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The Royal's "new" staging of the 1946 Sleeping Beauty


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#61 bart

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Posted 17 December 2006 - 10:22 AM

Thanks, leonid, for that review. And for the link to the NY Times article on Ansanelli. I especially enjoyed her response to suggestions that she left NYCB because of issues relating to the way she is treated in the film "Bringing Back Balanchine."

“That was certainly an uncomfortable event,” Ms. Ansanelli said in an interview backstage at the Royal Opera House. “But it was two years before I left. I’m not the kind of person to leave for those reasons.” Instead, she said, her motivation was “simply to try something different.”

“It sounds crazy,” she said, but “I just knew I had to take the first step, and that meant leaving City Ballet.”

Ms. Ansanelli said she had no specific plans but knew she wanted to go to Europe and dance the 19th-century classics. At City Ballet, which mostly adheres to a more contemporary repertory, she had performed Aurora in Mr. Martins’s version of “The Sleeping Beauty,” based on the original 1890 choreography by Marius Petipa. But “I knew that stylistically I was wrong,” she said. “I’ve always been passionate about the classical works, and it was important to me as a ballerina to get that education.”

An artist willing to take risks in order to grow! Shades of Nureyev and Barsyknikov! Good for her. :)

Perhaps this article could be spun off to start a new thread, not only because of the interest in Ansanelli, but also for the impllications it raises about styles, training, etc.

#62 richard53dog

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Posted 17 December 2006 - 11:30 AM


Ms. Ansanelli said she had no specific plans but knew she wanted to go to Europe and dance the 19th-century classics. At City Ballet, which mostly adheres to a more contemporary repertory, she had performed Aurora in Mr. Martins’s version of “The Sleeping Beauty,” based on the original 1890 choreography by Marius Petipa. But “I knew that stylistically I was wrong,” she said. “I’ve always been passionate about the classical works, and it was important to me as a ballerina to get that education.”

An artist willing to take risks in order to grow! Shades of Nureyev and Barsyknikov! Good for her. :)

Perhaps this article could be spun off to start a new thread, not only because of the interest in Ansanelli, but also for the impllications it raises about styles, training, etc.



I thought it was a very heartening interview , too. I was surprised to see how Ansanelli had expanded her range when I saw her last Summer with the RB in DC. Evidently she is still working very hard at this.
I give her great credit. Think of the range of styles she'll be able to encompass! :)

#63 Haglund's

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Posted 17 December 2006 - 12:37 PM

Thanks, Leonid, for that great review. Many of us here in New York truly miss being able to see Ansanelli perform. It sounds as though all of her Sleeping Beauty performances went very well. I've been watching the ROH website for the casting of the last installment of Swan Lake performances at the very end of the year, because I've got my fingers crossed that she will get one of them. You have to give Ansanelli credit for her courageous leap, but I also credit RB for its unwillingness to exploit her in every Balanchine piece in their rep (which they could easily do), and instead, investing time and effort in her classical future.

#64 Jane Simpson

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Posted 17 December 2006 - 03:03 PM

No Swan Lake for Ansanelli this time, I'm afraid - there is a new Odette/Odile but it's Lauren Cuthbertson.

#65 Legwarmer

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Posted 28 January 2007 - 11:33 AM

Has anybody, by chance, seen Lauren Cuthbertson perform Aurora in Sleeping Beauty? I went to see The Royal Ballet 1st November '06, and Lauren Cuthbertson replaced Jaimie Tapper (Florimund = Federico Bonelli, Lilac Fairy = Alexandra Ansanelli).

I was honestly thrilled about Alexandra Ansanelli, she was a beautiful Lilac Fairy.


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