When Maya Plisetskaya first toured abroad with the Bolshoi Ballet, she stunned the world. Her dramatic and technical abilities were far beyond what anyone outside the Soviet Union had seen before. She quickly became an icon, symbolizing Russian ballet.
Plisetskaya was the perfect ballerina to play the Tsar Maiden in The Little Humpbacked Horse when choreographer Alexander Radunsky and composer Rodion Shchedrin recreated the classic Russian folktale in the 1960s. This vintage clip of the ballet offers a glimpse into an era gone by. Although ballet technique has advanced since then, Plisetskaya's performance is still electrifying. She is daring and agile in her manèges and fouettés, while she shows gentle purity and authentic emotion in the pas de deux with the wide-eyed Ivan. Even half a century later, this magnificent artist continues to transfix us with her radiant presence onstage. Happy #ThrowbackThursday!
Last Thursday was World Ballet Day LIVE, the official 22-hour live-stream relay showcasing companies across the globe. If you were busy (we know that you don't always have the luxury to spend an entire day watching ballet), don't fret. Many of the companies involved recorded their classes, rehearsals and interviews from the day of, and we rounded them up for you to watch at your leisure. Careful, though; there are more than twenty hours of footage included here... make sure you take a break to, you know, sleep.
First up is San Francisco Ballet with a full five hours, including rehearsal for Balanchine's timeless classic, Serenade.
The Royal Ballet's WBD stream is split into three parts. Here's the first chunk, featuring company rehearsals of a few Sir Kenneth MacMillan ballets as well as Christopher Wheeldon's Alice in Wonderland (a measly two hours and 45 minutes). You can find part 2 here and the full company class here. The video also features a quick aerial tour of London from the balcony of the Royal Opera House.
Later this month, six dance companies from around the UK will come together to celebrate Sir Kenneth MacMillan's life and works with performances at Covent Garden. As the program highlight, members of five different troupes will perform in the British choreographer's ballet Elite Syncopations. The fanciful and colorful piece set to Scott Joplin's ragtime tunes reveals MacMillan's lighthearted side and delight in the unconventional. In this video, The Royal Ballet's former principal, Darcey Bussell, shows why Elite Syncopations is a favorite among audiences and dancers alike.
Bussell introduces the ballet, followed by clip of her performing a section called "The Bethena Waltz" (1:40) with Gary Avis. The music in this duet has a smooth, loopy quality that the dancers mimic with continuously circulating movement. As Bussell explains in the intro, subtle moments are key–like when Avis emerges from the "scenery" to grab her hand at the start of the duet, or at 3:35 when the dancers undulate through the upper body to resume dance position. These simple details playfully contrast the over the top costumes and wacky lifts. MacMillan also uses extreme extensions to create humor; at 4:12 the dancers are surprised to find Bussell's foot above her head, and when the dancers exit the stage Bussell is flipped over her partner's head in a full split. Of course, she does it all looking sophisticated and elegant, even in a shiny white jumpsuit with two stars printed on her bum. Happy #ThrowbackThursday!
After a shakeup at Atlanta Ballet this past April, several leading dancers chose not to renew their contracts. Led by John McFall for more than 20 years, the company's direction and repertoire had favored contemporary ballet. When McFall retired in 2016, former San Francisco Ballet principal Gennadi Nedvigin took over as artistic director with a more traditional approach.
While it is not unusual for dancers to be let go or move on after a change at the top, many were surprised when Tara Lee, Christian Clark, Rachel Van Buskirk and Heath Gill revealed where they were going. Along with veteran AB dancer John Welker, a runner-up in the company's search for a new artistic director, these tenured dancers had planned quietly to form their own company: Terminus Modern Ballet Theatre. "We were all at a point in our careers where we were asking 'What do we want?' " says Welker, who had directed AB's summer company Wabi Sabi. "And we were aware that time in this career is short. This city has an energy here. I think Atlanta is ready for another dance company to thrive."
At just 20 years old, Cesar Corrales has skyrocketed to principal at English National Ballet.
English National Ballet was midway through a precise but polite performance of William Forsythe's In the middle, somewhat elevated last spring when Cesar Corrales burst into view. The 20-year-old principal turned his solo, a minor one in Forsythe's ballet, into a blaze of technical power and audacious phrasing. The tension at London's Sadler's Wells ratcheted up several notches, and his colleagues joined in his contagious energy.
It wasn't the first time Corrales had raised the stakes on stage. In three short seasons with English National Ballet, he has gone from promising virtuoso to one of the British companies' most vital members. Even among the outstanding crop of men hired by artistic director and principal dancer Tamara Rojo, Corrales' feline technique and generous presence have stood out in ballets including Le Corsaire and Akram Khan's Giselle.
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.
The tambourine variation from La Esmeralda is a competition favorite, but the full pas de deux isn't seen as often. That's a shame, because it contains some of the most technically challenging classical choreography to be found. In this video, Yuan Yuan Tan and Felipe Diaz take on this balletic feat with amazing power and ease.
Tan, who was awarded a permanent contract with San Francisco Ballet after performing this role as a guest artist in 1995, is a youthful but commanding presence. Her extensions crawl right up to her ear, and she rises from deep lunges en pointe to arabesque without ever seeming to get tired. After an endless series of promenades (4:00), Tan again lunges low to the floor and then teasingly runs away from Diaz, inviting him to follow her. In her variation, she oozes gypsy spunk, enticing the audience with dramatic details. She takes the variation at a quick pace, blending each movement smoothly into the next.
Diaz, who was a soloist with SFB and is now a ballet master for the company, shines in his own right. The adagio reveals his partnering prowess. From 2:15—2:35, Diaz supports Tan almost continuously in a string of carries and lifts–and his variation is chock full of bravura. All the way through the coda, the technical fireworks in this pas de deux never stop coming. We can't get enough! Happy #ThrowbackThursday!
Ballerina Tanaquil Le Clercq may have been known for her long-limbed dancing and versatile grace, but it turns out that her renown didn't end there. In 1967 the former New York City Ballet star published The Ballet Cook Book, a mix of ballet history, food stories and the pièce de résistance: recipes collected from over 90 famous NYCB dancers and choreographers including George Balanchine (her then husband), Jacques d'Amboise, Melissa Hayden and Allegra Kent.
Why bring this up now? This year marks the 50th anniversary of her book's publication, and in celebration, food scholar Meryl Rosofsky is curating a program exploring the context of the book. Held on November 5 and 6 at the Guggenheim Museum, the program will include live performance excerpts with roles originated by Ballet Cook Book contributors including Balanchine's The Four Temperaments, Bugaku, Stars and Stripes and Western Symphony as well as a panel conversation with d'Amboise and Kent (both of whom were at the original book signing) and current NYCB principals Jared Angle and Adrian Danchig-Waring, both talented cooks.That certainly seems like plenty of excitement to us, but attendees can also stop into the Guggneheim's Wright Restaurant to taste select dishes from The Ballet Cook Book including Le Clercq's Chicken Vermouth, Balanchine's Slow Beet Borschok, Hayden's Potato Latkes and Kent's Walnut Apple Cake.