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PetipaFan

Alexandra Ansanelli departs...

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Thanks for the report, harpergroup. From what I've seen of Wheeldon's Ligeti items, I'm inclined to think you're right. And I think you do just fine as a critic. :excl:

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I too attended(two-thirds of) the Wed. Ligeti-Wheeldon performance. For the most part I agree with harpergroup. However I did in particular enjoy the unaffected dancing of Glenn Keenan in the first piece (Polyphonia). She seemed undaunted by the task of filling the shoes of Ms. Ansanelli and in fact brought an innocence to her solo that I found particularly appealing. I also adored Mr. Marcovici (please pardon me if I've spelled his name incorrectly). His partnering was every bit as solid as Jock Soto's and his attentiveness to the breath-taking Wendy Whelan did nothing but enhance his own presence. And as to Ashley Bouder who took on Ms. Ansanelli's role in Morphoses, I once again enjoyed the fresh interpretation. Ms. Bouder's energy is unparalleled. I sadly cannot comment on the last piece as I succumbed to the heat of the Miller Theater and had to leave. I must add that setting aside the over-heated enirons, I did like the intimacy of the Miller Theater. I'll go back perhaps in January.

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We too attended Ligeti-Wheeldon event at the Miller Theater. I cannot add much to harpergroup's comments about the ballets. They pretty much sum up my own feelings. The dancers were absolutely superb. I always fear that Whelan or Bouder will disappoint me some day. It never happens. I do want to add to the warning about the balcony. My sight line was framed by a railing that cut off the front part of the stage and two heads that cut off the sides of the stage. As they plan to have many more dance events everyone should try to get seats in the orchestra.

Now to one of the male dancers. While the dancers were warming up I kept thinking that I recognized Jason Fowler from somewhere. My wife and I are both sure we saw him as a student in an SAB class only a few years ago. He stood out from the rest of the male dancers in the class because of his size and muscularity. Yet his bio says he has been in the corps since 1996. Does he have a younger twin (joke) brother? Or, do they occasionally put a "ringer" into the classes to impress the supporters of the school?

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Company members occasionally take class at the school, so it might have been Fowler you saw.

Funny to read the comments on the Wheeldon trilogy. One of the reasons I decided not to go was I had seen all of the works separately and thought they would not flatter each other put together. Polyphonia and Continuum have practically the same musical response.

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Alexandra Ansanelli is appearing with Suzanne Farrell Ballet at this week's Kennedy Center run; I'm sure others will chime in with more details on that thread, but I thought it might be of interest to this discussion as well. Quite a pleasant surprise for those of us in DC, that's for sure!

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Ballet Talkers who attend the Suzanne Farrell Ballet season at the Kennedy Center:

Please, please, please post your reviews! We'd really love to hear your impressions!

Here is the link to the Suzanne Farrell ballet forum:

http://ballettalk.invisionzone.com/index.php?showforum=98

Here's the link to the existing thread leading up to the season:

http://ballettalk.invisionzone.com/index.p...pic=20170&st=15

Please feel free to start a new review thread or add to the existing one.

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Leigh Witchel writes:

Polyphonia and Continuum have practically the same musical response.

San Francisco Ballet has presented both, and that was my impression also.

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It seems as if the NYCB's loss is the Royal Ballet's gain. For those who are worried about her signing a First Soloist contract, I would suggest that the only reason for this is that the RB's principal casting has been agreed for the whole season, and it may benefit Alexandra to work on some secondary roles to allow her to get familiar with the company and it's rep.

I am sure she will be on a Principal contract next season. There are a lot of female Principals due for retirement at the RB, and Darcey Bussell has announced her semi-retirement.

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Party at my place!!!! :lol: I've wanted to see her for ages, so my :beg: have been answered.

She might not rise quite that fast (Sarah Lamb also is in the wings!), but I would say that considering how extremely different the repertoire is, First Soloist is a fabulous position to be in.

Right. Now I get to :yahoo: and say :thanks::shake: to having the chance to see her!!!!

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Wow and super good for her! I, too, think that allowing for a period of transition is a good idea--as long as she doesn't get stalled or "lost" in minor roles. Ansanelli has a presence and sense of drama that may serve her well in the Royal repertory but her dancing also has an edge that is, to say the least, outside the Royal norm. Anyway, wow! Very glad she has found a worthy home for her enormous talent. (I'm impressed, too--for the umpteenth time--with Monica Mason's decision making...)

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Good for her. She said she wanted to dance the classics, and this will challenge her not only in those roles but in a different style.

In her short tenure, Mason has had a track record for putting the Company's interests first.

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I doubt she'll get lost in minor roles - I think most of the First Soloists are cast really well. And yes, kudos to Mason.

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(from Washington, DC) It appears she has indeed stopped off in Washington on her way to London in order to dance The Girl in White in La Valse with Alexander Ritter and Momchil Mladenov in the Suzanne Farrell Ballet, and some of us are talking about that in that thread. After having seen her sometimes look as though the Eisenhower Theatre stage is too small for her - she can go like a house afire - I was interested to read here of her dramatic gifts and hope to see them manifested in deepening the role in her remaining five performances of it this weekend.

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(from Washington, DC) I forgot to mention that she is also doing two Duo Concertants here. The first one went tonight, the second is scheduled for Saturday night, and I'll try to say something about them on the Suzanne Farrell Ballet thread.

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I was a little disappointed with Ansanelli's performance of La Valse. She had made great strides two seasons ago in trying to make herself more of a classical ballerina -- her performances in Copellia, Harliquinade and Divert. #15 were very enjoyable. Her solo in Harliquinade was very touching. She seemed to let the dance and the music come out of her simply without any added emotion. AA has done the same in the ballets Wheeldon has made for her. However, in the past season and in La Valse, I saw more over-emoting. It's like that old saying in writing, show don't tell. Ansanelli tells us that she's excited to be at the ball in La Valse, she tells us that she's intrigued by the Death figure and the gloves, etc (usually with eye rolling and flirty looks and smiles)... but she doesn't show us in her dance.

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I was a little disappointed with Ansanelli's performance of La Valse.  She had made great strides two seasons ago in trying to make herself more of a classical ballerina -- her performances in Copellia, Harliquinade and Divert. #15 were very enjoyable.  Her solo in Harliquinade was very touching.  She seemed to let the dance and the music come out of her simply without any added emotion.  AA has done the same in the ballets Wheeldon has made for her.  However, in the past season and in La Valse, I saw more over-emoting.  It's like that old saying in writing, show don't tell.  Ansanelli tells us that she's excited to be at the ball in La Valse, she tells us that she's intrigued by the Death figure and the gloves, etc (usually with eye rolling and flirty looks and smiles)... but she doesn't show us in her dance.

I believe this is known as The Dvorovenko Effect.

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From a review of the film "Bringing Balanchine Back" appearing in NJ.com:

http://www.nj.com/entertainment/times/inde...6220.xml&coll=5

Author Ann Levin describes a scene involving Ansanelli which she seems to suggest may have a bearing on why Ms. Ansanelli left NYCB:

"Principal dancer Alexandra Ansanelli is among the most prominently featured in the film, preparing for her debut in "Serenade" at the Maryinsky. When she rehearses in front of company director Peter Martins, she makes enough mistakes to cause Martins to replace her with another dancer. His tough treatment of the young Ansanelli is an eye-opener. She left the company last year."

At any rate, Alexandra is scheduled to dance the Tchaikovsky Pas de Deux with Frederico Bonelli at The Royal Ballet tomorrow, as well as 23 and 28 February.

Merde!, Dear Alexandra.

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As I recall that scene - Ansanelli was being coached by Sara Leland for her debut

in Serenade. The Company was in dress rehearsal and Sara told Peter that she

was ready for the performance. He indicated that he wanted to see her dance it.

Alexandra approached him and said, (paraphrasing)" Is it all right if I don't dance

full out - I want to save it for the performance." Peter said "what are we doing

here then." She said "You want to see all the emotions...." he cut her off and said

"Yes".

The tour was almost 2 years before she left and she had so much success in

that time - it seems doubtful that incident was that important.

I wondered if the film was edited before or after she left. Either way I don't

know why they left it in. It's unfortunate so much of the film focused on her,

especially with all the footage they had to work with. I would love to have an uncut

tape of the performances at the Maryinsky.

~~~~~~

Moderator's note:

I'm going to close this thread. Phase II of Ms. Ansanelli's career starts here: http://ballettalk.invisionzone.com/index.p...95&hl=Ansanelli

Edited by carbro

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