Alexei Ratmansky works through Firebird with ABT dancers . Photo by Gene Schiavone, Courtesy ABT.

American Ballet Theatre Celebrates Alexei Ratmansky With Festival at the Met

American Ballet Theatre's Ratmansky Festival is the centerpiece of the company's spring season at Lincoln Center's Metropolitan Opera House. Since festivals and celebrations usually come later in a choreographer's career, it provides an unusual opportunity to see how ABT has adapted to and absorbed Alexei Ratmansky's approach since he became artist in residence seven years ago. “The last seven years of Alexei's creative process with us was an exploration of the company's depth," says ABT artistic director Kevin McKenzie. “I think it's always good to take another look at what is, in fact, still new to us."


The festival kicked off with two mixed bills: the three-part Shostakovich Trilogy, and a program featuring a world premiere to Leonard Bernstein's “Serenade (After Plato's Symposium)" as well as Seven Sonatas and Firebird. Later will come the American premiere of The Golden Cockerel, a two-act ballet that Ratmansky made for the Royal Danish Ballet in 2012. ABT will also bring back Ratmansky's staging of The Sleeping Beauty, which the company unveiled last year.

McKenzie notes that Golden Cockerel shows a different facet of Ratmansky's work. “It taps the humorous side of Alexei's vision while adhering to his interest in historic works," he says. Originally staged by Michel Fokine to a score by Nikolay Rimsky-Korsakov for Diaghilev's Ballets Russes, the ballet takes its inspiration from a folktale by Pushkin. In it, the tsar of a distant land is given a magical golden cockerel that warns him when his kingdom is in danger.

“I can't wait to embody my character and experiment with it," says soloist Skylar Brandt, who dances the title role on opening night, and has watched videos and read the story to prepare for the role. Brandt looks forward to working again with Ratmansky in the studio. “I have observed that dancers who trust Alexei excel in his movement," she says. “When he says, 'Good,' it's a big compliment."

Latest Posts


Complexions Contemporary Ballet's Tatiana Melendez Proves There's No One Way to Have a Ballet Career

This is Pointe's Fall 2020 cover story. Click here to purchase this issue.

Talk to anyone about rising contemporary ballerina Tatiana Melendez, and one word is bound to come up repeatedly: "Fierce." And fair enough, that's a perfectly apt way to describe the 20-year-old's stage presence, her technical prowess and her determination to succeed. But don't make the mistake of assuming that fierceness is Melendez's only (or even her most noteworthy) quality. At the core of her dancing is a beautiful versatility. She's just as much at ease when etching pure classical lines as she is when boldly throwing herself off-balance.

"Selfish choreographer that I am, I want Tatiana to stay with Complexions for all time," says her boss Dwight Rhoden, Complexions Contemporary Ballet's co-artistic director and resident choreographer. "She has a theatricality about her: When the music comes on, she gets swept away." Not too shabby for someone who thought just a few years ago that maybe ballet wasn't for her.

Keep reading SHOW LESS
Jeremy Kyle, Courtesy Laubacher

My First Month as a Professional Dancer in the Age of COVID-19

I moved to Eugene, Oregon, in August, brimming with nerves and excitement to launch my career as an aspirant with Eugene Ballet. After months of quarantining at home in Pittsburgh because of the coronavirus lockdown, transitioning to my new life on the West Coast marked a rapid shift. But in time, it granted me newfound feelings of security. For starters, the ritual of filling up my water bottle, packing my shoes and leotard, putting up my hair and walking into the studio reintroduced a much needed flow of normalcy into my life.

Keep reading SHOW LESS
Erik Tomasson, Courtesy SFB

"My Plate Is Full": Sofiane Sylve on Her New Leadership Roles at Ballet San Antonio and Dresden Semperoper

Sofiane Sylve had huge plans for 2020: Departing her post as a principal dancer at San Francisco Ballet, she embarked on a multifaceted, bicontinental career as ballet master and principal dancer at Dresden Semperoper Ballett, and artistic advisor and school director at Ballet San Antonio—and then COVID-19 hit, sidelining performances and administrative plans at both companies. But ballet dancers are nothing if not resilient. In her new leadership roles, Sylve is determined to help shepherd ballet through this challenging time—and transform it for the better. Pointe caught up with her by phone while she was in Dresden.

Keep reading SHOW LESS

Editors' Picks