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#TBT: Diana Vishneva and Vladimir Malakhov in Kazimir’s Colors

Vishneva in Kazimir's Colors. Photo by Valeria Komissarova via Alechtron.

Paintings infrequently inspire ballets. Notable exceptions include Yuri Possokhov's Magrittomania, based on the works of surrealist painter René Magritte, and Christopher Wheeldon's recent Strapless, centered on the woman in John Singer Sargent's painting “Madame X." Different though Magritte and Sargent's paintings are, they both depict people in one way or another—ready material for choreographers. Thus, I'm intrigued by Mauro Bigonzetti's ballet Kazimir's Colors, inspired by Kazimir Malevich's abstract, colorful blocks.

Loosely inspired, I'd say. Diana Vishneva and Vladimir Malakhov are anything but blocky in this 2009 clip. Pliant as putty, she snakes her limbs around her partner, who is sturdy but equally fluid. The piece and Kazimir's paintings do share similarities in their colors, of course, but also in the strength of their off-kilter lines. Vishneva's gorgeous extensions conjure the art's sharp angles. And, like the geometric shapes, the pair's movements are at times thin and reedy and at others wide and bold.

Whereas Bigonzetti recently joined a venerable ballet institution (he's La Scala Ballet's new artistic director), Vishneva will soon leave one of hers. The 2016/2017 season at American Ballet Theatre will be her last, though she will stay on as a principal at the Mariinsky Ballet. Vladimir Malakhov, whose career took him to Vienna, Berlin and beyond, also danced with ABT. He has served as artistic advisor to the Tokyo Ballet and recently produced his show, Malakhov & Friends, in Germany. Happy #ThrowbackThursday!

The Conversation
Ballet Stars
Angela Sterling, Courtesy PNB

Your teacher at Central Pennsylvania Youth Ballet, Marcia Dale Weary, recently passed away. What impact did she have on you?

I feel deeply indebted to her. She shaped my life's course, and I know that were it not for her, I would not be living out my dream today. She led by example through her remarkable commitment to her work, as well as her genuine kindness and generosity.

You were a trainee with San Francisco Ballet. What was that experience like?

It was an exposure to different schools of thought. We were mostly in the full-lengths, and watching run-throughs of Sleeping Beauty and Don Quixote was revolutionary for me. But I was young and far away from home. That transition was hard. My body started changing. It wanted to be fleshy. Biology is cruel in that way. I desperately wanted to fit in, but it wasn't meant to be.

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The Royal Ballet's Vadim Muntagirov and Marianela Nuñez in La Bayadère. Photo by Bill Cooper, Courtesy ROH.

Do you ever wish you could teleport to London and casually stroll into The Royal Opera House to see some of the world's best-loved ballets? Well, we have a solution for you: The Royal Ballet's 2018-19 cinema season.

Whether live or recorded, the seven ballet programs listed below, streaming now through next October, will deliver all of the magic that The Royal Ballet has to offer straight to your local movie theater. Can you smell the popcorn already?

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Site Network
Left: Misa Kuranaga in The Veritginous Thrill of Exactitude. Gene Schiavone, Courtesy Boston Ballet. Right: Sasha Mukhamedov in Apollo. Altin Kaftira, Courtesy Dutch National Ballet.

San Francisco Ballet just announced some major news: longtime Boston Ballet star Misa Kuranaga will be joining the company as a principal dancer for the 2019-20 season, while Dutch National Ballet principal Sasha Mukhamedov has been hired as a soloist. They join a slew of newly promoted SFB principals and soloists, announced earlier this year.

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Ballet Stars
Xiao Nan Yu in company class. Aaron Vincent, Courtesy National Ballet of Canada.

On June 22, National Ballet of Canada principal Xiao Nan Yu will retire from the stage after 22 years with the company. Originally from Dalian, China, Yu studied at the Shen Yang School of Dance and the Beijing Dance Academy before coming to Canada's National Ballet School at age 17. She joined the National Ballet of Canada less than two years later, and was promoted to principal in 2001.

"She is a supreme dance actress with an innate ability to bring the audience into her world," says NBoC artistic director Karen Kain. "Nan has always brought such a calm confidence into the studio and has been a role model for so many dancers I will miss her generosity both inside the studio and out." We spoke with Yu as she prepared for her final week of performances. She opened up about her initial culture shock upon moving to Toronto, her thoughts on artistry and why she chose Hanna Glawari in The Merry Widow as her final role.

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