Ask the Paris Opéra Ballet, the New York City Ballet and the Bolshoi Ballet to share a stage, with each performing one act of Balanchine's Jewels, and you might expect a degree of friendly (or less-than-friendly) competition. But as POB gave its exquisitely polite rendition of "Emeralds" during the Lincoln Center Festival's three-company production this summer, one-upsmanship seemed far from everyone's mind.
Then the curtain rose on New York City Ballet, its dancers visibly shaking with excitement in their "Rubies" finery. And the David H. Koch Theater audience collectively leaned forward.
Photo by Paul Kolnik, Courtesy NYCB.
"My whole mission in life is to keep Balanchine's work alive," says former New York City Ballet dancer Karin von Aroldingen in Frances Mason's I Remember Balanchine, a collection of interviews by George Balanchine's friends and colleagues. Her words feel especially potent now—and never more true. On Friday, January 5, news came to light that the German-born dancer, teacher, NYCB ballet master and longtime stager for the Balanchine Trust had died at age 76.
Born in East Germany in 1941, von Aroldingen joined Frankfurt Ballet as a first soloist before George Balanchine invited her to join NYCB in 1962. Trained in the Russian method, she had to adjust her technique to fit NYCB's fast, streamlined style. "It took me years to unwind myself, to be good," she says in Mason's book. She eventually rose to principal dancer in 1972. Her dancing was strong, assertive and passionate. During her 22-year career at NYCB, Balanchine created 20 roles for her, including Kammermusik No. 2, Union Jack, Vienna Waltzes, Who Cares?, Robert Schumann's Davidsbündlertanze and her most well-known, Stravinsky Violin Concerto. (Who hasn't marveled at her elastic backbends in the 1972 "Dance in America" broadcast above?)
As the investigation into claims of sexual harassment by New York City Ballet ballet master in chief Peter Martins remains under wraps, more dancers are speaking publicly on the matter. And while many allegations are decades old, dancers with recent and current ties to the company are becoming more vocal.
Yesterday, Kathryn Morgan—a former NYCB soloist with a hugely popular YouTube channel and an advice column in Dance Spirit—posted a candid video addressing questions she's received about the scandal. Although Morgan left the company in 2012, her post sheds light on the mixed emotions that current NYCB dancers may be feeling right now. "This is an issue that NEEDS to be discussed," she writes in the comments section. "And I appreciate that you all understand I am in no way defending him. I just wanted to give you my honest and true experience with dealing and working with Peter."
Black Swan wasn't the film industry's first ballet-themed psychological drama. In The Red Shoes (1948), theater and life conflate, with tragic results for the dancer caught in the middle. Unlike Black Swan, however, The Red Shoes starred a real life ballerina. Moira Shearer, then a leading dancer with Sadler's Wells Ballet (now The Royal Ballet) plays Victoria Page, a young prodigy who catches a Russian impresario's eye, joins his company and stars in a new ballet based on the Hans Christian Andersen fairy tale, The Red Shoes.
In this clip from the dance sequences, the ballet character sees the infamous shoes at a carnival booth and immediately covets them. Shearer's skill as a dancer and actress are evident. Each twirl, reach and penché evokes her desperate longing. The shoemaker, danced with incredible precision by famous choreographer Léonide Massine, taunts the girl. When she finally leaps into the red shoes (with kitschy film effects), she forgets her partner completely. She dances with bounding energy, depicted by Shearer's crisp, light petit allégro. Later, it becomes clear that the shoes have a fatal sort of magic, both onstage and off.
Last night was New York City Ballet's annual Fall Fashion Gala at Lincoln Center's David H. Koch Theater. Billed as "Uniting the Worlds of Ballet and Fashion," the event paired choreographers with high fashion designers. Chaired by known fashion icon and NYCB board of directors vice-chairman Sarah Jessica Parker, the evening attracted big names in the worlds of dance and fashion. This year's gala featured four premieres choreographed by NYCB affiliates: company dancers Troy Schumacher, Lauren Lovette and Justin Peck and School of American Ballet Alumna and current Dresden Semperoper Ballett apprentice Gianna Reisen. Reisen, 18, is the youngest person to choreograph for NYCB to date.
Gain greater insight into the minds of the designers and choreographers in this NYCB produced video, screened at the Koch Theater last night before the start of the show, and check out some of the night's best moments (and outfits) from the red carpet to the stage.
You probably remember watching "Sesame Street" in your pre-ballet days, but did you know that some of your favorite ballet dancers and companies have appeared alongside your favorite PBS characters?
We've rounded up some our most beloved ballet scenes from the classic children's program below.
Count Suzanne Farrell's turns
Remember the days when you counted "1, 2, 3, 4" instead "and, 5, 6, 7, 8"? Relive that time as you—and the Count—add up the legendary Balanchine muse's turns in this 1985 episode.
Cross-training to heal: Since 2010, principal dancer Adrian Danchig-Waring has dealt with flare-ups of painful stress fractures in his shins. When we spoke, he was working on healing those "dreaded black lines," substituting physical therapy, cardio and strength work for his usual dance-heavy schedule with New York City Ballet.
Pool time: Unable to participate in company class or bear much weight, Danchig-Waring has taken up swimming for 30 to 60 minutes daily. "It's become sort of my new passion," he says. He likes the sport for its no-impact, high-cardio nature and often follows lap workouts from a training website called goswim.tv. He cycles through various strokes, like freestyle, crawl and backstroke, to condition different muscles in his arms and shoulders.
Strength in numbers: Danchig-Waring takes a group fitness class, typically Pilates, after each swim. At first, he was surprised by how much he enjoyed the atmosphere. "But then I realized my whole life as a ballet dancer has been group fitness. There's this healthy sense of competition and collective energy that motivates, and it helps to push yourself further."
Off-his-feet footwork: Pilates mat work is especially perfect for him since most of the class is done lying down or on all fours. This allows Danchig-Waring to articulate his feet through demi- and full pointe in non–weight-bearing exercises, like the single-leg stretch and criss-cross. "Foot strength is such an essential part of this rehabilitation," he says.
Retraining the body and mind: Danchig-Waring works with a physical therapist twice a week on what he calls "neurologic reconditioning." He's coached through basic exercises, like sitting on the edge of a bench and slowly rising to relevé in parallel while holding a tennis ball between his ankles. Though the movements aren't complex, it's a mental challenge. "I focus on firing specific muscle groups that are otherwise resistant to working." The aim is to relieve some of the burden from his shins and toes and instead rely more on his glutes and abductors for stability.
Discovery zone: Inspired by his injuries, Danchig-Waring is on a mission to better understand ballet's mechanics—in the past, he even took a kinesiology lab at New York University. Despite being a principal dancer, he says, "I feel like a total novice when it comes to how the body is designed to move." Ballet is about so much more than forcing the body into beautiful shapes, he says, so now he's learning to dance in a way that's healthier and more sustainable.
Is there anything Tiler Peck can't do?
Promoted to principal at New York City Ballet by 20. Leads in everything from Balanchine's jazzy Who Cares? to classics like Sleeping Beauty to entirely new creations. A starring role in the musical Little Dancer. Check, check, check. (And that's just the beginning of the list.)
Now, her latest accomplishment is music video dancer. And we're not talking about a tiny back-up role. In Charlotte OC's new video for "Medicine Man," Peck is the sole performer of a lush contemporary ballet solo on pointe.