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Caroline Cavallo to guest with NYCB


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This just in from NYCB:

CAROLINE CAVALLO

PRINCIPAL DANCER WITH THE ROYAL DANISH BALLET

TO APPEAR WITH NEW YORK CITY BALLET THIS WEEK

New York City Ballet announced today that Caroline Cavallo, a principal dancer with the Royal Danish Ballet, will dance the role of Odette/Odile in Peter Martins’ Swan Lake on Thursday, January 29 at 8 p.m. and on Sunday, February 1 at 3 p.m. Ms. Cavallo will perform for the previously announced Jennie Somogyi, who is unable to dance due to injury. Nilas Martins will dance the role of Prince Siegfried at both performances.

In addition, Ms. Cavallo will dance the leading ballerina role in George Balanchine’s Tschaikovsky Piano Concerto No. 2 on Saturday, January 31 at 8 p.m. in place of the previously announced Miranda Weese, who is unable to perform due to illness. These performances will mark the first time that Ms. Cavallo has danced with New York City Ballet.

Ms. Cavallo, who grew up in Atlanta, Georgia, joined the Royal Danish Ballet in 1989 after studying at the Atlanta School of Ballet and at the School of American Ballet. In 1992 Ms. Cavallo was appointed a soloist with the Royal Danish Ballet and in 1997 she was made a principal dancer.

Ms. Cavallo’s repertory with the Royal Danish Ballet includes the title roles in Romeo and Juliet, La Sylphide, Giselle, and The Merry Widow, as well as Aurora in The Sleeping Beauty, Kitri in Don Quixote, Teresina in Napoli, and Tatjana in Onegin. For the Royal Danish Ballet she has also danced the leading ballerina role in Tschaikovsky Piano Concerto No. 2 and Odette/Odile in Mr. Martins’ Swan Lake, which was created for the Danish company in 1996.

New York City Ballet’s 2004 winter repertory season continues through Sunday, February 29, and is an exploration of George Balanchine’s classical heritage as part of New York City Ballet’s year-long celebration of the centennial of George Balanchine’s birth.

Tickets for all winter season performances are on sale now at the New York State Theater box office, through Ticketmaster at 212-307-4100, or online at nycballet.com. The New York State Theater is located on the Lincoln Center Plaza at Columbus Avenue at 63rd Street. For information on any NYCB performance call 212-870-5570.

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Yikes! What's happening to my ballet company??? So many injured dancers...and in this, the Balanchine season when I was so looking forward to seeing them all. It's really sad...seems like each day someone new goes on the "missing in action" list. Hey, Monique & Helene...Samantha Allen...Aesha Ash: if you girls aren't busy can you come back and help out?

How will they get thru 2 weeks of SLEEPING BEAUTY? Peter's head must be spinning...

Has anyone seen Cavallo dance? I wouldn't mind having Gitte Lindstrom back, too...she did an especially nice SERENADE on her last guesting stint. Does Isabel Guerin still dance?

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:speechless: Your ballet company (and mine) is being pushed beyond their limits to master many new roles in a short time. Festivals engender injuries, but I don't remember one with such a lengthy Disabled List. Additionally, large numbers of injuries engender more injuries, as overworked dancers are pressed into duty to cover for their ailing colleagues. It is a relief that Ms. Cavallo is available to avoid additional strain on the healthy ones.

I saw Cavallo in the Tarantella from Napoli last March, found her somewhat bland :yawn: but not disagreeable. I would not be surprised if this American-trained dancer is more impressive in Swan Lake than Napoli, but I'll have to wait to see.

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I saw Cavello in Etudes at the Kennedy Center a few weeks ago. She was fine, but I thought her upper body was quite stiff and she looked like she was concentrating REALLY HARD to get through all the tough parts . But get through them she did. Should be an interesting SL, I look forward to reading about it.

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I'm agreeing with everything said.... what a dull post. LOL

Oberon, I think Cavallo studied at SAB, or at least in New York. agree with both carbro and nysusan-- she's not objectionable but bland, rather effortful in difficult passages (she doesn't make them look easy...), somewhat stiff. actually, carbro, NYCB seems to have a crisis like this every few years-- once (Toni Bentley reported in Winter Season) 'ballets these days have virtually no one whose name appears in the program', and Balanchine was heard to say 'all my Danish pastries are out' (I think that would have been Martins, Luders, and Anderson at the time)

Oberon, you HAD to mention three of the dearest departed. Alexopoulos, Allen, and Meunier, come back!!! :-) so glad someone else noticed Allen's dancing. she was exquisite in her variation in the Swan Lake pas de quatre.

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Caroline Cavallo: She is very pretty, hit 29 fouettes (I think), but she was stiff and looking a bit frightened. I think Nilas is a nice dancer, but that's as much praise as I can muster. The highlight of the evening was Danirl Ulbricht as the Jester. I love "Swan Lake" and I enjoyed my evening with ,I'm happy to report .a very attentive and sweet few hundred college students up in the fourth ring. Ah, these injuries with all of February to go.Scary.

Edited by jimmattimore
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While I dont like story ballets in general, and Swan Lake in particular, last night (Thursday, 1/29) I very much enjoyed the performance. Possibly I guess I accept it as part of the Balanchine celebration and the excitement about the coming spring season. Wow, I wish I could go every night. Just about every program looks fantastic.

Back to yesterday. I thought Cavallo was more than adequate to the challange. Not the greatest performance, but considering she only had 1 day to prepare for this with a partner she may never have danced with before, on a stage and with a company she was essentially unfamiliar with, hats off to her for even showing up. He footwork seemed quite good. She is a bit small and I think underwhelming in the role. Her upper body wasn't as fluid...swan like, as it should have been. But considering the circumstances, I think she did a fine job. And yes, I also counted 29 fouettes.

Ulbricht was a wonderful jester, great leaps and turns, very impressive. He slipped at one point at the end of an othewise virtuoso segment. He made it seem part of his jester act. I liked the way he really went all out.

There were lots of changes from in the program. Ringer performed in the Pas de quatra and was, well Ringer. The Russian was danced by Yvonne Borree and it is one of the best thing she does. You can almost see through her very bare midriff. She was very sexy. I just love her in it.

The small 4 swans was exciting as always, but if you ever have seen the Trocks do it, it is something that always comes to mind and puts a smile on my face. Just can't get it out of my mind.

I usually love Albert Evens, but also was unimpressed with his Rothbart. He didn't seem big and dramatic enough. I think one of the large dancers would make the role more interesting. It needs a big presence.

But as I said, I did enjoy the evening more than I anticipated, and it was fun seeing a new dancer.

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Caroline Cavallo, over Thursday's Swan Lake and todays Tschaikovsky Piano Concerto 2, has proved to be one of the most inspiring dancers i have seen. Although many a balletomane saw her as having a stiff torso, i saw one of the most beautiful, expressive port de bras in the world. Her extension has withered a bit with age, she's 34. Because of this, however, one sees what dancing truly is. It's not Maria's 240 degree penche, but a true love of ballet with pure grace and style.

At her NYCB debut with Swan Lake on thurs, she became Odette, not some ballerina playing Odette, as we often see Whelan doing Odette or Somoygi's Odette. Cavallo simply was Odette, and it showed that much effort had been put into rehearsing this part so that it became one with her. For those of you who were in attendance, and counted 29 fouettes, it is not that she was unable to complete 32, but that she pulled in with a double and chose to be musical instead of throwing in tastelss, unmusical multiples as one so often sees across the Plaza. Cavallo's white swan was breath-taking, and she was even able to tempt the so often aloof Nilas Martins into character, which he quickly lost as he half-danced his variation. Because of her impeccable energy, Cavallo led Nilas into a great performance.

Her performance tonight made thankful towards Weese's illness so that i could be so unbeleivable inspired. The whole performance was right on, with perhaps the best pas in the second movement i have seen. Cavallo seems to have a positive effect on all of her partners, and i am greatful that two of my less favorite principle males gave wonderful performances. Martins needed a TRUE ballerina for this role, and he definitely got one.

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