Ballet superstars don't get much bigger than Wendy Whelan and Desmond Richardson. This winter, the two inimitable dancers teamed up for a one-night-only performance in New Orleans to commemorate Richardson's last season as a performer with Complexions. If you haven't seen Jim Lafferty's gorgeous shots of their rehearsals in our April/May issue, you're missing out. This is one outtake we didn't have room for in the magazine, and I had to share it. Whelan is so lifted, has such breath in her arms with Richardson as a strong, grounded counterpoint. I love the stretch that extends through both of their bodies in that moment just before her toe hits the floor. Enjoy!
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Nov 27, 2020
Paul Kolnik, Courtesy NYCB
NYCB's Maria Kowroski Reflects on the Challenges, Joys and Mysteries of Balanchine’s "Mozartiana"
The first time I was called to learn Mozartiana, I didn't think I would actually get to do it. It's a coveted ballerina role in the company, and I was still early in my career. But I got to dance it once or twice, and then not again for many years. The ballet isn't in our repertoire that often, so each time we've performed it I've been at a different level as a person and as an artist.
<p>At first I was tentative because I was figuring out how to make it work for my body. I remember watching Kyra Nichols perform <em>Mozartiana</em> from the wings. She made it look so easy. She'd come offstage barely sweating, hardly breathing—so I thought, What am I doing wrong? Why does it feel so hard? But I understood it better the more I did it. The role isn't like Black Swan, where you're going full force. There's nothing technically scary to do—it has fun steps and is a wonderful way for a dancer to interpret music. Sara Leland, who taught me the role, gave me lots of musical freedom and encouraged me to be more expansive, daring and abandoned. </p>
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDgwNzUwMC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY2Njg1NzgwMH0.9F1GquWBWaXvkmSR5GrEcU2Ocpp7YtIu3vMZIQmKoo8/img.jpg?width=980" id="58a24" class="rm-shortcode" data-rm-shortcode-id="1186350a0d6a48a432dacf61d8adb543" data-rm-shortcode-name="rebelmouse-image" alt="Wearing a knee length black tutu with white puffed sleeves, pink tights and pointe shoes, Maria Kowroski kicks her right leg high past her ear and extends her right arm up and her left arm to the side." />
Mozartiana's music, an orchestral suite of the same name, was written by Tchaikovsky as a tribute to Mozart and is based on four of the great composer's piano works.
Paul Kolnik, Courtesy NYCB
<p>Four little girls surround me during the ballet's opening movement [called the "Preghiera," or prayer]. Seeing their faces so full of hopes and dreams makes me want to pray for them and for a better future. I have a very emotional connection to the "Preghiera." It was the last thing my mother saw me dance before she passed away, and every time I perform it, I think about her. Also, a strange thing happened shortly after Karin von Aroldingen died. As I stood with my head down at the beginning, I felt her and Balanchine's presence, as if they were watching me, supporting me. </p>
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<p>Later my partner and I come together and dance four alternating solos. The biggest challenge is to not work too hard, which sounds weird. But the choreography doesn't need anything extra. I just need to listen to the music, hear all the different notes and not pound it out. One of my favorite moments is during my last solo before the pas de deux. It's the trickiest of all of them, but it feels very powerful—there's a diagonal with a sissone and step-up to sous-sus, and I just love the freedom of movement. I frequently dance <em>Mozartiana</em> with Tyler Angle; once our solos are finished, it's such a relief to be face-to-face and just enjoy each other and dance. We're such good friends offstage that it makes the ballet that much more enjoyable.</p>
<p>I feel fortunate to have performed <em>Mozartiana</em> at so many points in my career. Many ballets in our repertoire speak for themselves, but this one has more depth and needs an experienced ballerina to interpret it. I can't say I fully understand it, but I will always try to do better.</p>
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Nov 25, 2020
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Ask Amy: How Can I Overcome My Fear of Pirouettes on Pointe?
I have a terrible fear of falling when doing turns on pointe. I sometimes cry in class when we have to do new turns that I'm not used to. I can only do bad singles on a good day, while some of my classmates are doing doubles and triples. How can I get over this fear? —Gaby
<p>Feeling skittish about falling during pirouettes is understandable—you're turning on a tiny platform, and the shoe's satin can feel slippery against the floor. It doesn't help that you also feel self-conscious about lagging behind your classmates. Falling can be scary, embarrassing and sometimes painful, but nine times out of 10 you can bounce right back up and keep going without a scratch. (Trust me, I have fallen a lot.) It's all part of the learning process and is by no means a sign of failure.</p>
<p>Find a space on your own before or after class where you can practice alone at your own pace, without the pressure of a combination or keeping up with your peers. Try building up to a single: tombé, pas de bourée, fourth to relevé retiré. Then again, trying a half or full rotation. As you grow more comfortable, work up to doubles.</p>
<p>Keep in mind that dancing tentatively can actually work against you. Adding force and speed helps you snap up to your position more efficiently, rather than in pieces. And pay attention to your upper body, too. Are you leaning back fearfully to protect yourself and tensing up? Try bringing your upper body forward a bit—not only will it help your alignment, but you will be in a better place to catch yourself if you fall. Keep your neck relaxed to help you spot and let the rhythm help you. If all else fails, try losing yourself in the music—distraction can be a wonderful antidote to fear. </p>
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<p><em>Have a question? Send it to </em>Pointe<em> editor and former dancer Amy Brandt at <a href="mailto:askamy@dancemedia.com" target="_blank">askamy@dancemedia.com</a>.</em></p>
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Nov 24, 2020
xmb photography, Courtesy The Washington Ballet
The Washington Ballet's Sarah Steele on Her At-Home Workouts
Ballet at home: Since she's not preparing for any immediate performances, Steele takes ballet barre three to four times a week. "I'm working in more of a maintenance mode," she says, prioritizing her ankles and the intrinsic muscles in her feet. "If you don't work those muscles, they disappear really quickly. I've been focusing on a baseline level of ballet muscle memory."
What she's always working on: Strengthening her glute-hamstring connection (the "under-butt" area), which provides stability for actions like repetitive relevés and power for jumps. Bridges are her go-to move for conditioning those muscles. "Those 'basic food group'–type exercises are some of the best ones," she says.
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</div></blockquote></div><p><strong>Abs on Instagram: </strong>Back in April, Steele, who's also a certified Pilates instructor and personal trainer, moved her <a href="https://www.instagram.com/steelesculpt/" target="_blank">SteeleSculpt</a> classes online. Three to four times per week, she offers Pilates-inspired, low-impact workouts on Zoom and Instagram Live. "I think that low impact is important, especially while we're all in our living rooms. And they're equipment-free, too, because not everybody has access to dumbbells or even TheraBands or squishy balls."</p><p><strong>Bonus workouts: </strong>For Steele, planning her classes is also a form of exercise. "A lot of times I'll make myself really sore from coming up with a class before I teach it," she laughs.</p>
<p><strong>For cardio:</strong> "I jive with biking," says Steele, who enjoys riding around Washington, DC's monuments and the National Mall. "Biking outside, you can naturally get the intervals that you want," she says. As opposed to cycling indoors at a steady pace for 30 minutes, riding outdoors gives her a mix of hills and flat terrain, alternating periods of hard work with active recovery.</p>
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDgwMjEzNC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzOTI2Mzg0OX0.LAIy4pf8mIigZW0euBBZLGNFuNn7RigJkYRE69fn4B4/img.jpg?width=980" id="44ea9" class="rm-shortcode" data-rm-shortcode-id="05d1fc135f8f96535d7b9676aadeff24" data-rm-shortcode-name="rebelmouse-image" />
Sarah Steele working out outdoors near the Washington Monument
Courtesy The Washington Ballet
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<p><strong>Her Don't-Quit Strategy:</strong> "I'm not that kind of person who can drop down to a plank and do my best job in complete silence. I need musical motivation." Her favorite workout track? <a href="https://www.youtube.com/watch?v=4xJVJ0Ct8Zs" target="_blank">Niall Horan's "Slow Hands (Basic Tape Remix)</a>."</p><p><strong></strong><strong>Shutdown self-care tool: LURE Essentials' EDGE Cupping Therapy Kit</strong></p><p>"They're so great for when you have any tightness in your lower legs—from taking barre on an un-sprung floor or even taking too many long walks." Steele glides the handheld, <a href="https://lureessentials.com/products/edge-cupping-set?_pos=36&_sid=6d69526bc&_ss=r" target="_blank">silicone suction cups</a> up and down her calves for myofascial release.</p>
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