Are the Great Ballet Couples Disappearing?

[Ballet lovers]

In the classical ballet, we fans are attracted sometimes not only by a

single dancer but also by amazing ballet couples. The most famous and interesting in this writer’s memories, is, without any doubt, Rudolph Nureyev and Margot Fonteyn. This legendary couple cast its spell all

the world, leaving us unforgettable sensations and turning us into lovers of the art of ballet forever. When we remember their beautiful interpretations of "Romeo and Juliet,” "Marguerite and Armand," or "Le Corsaire,” we understand that, even now , when ballet tecnique may be more perfect, we can't find as wonderful a total performance where the man & woman seem to understanding each other.

We can say almost the same about Ekaterina Maximova and Vladimir

Vassiliev, unforgettable virtuoso-interpreters of all the classical

repertory. They also have helped to make the Russian ballet known and perhaps the most beloved to all the world. (By this we mean - recognized by average persons who occasionally enjoy ballet, not ballet specialists in specific countries who love NYCB, POB, the Royal Ballet, Ballet de Cuba, etc.).

Carla Fracci and Erik Bruhn made history especially with the "lyrical classical repertory" (such as "Giselle" &"La Sylphide"). She imbues a sweet and gentle character in all her heroines and he was generous and noble in his manner.

In more recent periods we have not had examples of such great pairs even if couples like Alessandra Ferri - Julio Bocca, Agnes Letestu - Jose Martinez, Alina Cojocaru - Johan Kobborg or Agnes Oaks - Thomas Edur are very nice and interesting but they can't become history like "couples" maybe because they do not have the same harmony and charm that has characterized their predecessors and maybe because they don't dance together all the time.

In Russia, too, used always to have many beautiful couples. -- not just Maximova - Vasiliev but Struchkova - Lapauri; N. Pavlova - Gordeev, to name a few Moscow examples. However, it seems that this tradition is also disappearing little by little, even if, for example, in St.Petersburg, our favorite ballet place where we follow more carefully all the ballet events, we still have some interesting examples.

The most legendary couple here were Natalia Dudinskaya and

Kostantin Sergeev who for many years enchanted the audience with their

awesome technique and impressive innovations (for that time) in the classical ballet. Even now we can't find more ingenious versions of "Swan Lake,” "Sleeping Beauty," or " Raymonda" by Sergeev.

In the sixties and seventies, there were very interesting pairs like

Alla Sizova and Yuri Soloviev, characterized by their high jump and ample movement, being unforgettabble interpreters of "Sleeping

Beauty" and " Flowers Festival in Genzano.”

Alla Osipenko and John Markovsky, after been one of the most nice and followed couples of the Kirov Ballet, they left the Mariinsky Theatre and they were leading soloists of the Leonid Yakobson's ballet troupe and beautiful interpreters of many of his ballets ("Rodin").

Irina Kolpakova and Serghei Berezhnoi were always a clear and lovely

example of the real Petersburg ballet style: strict ballet school with

definite arm poses. In the same period, at the Maly Theatre, we found almost the same qualities of Kolpakova - Berezhnoi, in the couple of Nikita Dolgushin ( now artistic director of the Conservatory Opera and Ballet ) and Tatiana Fesenko, amazing interpreters of " Giselle," "La Sylphide" ( first interpreters in Soviet Union) and "Esmeralda.”

Natalia Bolshakova and Vadim Gulaiev from the Kirov, a very popular

pair in the seventies and the first half of eighties, were very interesting interpreters not only of new works of young and talented choreographers of that time ( Eifman, Vinogradov, etc.) but also of some classics like "Napoli" by Bournonville and "Chopiniana.”

At the Maly Theatre, Irina Kirsanova and Yury Petukhov, now director of the St. Petersburg State Academic Ballet, also known as the “Choreographic Miniatures Ballet Troupe,” worked in the same way. Besides, Petukhov has created many interesting works for themselves and, later, for different dancers and companies.

Later, in the eighties, the most famous pair in St.Petersburg and later

the rest of ballet world, were Altynai Assylmuratova (now director

of the Vaganova Ballet Academy) and Farukh Ruzimatov. This couple was

able to collect every time a huge enchanted audience and their every

performance was like a "holy event"! It was a big pity that later they

broke up and didn't have permanent partners for several years.

Just recently, Ruzimatov seemed to find a big "stage feeling" with

Diana Vishneva but unfortunately they also broke up and now only rarely

dance together.

Margarita Kullik and Vladimir Kim were another very famous Petersburg

Pair. They had a lot of fans especially because she was one of the

best pupils of Natalia Dudinskaya, having a very strong technique,

absolutely necessary for their best pieces like "Flames of Paris,” "Harlequinade" or "Tarantella" by G. Balanchine. They recently retired, their place perhaps having been taken by another technically strong and charismatic couple, Irina Badaeva and Fethon Miozzi. Badaeva – Miozzi began as one of the most interesting couples at the Mariinsky Ballet and now, as freelancers, they dance throughout Russia & beyond, keeping the best traditions of Russian ballet style and enchanting the most knowledgeable audiences. We especially love their interpretations of "Giselle,” " Swan Lake" and " Diana and Acteon."

But we wonder why the concept of the "great ballet couple" is slowly

disappearing? What is the reason?

[Leigh Witchel]

Interesting topic! I think there are many reasons. The major American companies discourage partnerships. The big reason is people come to see the partnership, not the ballet, and so they wield too much power.

[carbro]

The major American companies discourage partnerships.  The big reason is people come to see the partnership, not the ballet, and so they wield too much power.

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Well, that's very logical, Leigh, because from the point of view of the audience, we buy tickets to see dancers and to have a fulfilling theatrical experience. Do the dancers wield too much power? Why not get rid of them? Then there would be no power issues whatsoever!

Still, the most stunning partnership I've seen in my home companies was the one between Susan Jaffe and Jose Manuel Carreno at ABT. They always exuded a palpable passion when dancing together that was never quite the same when they had other partners. Also at ABT, we rarely see Dvorovenko dancing with anyone but Beloserkovsky. He, however, partners a number of ballerinas.

Ballet lovers, you mentioned the pairing of Assylmuratova with Ruzimatov, but I associate her more closely with Zaklinsky.

[Ballet lovers]

We don't think that Assylmuratova was closed more to Zaklinsky.

He was a beautiful dancer but he didn't make a permanent "couple" with his wife. With Ruzimatov there was the most interesting partnership !

[Natalia]

Ballet-Lovers is right about Assylmuratova having forged a stronger professional partnership with Ruzimatov -- esp. during the mid-to-late '80s -- than with Zaklinsky, who danced more often with Mezentseva or Chenchikova than with his own wife.

Cojocaru-Kobborg are probably as close as it gets today to a magical, somewhat-permanent partnership. They are adored as guests in St P (last 2 Mariinsky Festivals + the 2003 RB tour during White Nights). Have you seen Cojocaru-Kobborg at th Mariinsky Theater, ballet-lovers? I'll never forgt their 'Giselle' in Feb. 2003 or Romeo & Juliet in 2004....then their 'Cinderella, last month, at the Royal Opera House. They are the personification of the ideal strong-man-and-delicate-princess couple. They truly 'click' as a team & we love them for it. It's not about technique but artistry...although their technique is pretty darn good, too.

Ballet-lovers, have you seen Badeeva-Miozzi in a full-evening work? I've seen them only in short gala pieces. Great technique & bubbly personalities but I was wondering if they had the depth of 'soul' to sustain a full ballet.

[Estelle]

The big reason is people come to see the partnership, not the ballet, and so they wield too much power.

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That's interesting... But following that logic, then the directions of ballet companies should discourage the existence of "stars" ?

Also I'm wondering if it has a link with the fact that now, principal dancers are expected to dance more and more different roles in the same season, and so it often leads to many different pairings (and complicated schedules, probably).

Ballet lovers, thanks for your detailed posts about the great couples of Russian ballet.

You mentioned Agnès Letestu and José Martinez among POB dancers, they are indeed often paired together (especially as Agnès Letestu is very tall and so needs an even taller partner), however they tend to be cast less and less often nowadays. Letestu often is paired with Bart, but I think the pair doesn't work as well as with Martinez.

Some other examples of French ballet couples would also be Ghislaine Thesmar and Michaël Denard in the 1970s and early 1980s, especially in "La Sylphide" which was something like a signature role for Thesmar, and more generally in Pierre Lacotte's reconstructions. I've never seen them on stage, but on photographs they look wonderful together, both blond elegant dancers. During the same period, Noëlla Pontois and Cyril Atanassoff also often were paired, and Wilfride Piollet and Jean Guizerix (who happen to be husband and wife).

In the "Nureyev generation" of POB principals, there also was Isabelle Guérin and Laurent Hilaire (who were promoted to "étoile" the same day), and Manuel Legris and Monique Loudières, but later in their careers they also danced with a lot of other partners. Now there are so many different casts for each ballet that the pairings change a lot... Delphine Moussin often danced with her husband Lionel Delanoë, but now, even though he's only 37, Delanoë almost never performs and

works mostly as a ballet master (he suffered from a very serious back injury a few seasons ago). And the only couple of husband-and-wife POB principals, Nicolas Le Riche and Clairemarie Osta, seldom perform together, because Le Riche is much taller than Osta.

[Ballet lovers]

We have seen Cojocaru - Kobborg on the last festival in St. Petersburg. They were beautiful even if we think that Cojokaru is much more touching and expressive than Kobborg. He has an awesome tecnique but sometimes he is not enough deep in his feelings .We think she is more "complete" and interesting.

We have seen also Irina Badaeva and Fethon Miozzi in " Swan lake" , "Giselle", "Nutcracker" and "Sleeping Beauty" (except of the gala programs) and they were unfogettable! We think that they are even much more interesting in full-evening works that in gala.

Badaeva is so sweet and tender and she has a nice and aristocratic manner that remind very much Irina Kolpakova, especially in the "Nutcracker".

Miozzi is very charismatic and emotional in every his hero. He is an amazing actor and he is able to enchant any audience , especially in " Giselle".

[Ballet lovers]

In the "Nureyev generation" of POB principals, there are not in any case "consolidated pairs" because they are not dancing together everytime even if they are superb .

[Natalia]

Thanks for the answers, ballet lovers.

Regarding your main question, I believe that couples are not given the chance to develop nowadays. Casting for new pieces is usually up to the choreographer (as it should be). Casting of continuing repertoire is up to the Artistic Director or a combination of the director & coaches...who don't seem to want to pair the same ballerina-and-male dancer combo often.

Leigh's explanation about not giving too much power to dancers sounds right...certainly at NYCB, where casting news comes late on purpose. People are supposed to buy tickets to the ballet -- not to see specific dancers. (yeah, right...aye-aye, sir...in pre-internet days I remember the throngs of people trying to read the casting sheets posted in the lobby...maybe they were just exercising their eyes)

ABT has tried to forge a few partnerships --- Wiles/Hallberg, Herrera/Corella, Mr & Mrs Beloserkovsky (Dorovenko/Beloserkovsky) but they haven't really blossomed. I wonder why?

[canbelto]

Thanks for the answers, ballet lovers.

ABT has tried to forge a few partnerships --- Wiles/Hallberg, Herrera/Corella, Mr & Mrs Beloserkovsky (Dorovenko/Beloserkovsky) but they haven't really blossomed. I wonder why?

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Well in the case of Wiles/Hallberg, I've seen enough of them to have a theory: there's seems to be a partnership based on physical appearances (both tall athletic blonds). But I think a lot of great partnerships 'click' because of complementary qualities. For instance, the quote about Nureyev/Fonteyn: "He brought her out, and she brought him up." For Fracci and Bruhn, her sweetness melted his Apollonian reserve, etc. I think at this point Wiles and Hallberg are too similar temperamentally to really generate much chemistry (besides the joy that audiences get from looking at youth and athleticism together.) I think they both have growing to do as dancers.

For Herrera/Corella, I think they're both physically and temperamentally too DIFFERENT. Herrera seems like a hard person to match: she has a large head, long, thick torso, and extremely thin legs. Temperamentally, I'd say she can be exciting but is often more placid than anything. Corella is slight but has more classical proportions. Now the idea seems to be Murphy/Corella. Maybe that'll work.

And as for Mr. and Mrs. Dvorovenko (sorry, I love her too much ) I think they do work. Because you get a melding of complementary looks and temperament: shes tough, sexy, and dark, he's more reserved and classical, blond. They're a bit like Fred and Ginger.

But mostly I think great partnerships are by definition rare, and the reason people still talk about Sibley/Dowell or Makarova/Nagy (or nowadays Cojocaru/Kohborg) is because it's special. If every partnership caught fire, then there wouldnt be "great" partnerships, the way gold wouldnt be valuable if every handful of dirt had gold dust.

[Helene]

On the NYCB side, great partnerships were formed by Balanchine when he created works on dancers, like McBride and Villella, and Farrell and d'Amboise/Martins. From everything I've read in the last decade about the Company, Whelan and Soto have had a great partnership.

I preferred to see the great partners distributed around, particularly when there were so many wonderful, tall ballerinas In my main NYCB-going years, these were Adam Lüders and Joseph Duell. Heather Watts was partnered by Jock Soto much of the time.

[carbro]

Re: Wiles-Hallberg, there are few men tall enough to partner Michele. Both are still young -- especially David -- and developing their artistry. They share a joy when dancing together that pours out into the audience, and that's an indispensible ingredient in a great partnership (not saying theirs is "great" . . . yet).

When they were both very young, Paloma and Angel were often paired and were a kind of wunderkinder sensation. Then her development seemed stalled while he seemed to grow from performance to performance.

Paloma has recently shown a willingness to relate to her partner. When she finds someone with whom she clicks, the pair's physical appearance will matter less.

As for Dvorovenko-Beloserkovsky, I completely agree, canbelto. Like K. Hepburn said of Astaire and Rogers, she gives him sex and he gives her class.

--Carley

[Leigh Witchel]

As for Dvorovenko-Beloserkovsky, I completely agree, canbelto.  Like K. Hepburn said of Astaire and Rogers, she gives him sex and he gives her class.

--Carley

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Boy. . .what if that were the other way around . . .

[canbelto]

Re:  Wiles-Hallberg, there are few men tall enough to partner Michele.  Both are still young -- especially David -- and developing their artistry.  They share a joy when dancing together that pours out into the audience, and that's an indispensible ingredient in a great partnership (not saying theirs is "great" . . . yet).

--Carley

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I agree that Michele's extreme height is an issue. Especially in T&V. The part where she has to link arms and wind around the corps ... She was so much taller than all the women that I thought it was going to be a domino topple. It wasnt of course but ... (For anyone who has met Michele how tall IS she exactly? She seems to be almost WNBA-ish but I have no idea if she's just giant compared to the other ABT girls.)

In general, I think with more acceptance of different figures and body types for ballerinas there's the inevitable difficulty in finding partners. For instance, it'd be hard to find someone tall enough to partner Darcey Bussell. Also, I think that some dancers will be very great ballerinas but might not EVER really find a great partnership. Especially the more purely virtuostic dancers. This is something I've noticed with some of the POB videos. It's not a crime either. I mean Anna Pavlova never found HER dancing lobster (and yes I'm a dork I loved Friends).

[carbro]

I agree that Michele's extreme height is an issue. Especially in T&V. The part where she has to link arms and wind around the corps ... She was so much taller than all the women that I thought it was going to be a domino topple. It wasnt of course but ... (For anyone who has met Michele how tall IS she exactly? She seems to be almost WNBA-ish but I have no idea if she's just giant compared to the other ABT girls.)

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I'd estimate Michele at around 5'9"-5'10". But I wouldn't worry about her toppling in Theme's "winding line" -- or anywhere else. Her balance is so solid that I wonder if a wrecking ball would make her wobble.

Boy. . .what if that were the other way around . . .

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:blush:

[native New Yorker]

For anyone who has met Michele how tall IS she exactly?

Michele Wiles is 5'8" (unless she has grown in the last few years ).

[Ballet lovers]

We think that the partnership of Sibley - Dowell or Makarova - Nagi were beautiful but in any case the best "duo" was Makarova - Dowell even if they were not a permanent couple.

Besides, before Makarova leave Russia she was a very close partner of Nikita Dolgushin and they were really a rare pair!

[Ostrich]

I think that discouaraging the formation of partnerships is a bad idea for ballet companies, artistically as well as financially. I won't go and see Giselle (or whatever) for the hundredth time just to see the production, but I will go if I hear Cojocaru and Kobborg are dancing. Most ballets, after all, revolve around a core partnership, (Romeo and Juliet, Prince Rudolf and Maria Vetsera, etc.), and therefore not to foster good partnerships seems to me downright senseless. I feel very strongly about this because I got very frustrated with Cape Town City Ballet for seeming to deliberately break up very complementary partnerships. The result? I went to see less ballets than I would otherwise have done.

I have been wondering for a while who would be the best partner for Nikolai Tsiskaridze, a great favourite of mine. I read in an interview that he greatly admires Sylvie Guillem and would love to dance with her, but personally I don't think that their styles suit each other. Here on the southernmost tip of Africa I don't get to see anywhere near as much of his performances as I would like (I wish they would release a lot of videos of his dancing soon) and I would love to hear the thoughts of those of you who see him more regularly as to which ballerina he "clicks" best with.

[Helene]

I think that discouaraging the formation of partnerships is a bad idea for ballet companies, artistically as well as financially. I won't go and see Giselle (or whatever) for the hundredth time just to see the production, but I will go if I hear Cojocaru and Kobborg are dancing. Most ballets, after all, revolve around a core partnership, (Romeo and Juliet, Prince Rudolf and Maria Vetsera, etc.), and therefore not to foster good partnerships seems to me downright senseless. I feel very strongly about this because I got very frustrated with Cape Town City Ballet for seeming to deliberately break up very complementary partnerships. The result? I went to see less ballets than I would otherwise have done.

The disadvantage for me is when I don't like one of the partners but love the other, and either have to "suffer" through one or miss the other. Or, when I was very young and more stupid, miss Erik Bruhn because he was paired with Carla Fracci -- I know -- because I had to see Makarova and Makarova only the two times a year I could get a ride to NYC, and she was paired exclusively with Ivan Nagy. (There was no suffering whatsoever involved with watching Nagy dance and partner. I just missed out on seeing one of the great male dancers of the 20th century. I did eventually see Fracci, in Giselle.)

[Ostrich]

Yes, that can be a problem, but I think it occurs oftener when dancers at matched more or less at random than when complementary partnerships have been established. Not that there shouldn't be some mixing-and-matching, I just mean to say that not allowing the development of partnerships on principle seems to me to be a pretty senseless policy.

[Ballet lovers]

We don't think is "senseless" to love a great couple . The most of people love the talent pairs like in the Hollywood films!

[Ostrich]

I think you misunderstood me, Ballet lovers. I didn't mean that it was senseless to love a great couple. I think it is senseless not to!

[Ballet lovers]

O.K. Sorry !!!

[oberon]

For me, the great pair in recent years has been Wendy Whelan & Jock Soto...but with Jock retiring that will be coming to an end. Another frequent and beautiful partnership has been Kyra Nichols & Philip Neal.

[dirac]

Or, when I was very young and more stupid, miss Erik Bruhn because he was paired with Carla Fracci -- I know -- because I had to see Makarova and Makarova only the two times a year I could get a ride to NYC, and she was paired exclusively with Ivan Nagy.

This just reminded me of a passage in Makarova’s autobiography, where she comments on what a pleasure it was to dance with Bruhn, and how she regretted that the disparity in their ages and injury made a continuing partnership impossible. “I am sure a long and harmonious partnership would have developed,” she said (as I recall).