Is it more difficult for a dancer who's trained at SAB and is accustomed to performing a neoclassical repertoire, to transition to performing a classical work.......or is the reverse more difficult, i.e. for a "classically-trained" dancer (I know, it's a broad and ambiguous term but I can't think of how else to say it) who's familiar with performing works like Giselle and Swan Lake to make the necessary adjustments required for performing one of Balanchine's works?
I started thinking about this after reading a 2/11/05 article about Sofiane Sylve in the NYT, by Anna Kisselgoff, which I'll quote from here:
"When I go back to Amsterdam," Ms. Sylve said, "my coach, Maria Aradi, tells me, 'The Balanchine arms are O.K., but they're not O.K. in "Sleeping Beauty." ' I'll put that back in the jewelry box and take it out when I do 'Bizet' " - her shorthand for Balanchine's "Symphony in C."