage.
They say that pigeons mate for life—perhaps that's why these birds naturally symbolize the young lovers in Sir Frederick Ashton's The Two Pigeons. In these two clips from a 1987 performance in Pisa, Alessandra Ferri and Robert LaFosse—then stars with American Ballet Theatre and New York City Ballet, respectively—dance a rapturous pas de deux at the end of Act II. With tiny pricks of her feet and bird-like flaps of her elbows in Part 1, Ferri marks her anguish, thinking she's been abandoned for another woman. Later, both she and LaFosse grow more and more entangled as they reconcile, Ferri dancing with the passionate abandon she's famous for. I love how in Part 2 (0:20), they can't seem to get enough of each other as their necks arch and intertwine. At the end of the ballet, two pigeons fly in to perch symbolically on the chair—er, there's supposed to be two. It looks like one missed its cue at this performance! No matter—Ferri and LaFosse's dancing make it clear that these young lovers are meant to be together for life. Happy #TBT!
This story originally appeared in the December 2010/January 2011 issue of Pointe.
As a young student at a small ballet school in upstate New York, I was obsessed with getting into the School of American Ballet. From the age of 10, I entered class each day with the ultimate goal of studying at SAB dangling before me like a carrot on a stick. Every effort I made, every extra class I took was for the sole purpose of getting into what I thought was the only ballet school that really mattered.
I auditioned for SAB's summer program for the first time when I was 12. In the weeks that followed, I became a vulture hovering over my family's mail, squawking at my mother if the day's letters were not presented for my inspection when I walked through the door. The day the letter finally arrived, it was thin and limp. I cried for a week as I dealt with the crushing feeling of rejection for one of the first times in my life.
My mind filled with questions and self-doubt. What was wrong with me? Why wasn't I good enough? I figured I must be too fat, too slow, my feet too flat. I had worked so hard. I had wished on every fallen eyelash and dead dandelion in pursuit of my single goal, just to have a three-paragraph form letter conclude that I was a failure. For a while, I let myself wallow in the comfort of my resentment, content to believe that success should have come easily, and that to fall was the same as to fail.
A telegram from Lincoln Kirstein to Arthur Mitchell inviting him to join New York City Ballet; an Al Hirschfeld drawing of Suzanne Farrell and Mitchell in Balanchine's Slaughter on Tenth Avenue; a sparkly red and purple Firebird costume and headpiece from Dance Theatre of Harlem's 1982 production—these are just some of the treasures on display at Columbia University's Wallach Art Gallery as part of an exhibit titled Arthur Mitchell: Harlem's Ballet Trailblazer. Open to the public through March 11, this collection offers a glimpse into Mitchell's boundary-breaking life and career.
Mitchell was raised in Harlem, and joined NYCB in 1955 at the age of 21. He quickly rose to the rank of principal, and is known for originating lead roles in works such as Agon and A Midsummer Night's Dream. After the assassination of Martin Luther King, Jr. in 1969, Mitchell co-founded Dance Theatre of Harlem with his former teacher, Karel Shook. Under his over 40-year directorship, DTH became the first African American classical ballet company to achieve international acclaim. In 2015 Mitchell donated his archive to Columbia's Rare Book and Manuscript Library, starting a chain of events including a performance last October designed to share his vast contributions to diversity in dance with the public.
Arthur Mitchell in class, 1960s. Photo by Milton Oleaga. Arthur Mitchell Collection, Rare Book & Manuscript Library, Columbia University.