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Anna_onpointe

Inactive Member
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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    former dancer & dance teacher; ballet lover
  • City**
    Florida, U.S.
  1. Leigh Witchel’s comment above about Caroline Cavallo’s absence from the program in Newark because she was performing with NYCB made me surprised (in a way) that more hasn’t been said about her debut with the New York City Ballet in Swan Lake at this forum somewhere. Also, I saw that Gudrun Bojesen and Thomas Lund danced with City Ballet earlier in the month. Is that correct? Did anyone see that? I may have missed some of the discussion because I saw something about the press release from City Ballet about Cavallo but couldn’t find it again. Since she was taken from the Newark program at the last minute to dance with City Ballet, I’d like to make a few comments from my own perspective however late it may be. Several friends of mine, a former staff member and subscribers to the ballet, have described it as excellent as it was unbelievably extraordinary. To fill in the lead part in a full length ballet, that, by the way, I don’t think she has danced in 5 or 6 years, with one day’s notice and one rehearsal is no less than fantastic. Not only that, she did it with the exquisiteness of a truly professional ballerina in grand style. According to my friend who also attended her Piano Concerto performance she was beautiful and brought true emotion to the parts. She received ovations from the audiences at all three performances and received superb reviews by critics. The buzz at the ballet is that she was cheered on and congratulated by City Ballet staff and dancers also. True to every performance of hers that I have seen ( I’ve seen many in Copenhagen) , the audience was thrilled and loudly appreciative during the ballet and at the curtain calls at the end. Only a true ballerina could have danced her way into New York City in such a magnificent fashion. I had the privilege of seeing her at the Kennedy Center and at the Fox in Atlanta and now regret that I did not see her at the New York State Theater. In Washington, her performance in Napoli was excellent and Etudes was a work of art both technically and stylistically. The audience at the Saturday matinee loved it, applauding throughout the ballet, and gave her and the company an extended standing ovation afterwards. A fact that seems to have been ignored by some reviewers who have lost sight of the fact that in all reality ballet is an art to be enjoyed by dance lovers. Cavallo has always managed to touch the hearts of the majority of the audience. It is obvious to most that she puts her soul into every part and to say that she is bland or pallid is far beyond the belief of most people who see her dance. There have been few if any critics in Copenhagen describe her as dull. I’m sure the audience would agree with The New York Times review that said that emotion is what Miss Cavallo brought to Swan Lake and regality to Piano Concerto.
  2. I saw the Royal Danish principals and soloists in Atlanta and was very impressed with the program. I was rather far back in the orchestra and in the Fox Theatre that is quite a distance, so, I, too, am not sure who danced Terpsichore in Apollo, but whoever it was was excellent. A very graceful, expressive and strong dancer. The program said it was Schandorff and if it was she lived up to expectations. With Hubbe as Apollo it may have been the strongest performance of the evening. Caroline Cavallo did dance the Sylph in a selection from that ballet and was simply beautiful. I saw Gudrun Bojesen in Washington and liked her very much but to me Cavallo matched both her grace and her style and seemed more expressive. The whole ensemble looked great in Napoli but to me Cavallo stood out with a smile that lit up the auditorium. Thomas Lund had an off night with difficulty in some turns and not much character. I’m not one who prefers modern ballet but Tim Ruston’s pieces were very interesting. Diani Cuni looked the best I have seen her and the part suited her. Overall a surprisingly enjoyable evening with an appreciative audience who welcomed Cavallo back to Atlanta with bravos and some in the house calling out her name at the end. That’s when I was sure it was she.
  3. Reading some of the postings here, I have to say that the artistic directors, stagers and guest choreographers are just that – the artists that stage and create ballets out of pure love of the art of ballet. As such they, and only they, are the experts who know the look, feel and execution they want for their work. You may have your ideal but you could never totally speak for what Auguste Bournonville idealized for his works, for example. And that search for the perfection of their work is why they spend so much time choosing the dancers they want for their ballets. They will avoid a company that cannot provide what they want. Hence my bewilderment over the criticism of Caroline Cavallo. She is one of my favorites largely because she can execute what they want and add her interpretation without compromising their vision in a way that deeply reaches the audience’s emotions. I have see people in tears when the curtain goes down. She never disappoints the stagers or the audience. She has danced all those lead parts because those artists saw her talent as something that would best show what they are creating for the world. My goodness, she would not be doing so much if she lacked those intangibles that make for a great dancer. The list is impressive: She was chosen by Peter Martins for Swan Lake, Helgi Tomasson for Sleeping Beauty, John Neumeier for Romeo and Juliet, Reid Anderson for Onegin, Monica Parker for Manon, the “instruktors” of the RDB for her parts in Napoli, La Sylphide, Folk Tale, as well as her role as Giselle. All of which I have seen her and others do and all of which she received ovations from the audience (at performances I attended) and excellent reviews from the Danish and other critics. I have even spoken to some of the stagers including Peter Martins who were elated with her performances on stage. To have been chosen by all of these well known and highly respected artists is evidence enough of her talent and ability and certain proof of her success as a performer. Monica Parker for The Royal Ballet chose whom she thought would present Manon in the best light and that is why Cavallo danced opening night, Effy. To suggest that she has such a narrow scope as to choose a dancer based solely on technique is a stretch to say the least. She was awarded those roles for outstanding talent and charisma and as an outside observer I think she deserves credit for that. She certainly, as an American in a Danish ballet company, has no other leverage except talent to put her on stage. I read in one of the chat forums that she was the favorite of all of the RDB directors that she has danced for except Maina Gielgud. (if she wasn’t Gielgud’s favorite she was certainly respected by her: She danced many lead roles and was promoted to principal under her tenure). One can call it favoritism, I call it artistic integrity – putting the best dancers in the best roles. I simply do not see how all of these artistic directors, choreographers and stagers could have had lapses in judgment. Rather, it is truly the recognition of exceptional talent by these very diverse experts that has put Cavallo on the stage so much over such a long period of time (more than 10 years with the company). One sterling validation of Cavallo’s talent was the granting of the Bournonville Award to her in 2002. What higher honor could a dancer receive than to be recognized by the holders and descendants of the Bournonville trust? What better proof of her mastery of the very style that defines the Royal Danish Ballet? We, as observers can certainly express our opinion, but as I’ve said before it is only our opinion. And whether we appreciate her talent or not, it’s hard to argue when so many expert artists have recognized and put to use Cavallo’s talent as a ballerina. –Anna
  4. Thank you, Mel Johnson and Alexandra for welcoming me to your site. I think my contribution to your talks will be sporadic at best since I travel a great deal and am not at my computer much. I travel to Copenhagen quite frequently and have fallen in love with the RDB over the years. Alexandra, I appreciate your thoughts on my views and hope our differences in viewpoints will add to the fun of these discussions. It would be a dull world if everyone agreed on everything. My comment on bashing was in reference to the Mayor McCheese McDonald’s commercials remark. I see no place for that in any kind of constructive critique of anything but fast food establishments—certainly not if the writer wants to make a legitimate point or even be taken seriously. I hope to see the RDB when they perform in Washington, D.C. in January. I hope to see Gudren Bojesen dance since I have not had the chance to see her perform. Can anyone tell me where else they will be in the United States? Is there a smaller group of dancers that will be performing in other cities?
  5. I have followed the Royal Danish Ballet for many years and have sat through wonderful performances as well as those I would rather not see again. I have spoken with the dancers, choreographers, and the ballet-wise Danish audiences at intermissions. I know one thing—the Company has some great principals: strong men and beautiful women. Among them but not limited to them are Caroline Cavallo, Rose Gad, Silja Schandorff and the rising Gudrun Bojesen. With what has been said here about Caroline Cavallo, one can surmise that they may not be totally unbiased in their comments. I and others I have spoken with cannot understand their viewpoints—which, of course, they are entitled to. I have seen Cavallo dance both “La Sylphide” at the beginning of the month and recently “Tchaikovsky’s Piano Concerto #2.” She danced with brilliant technique, wonderful musicality and has an unmistakable stage presence. As the Sylph she captured that ethereal quality, and glided across the stage with her beautiful lines—long graceful arms (and hands) and legs. The audience loved her performance also, and gave an extended and thunderous “in unison” applause as the Europeans are known to do. In “Piano Concerto” her musicality and mastery of the movements were obvious to all who know ballet. Clair Still, the other lead, is also a very graceful well-trained dancer who deserves more than the bashing she received at this site recently. The ballet is technically very difficult and both dancers were up to the challenge. Cavallo, especially, pulled off a “tour de force” and the audience knew it; again the dancers received a loud and warm appreciation at the end. When it comes down to it, isn’t that what the art of ballet is deigned to achieve? If it reaches the hearts of the ballet lover, it is in everyway a tremendous success.
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