News
Frank Andersen coaches Stattsballett Berlin corps member Alicia Ruben during a rehearsal of "La Sylphide." Yan Revazov, Courtesy Stattsballett Berlin.

Inside the sky-lit Studio 1 at Staatsballett Berlin, Frank Andersen is just like a kid in a candy store as he leads an Act I rehearsal for August Bournonville's La Sylphide. Passing gleefully from dancer to dancer, he assigns each with a specific story to tell. "Whatever you do," he tells Alicia Ruben, a Berlin-born corps member learning the role of Effie, "don't look in the mirror. Trust me, you'll be fine. Your eyes say everything."

Since leaving his post as artistic director of the Royal Danish Ballet in 2008, Andersen and his team, who include his wife Eva Kloborg and longtime colleague Anne Marie Vessel Schlüter, have staged Bournonville ballets for companies throughout the world. Last week, just before the Berlin premiere of La Sylphide, we caught up with Andersen to hear about his passion for sharing Bournonville's legacy, the rewards and challenges of staging Bournonville abroad, and his hopes for the future of Danish ballet.

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News
Ulrik Birkkjaer and Susanne Grinder in Bournonville's Napoli." Photo by Costin Radu, Courtesy Jacob's Pillow Dance.

On June 20, Royal Danish Ballet will open the Jacob's Pillow Dance Festival with a weeklong run in the historic Ted Shawn Theatre. The celebrated relationship between the Copenhagen-based company and the Pillow dates back to 1954, when leading RDB soloist Inge Sand stepped in to replace a dancer from another company at the last minute, resulting in her U.S. debut. Her popularity led to the company's inaugural U.S. performance at the festival the next summer. According to the Pillow's director of preservation, Norton Owen, this was also the first time that works by August Bournonville, the famed 19th-century Danish choreographer, were seen in this country. Following its success at Jacob's Pillow, RDB made its New York City debut at the Metropolitan Opera House in 1956, and in 1957 the King of Denmark knighted Jacob's Pillow founder Ted Shawn for his role in bringing Danish ballet to America. Over the next 20 years, soloists from RDB returned to the Berkshires frequently to great acclaim; their most recent visit was in 2007.

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Viral Videos

Few things are more powerful for promoting ballet performances than captivating trailers—especially in today's visually-focused, digitally-connected world.

We've rounded up some eye-catching ads from seasons past and present that not only make us wish we could have seen the show, but also stand alone as short films.

Bucharest National Opera's La Sylphide

Magnifying the scarf which—spoiler alert—brings about the ballet's tragic conclusion, this 2013 Bucharest National Opera's trailer turns that fateful fabric into a beautiful, deadly web. Its windswept movements form a dance of its own.

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Just for fun

Few things are more powerful for promoting ballet performances than captivating trailers—especially in today's visually-focused, digitally-connected world.

We've rounded up some eye-catching ads from seasons past and present that not only make us wish we could have seen the show, but also stand alone as short films.

Bucharest National Opera's La Sylphide

Magnifying the scarf which—spoiler alert—brings about the ballet's tragic conclusion, this 2013 Bucharest National Opera's trailer turns that fateful fabric into a beautiful, deadly web. Its windswept movements form a dance of its own.

Keep reading... Show less
Viral Videos

When La Sylphide premiered at the Paris Opéra Ballet in 1832, it was an instant hit, establishing the romantic aesthetic and ushering in a golden age of French ballet. La Sylphide's legacy is part of the fabric of the Paris Opéra Ballet—as is Aurélie Dupont, the company's current artistic director and former étoile of 17 years. As the Sylph in Pierre Lacotte's version of the ballet, based on Filippo Taglioni's 1830s original, Dupont breathes fresh life into the traditional romantic style.



In this variation, Dupont dances with inward focus, creating an intimate scene of the Sylph alone in the forest. The long tutu highlights her precise footwork; each point of her foot is a supple articulation, harkening to the romantic era when pointe shoes were little more than ballet slippers with a bit of darning. She invokes an ethereal character without looking fragile. Instead, she floats through each movement with gentle, sustained energy. Even during her bow, Dupont embodies the sophistication and purity that make this art form timeless. Happy #ThrowbackThursday!

Dronina with Harrison James in La Sylphide. Photo by Aleksander Antonijevic, Courtesy NBoC.

In August Bournonville's 1836 ballet La Sylphide, every gesture has meaning. The National Ballet of Canada's Jurgita Dronina talks about her first time portraying the Sylphide. As told to Amy Brandt

I had never danced the Sylphide, so I didn't have a full idea of who I wanted to be. It was like writing a new story, on an empty piece of paper. To be honest, I started by watching videos of someone else—I just wanted to get the vision of the ballet. Then we worked on it little by little, scene by scene. I don't think I've ever done a ballet with so much detailed mime. There is meaning behind every step, so you really have to talk with every gesture. Even the smallest turn of the finger makes a difference. I practiced the mime over and over until it became more natural, and I realized eventually that the more simply you say something, the more it comes through. It was a fascinating process.

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Let's face it—ballet has a lot of death. There's Odette and Siegfried's double suicide, Giselle's famous collapse (not to mention the Willis' revenge on poor Hilarion) and don't even get me started on the body count that Romeo and Juliet's love leaves in its wake. Dramatic death scenes require some serious acting skills, which Italian prima ballerina Carla Fracci delivers in this clip of La Sylphide, filmed for television in 1962. Fracci enacts the Sylph's demise with poetic grace. When James, danced by Danish ballet star Erik Bruhn, wraps the cursed scarf around the Sylph, death comes upon her gently, dawning rather than striking. Her diaphanous wings drop one by one and, with a furrowed brow, she gestures longingly towards the heavens that she'll never fly towards again.

Erik Bruhn & Carla Fracci dance La Sylphide (vaimusic.com) www.youtube.com

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Martins overseeing a rehearsal. The company performs the Bournonville classic next spring. Paul Kolnik, Courtesy NYCB.

New York City Ballet will add Peter Martins' production of La Sylphide, the quintessential Bournonville ballet, to its repertoire next year. Martins debuted his version in 1985 at Pennsylvania Ballet. Now, 30 years later, it comes to Martins' own company.

La Sylphide has long been a staple of the Royal Danish Ballet, where Martins started his career. Bringing the work to NYCB, he says, is a very personal gesture. "This is an homage to my Danish heritage, as the ballets of Bournonville are the foundation of my own technique." Bournonville also informs the technique of many NYCB dancers. Those who attend the School of American Ballet are exposed to the style during their training. Martins' Sylphide—which will be paired with a revival of Stanley Williams' Bournonville Divertissements—will reinforce NYCB's connection to the style.

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Dancer: Sarah Van Patten
Company: San Francisco Ballet
Ballet: Marius Petipa’s Swan Lake

San Francisco Ballet principal Sarah Van Patten always commands the stage in roles that call for dramatic depth and musicality. But because she is not usually thought of as a strong technician, she was a long shot to be cast as Odette/Odile in Swan Lake.

Certainly, her interpretation was the least virtuosic among the six women who performed the role in Helgi Tomasson’s new
production—but hers was also the boldest and most touching. Van Patten’s phrasing as Odette was lush and aching. Her sexiness as Odile was searing. Portraying the emotions of her characters came naturally, Van Patten says. But she also powered through the fear-inspiring fouettés and worked hard to maintain strong footwork. “I wanted to have a solid base because when you have that, you can give yourself over to the role,” she says. Indeed, she achieved the technical strength she needed, but put it in total service to emotional artistry. —Rachel Howard



Dancer: Domenico Luciano
Company: Dominic Walsh Dance Theatre
Ballet: Matthew Bourne’s Swan Lake

 
Domenico Luciano knows how to be a he-bird. As the only dancer outside of Matthew Bourne’s troupe performing Bourne’s all-male Swan Lake pas de deux, Luciano made a statement during his Houston performance last season. At 6’ 3” and a dead ringer for Michelangelo’s David, Luciano is a mighty presence. He evokes an animal energy with his seemingly endless lines. Bourne’s ballet straddles a fine edge between parody and myth, and Luciano luxuriates in that very territory: sensuous, but always masculine. “Bourne’s piece feels right for my physicality,” says Luciano. “Although I’m so comfortable in the role, there’s so much to discover in the character. It’s a bit murky in that I am a figment of the prince’s imagination. The relationship between the prince and the swan is really deliciously ambiguous.” —Nancy Wozny

 

Dancer: Natalia Osipova
Company: Bolshoi Ballet
Ballet: August Bournonville’s La Sylphide

 
In her sensational debut with American Ballet Theatre last June, Bolshoi Ballet principal Natalia Osipova demonstrated the power of a beloved old classroom step: grand jeté. With her impeccable technique and unfailing musicality, she would be the ideal heroine for any ballet, but it was the airy lightness of her grand jeté that made her the perfect choice for the doomed forest sprite in Bournonville’s La Sylphide. The three leaps she performed in rapid succession at the end of Act I seemed to require no preparation at all, coming out of nowhere to vanish before our eyes. While tossing off feats of strength, Osipova embodied a fatal fragility. A creature of the air, utterly weightless, she was too delicate to escape the tragic end awaiting her. —Harris Green

 

Dancer: Alina Cojocaru
Company: The Royal Ballet
Ballet: Marius Petipa’s Giselle

 
For almost a decade, Alina Cojocaru had been one of the brightest stars in a sparkling constellation of ballerinas at The Royal Ballet—until a prolapsed disc in her neck threatened to end her career in 2008. After 11 months away from the stage, she returned to the Royal Opera House last April to perform Giselle, her signature role.

Cojocaru always brings exquisite technique and emotional poignancy to this role. But being unable to dance for so long brought her even closer to her character. “The joy of dance made my Giselle and my Alina be one person more than ever,” she says. With just five days’ rehearsal, she allowed no concessions to her long layoff; her technique was as brilliant as ever and Giselle’s adolescent innocence blossomed into a coruscating love that defied the grave. The New York Times’ critic Roslyn Sulcas declared it to be “one of the great dance renditions of our time.” 

    
At the end of an emotional evening, the ecstatic audience covered the stage in flowers and, as the curtain fell, Cojocaru says she felt that “to lose and then fight for something I love was in my very soul. One battle in my life was won; now I’m ready for whatever else life will bring!” —Graham Watts

 

Dancer: Riolama Lorenzo
Company: Pennsylvania Ballet
Ballet: Peter Martins’ Barber Violin Concerto

 

Sometimes a smaller company offers just the room for growth that an exceptionally gifted dancer needs to burnish her talent. Riolama Lorenzo danced Peter Martins’ Fearful Symmetries while in the corps of New York City Ballet several years ago. Now, after having moved to Pennsylvania Ballet in 2002, and ascending from corps to principal in three short years, she’s still dancing Martins’ work—sublimely. Her role in his Barber Violin Concerto last season had Lorenzo making a dazzling transition from the ideal
ballerina who seemed to land each jump on a pillow of air, to literally letting her hair down in gutsier action. Cuban-born Lorenzo is beloved by Philadelphia audiences for her daring and her clear attack. Standing 5’8”, with exquisitely arched feet and an astonishingly supple spine, her flexibility, precision and range along with a presence that exudes both directness and depth make Riolama Lorenzo shine. —Lisa Kraus

 

Dancer: Alex Wong
Company: Miami City Ballet
Ballet: Twyla Tharp’s In the Upper Room

Few would think of the cheerfully loosey-goosey choreography for the sneaker-clad “stompers” in Twyla Tharp’s In the Upper Room as technical. Yet when Miami City Ballet principal soloist Alex Wong blazed through the stompers’ bouncy leaps and backward jogs this spring, he epitomized virtuosic technique. Wong’s precise classical style and fine-tuned musicality lent the high-speed role—which most dancers are lucky just to survive—polish and panache. And in a work defined by explosive displays of energy, Wong crackled with a singular electricity: His jumps were the most buoyant, his joyful intensity unmatched.

Wong thinks that Tharp’s presence in the audience inspired his superhuman performance. “We were pushing as hard as we could for her, trying to fill the entire space,” he remembers. “Just thinking about it makes my body start to tingle.”  —Margaret Fuhrer

 

Dancer: Sterling Hyltin
Company: New York City Ballet
Ballet: George Balanchine and Alexandra Danilova’s Coppélia

Sterling Hyltin made several outstanding performances at New York City Ballet last winter, and two were as Swanilda in Coppélia. At her first performance, her sunny personality, unfailing musicality, assured technique and buoyant energy proved a perfect fit for the spunky heroine. Less successful was acting that relied on mugging (rolling her eyes, say, to express disdain for her boyfriend, Franz). By her second performance, however, Hyltin had replaced mannerisms with actions; now Swanilda snubbed Franz with a toss of her head or a shrug. It was if she had created a new performance, one that could now reach the audience at the very top of the house through movement alone. Such makeovers are as much a part of Hyltin’s dancing as taking class. —Harris Green

 

Dancer: Kristi Boone
Company: American Ballet Theatre
Ballet: George Balanchine’s Prodigal Son

 
Although she’s been a soloist since 2007, Kristi Boone has rarely been given the chance to carry a ballet. But during a foray into principal territory last June as the Siren, she looked every inch the part, from the sensuous, exaggerated curves of her legs and feet to her beautiful face, stoic and imposing. It was a dangerous, exciting debut. Her dancing was icy and deliberate—she pulled off the tricky Balanchine choreography with finesse. Boone had been itching to wield the Siren’s red cape since ABT’s last run of Prodigal in 2000, when she was still with ABT II. She relishes the role as a rare opportunity for a female dancer. “You’re usually the damsel in distress,” she says. “You never get to have that much power.” —Kina Poon

 

Dancer: Jonathan Porretta
Company: Pacific Northwest Ballet
Ballet: Marius Petipa’s Swan Lake

 
Even when the music was soft in PNB’s production of the Petipa classic, you couldn’t hear Jonathan Porretta land his clean, soaring jumps. You could, however, in an auditorium that seats 2,900, actually hear the beating of his feet.

Over the past few years, working with contemporary choreographers, this magnetic virtuoso has grown into an artist. With his Swan Lake roles—the flashy, character-rich Jester and the gentler, lyrical pas de trois male—he proved himself a sensitive master of classical ballet as well. Porretta is all things to all people, working to fulfill choreographers’ visions, embodying composers’ music, connecting with fellow dancers, achieving personal satisfaction and conversing with the audience. And what a conversation it is! —Rosie Gaynor

 

Dancer: Joanna Wozniak
Company: The Joffrey Ballet
Ballet: Vaslav Nijinsky’s Rite of Spring

 
Joanna Wozniak danced The Chosen One in Rite of Spring three times during the Joffrey’s spring season, and she was perfect from the start—vulnerable, aware, poignant, terrified and noticeably more powerful and ferocious than in her many traditionally lyrical roles. She had dreamed of dancing this role of a human sacrifice ever since joining the company in 2003. And once she learned the part, Wozniak began “thinking about what this young virgin girl was really like, going through all the complex emotions she must have felt knowing she was about to die, and realizing that her family, and all the people she had trusted, had turned against her in a way.” The Chosen One’s grueling solo lasts only a few minutes, but before the dancer bursts into motion she must stand absolutely still, frozen in fright. “There is a spotlight over you at that point, and everything else seems to disappear into darkness, though you can hear the Elders stomping. And it’s at that moment that you really become the character.” —Hedy Weiss

 

Dancer: Marie-Agnès Gillot
Company: Paris Opéra Ballet
Ballet: George Balanchine’s Apollo

 
As the first Paris Opéra Ballet dancer promoted to étoile after performing a nonclassical ballet, Marie-Agnès Gillot is the company’s contemporary darling. She always looks like she’s having an “on” night, so grounded that she can balance at her whim until she chooses to move on to the next step. But what makes her truly unique in modern movement is her ability to imbue even the most abstract works with meaning and personality. Many Balanchine purists were astonished at Gillot’s playful, seductive Terpsichore in  Apollo at the Nijinsky Gala in Hamburg last summer. The usually spare, cool neoclassicism became jazzy, with hips jutting from side to side. Her long legs articulated each step with clarity. And her entire body tested the limits of how much she could play with the music, coyly waiting to feel each movement from within before letting it gravitate out to the tips of her pointe shoes. —Jennifer Stahl

 

Dancer: Ebony Williams
Company: Cedar Lake Contemporary Ballet
Ballet: Sidi Larbi Cherkaoui’s Orbo Novo

 
When Cedar Lake Contemporary Ballet’s Ebony Williams steps onstage, her presence is sometimes so fierce, it’s intimidating just to be in the audience. That presence was most evident this year in Cedar Lake’s mysterious, multilayered Orbo Novo by Sidi Larbi Cherkaoui. Williams moved with utter fearlessness, forcefully throwing her body into the movement at one moment, finding a soft, slinky angularity the next. “He choreographed my solo by giving me tasks that would create movement,” says Williams. “At first, I had to move like I had balls all over me, then like I was made of fire and at the end I became an animal.” Although Williams admits she was nervous about having to come up with her own contemporary movement, she appreciated that the process was a partnership: “He wanted to know how I moved and who I was—and let me show that onstage.” —Jennifer Stahl

 

Honorable Mentions

Kathryn Morgan in The Sleeping Beauty Wedding Pas de Deux, during New York City Ballet’s “Dancer’s Choice” evening: Simultaneously authoritative and delicate, regal and gentle, the young corps de ballet member breezed through this technically exacting pas de deux, the perfect showcase for her ineffable brand of understated charm.

Maria Riccetto in American Ballet Theatre’s Giselle with Herman Cornejo: Usually paired with David Hallberg, Riccetto bloomed dancing with Cornejo, bringing a deep tenderness and vulnerability to the role. Technically flawless, she made Giselle utterly believable, and together she and Cornejo seemed a natural partnership.

Pacific Northwest Ballet’s 45-year-old Louise Nadeau in Forsythe’s Urlicht at her farewell performance in June: Strength, grace, technique, musicality and personality all combined at peak levels for what was one of her best performances.

Hamburg Ballet principal Hélène Bouchet in Verklungene Feste by John Neumeier: She moved with that ideal combination of strength and abandon that all dancers strive for yet rarely achieve. Over and over, she sent her body flying, then pulled back and found the control to guide her limbs into precise positions.

Robin Mathes in Mauro Bigonzetti’s rousing Cantata: Leaving fear in the dust, the Les Grands Ballets Canadiens de Montreal soloist mixed gravitas with abandon, charging head-on into the pathos of the music.

Jazmon Voss and Cira Robinson of the U.K.’s Ballet Black in Antonia Franceschi’s intimate Pop8: After a scintillating duet in which Voss and Robinson were vivacious yet sinuous, Voss’ jazz-themed solo fused muscular virtuosity with delicate grace and sophistication.

Hyltin in Bournonville's La Sylphide. Photo by Paul Kolnik, Courtesy NYCB.

 

Tomorrow, New York City Ballet presents the company premiere of the quintessential Bournonville ballet La Sylphide, staged by ballet master in chief Peter MartinsNYCB principal Sterling Hyltin will dance the lead role of the Sylph on opening night. For Pointe's bi-weekly newsletter, we spoke with Hyltin about embodying the timeless classic.

What has embodying the Bournonville style in rehearsal been like? 

It has been wonderful from beginning to end. I admit the first week was really tough, because we're not used to dancing exactly this way. To achieve the airiness, you have to jump without your arms because you're supposed to lift them on the descent. You're really taking it all in the legs.


How would you describe your character of the Sylph? Do you feel like you relate to her in any way? 

The Sylph is innocent and pure. And she's all positivity. In general, I'm a really happy person, so I do relate to her in that sense. But I'm human, I have my bad days, so it's a little bit of mind over matter. You want to think about the positive instead of concentrating on the negative.


What are some of the challenges and hallmarks of the ballet? 

You do need to have an extra awareness of the feet at all times, and always be on your guard about articulation. Something that's been really wonderful is getting to do more pantomime. To concentrate on not just meaning love, but "Do you love me? I need to know." I'm finding little nuances that I can add to my other roles--it will really trickle into all of the repertory.


What advice would you offer to other dancers who are learning a role for the first time? 

My advice, which applies to me as well, is to enjoy every second of it. It's easy to get caught up--you want to do well, you're nervous--but you have to remember that this is why you work so hard every day. This is the fruit. You can't shy away from something you live for. Embrace it and enjoy it.

 

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