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David Hallberg

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A new article appeared on David Hallberg in Russian Vogue, titled "New Muscovite" :

http://www.vogue.ru/magazine/articles/Novyy_moskvich/

It's a relatively interesting interview, discussing how Hallberg was scared of the way he would be treated at the Bolshoi following the attack on Filin, but that he's found it welcoming again. He talks about how much more hierarchical things are at the Bolshoi than in the US. Also discusses his interest in fashion and friendship with model Daria Strokous. Plus, some great pictures of him.

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The images are very, very strange (though possibly the norm in high fashion magazines nowadays?). I'd love to hear what others think about the photos ... and, from those who read Russian, the interview itself.

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The pictures are a little different from a fashion photography perspective in that the models can't usually move like that, so images like this would normally be impossible to get. I have to say I love the second image (and those must be some seriously stretchy pants!), but I dislike the rather banal orientalism of the third picture.

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I find it a refreshing idea: to use a dancer as model. I do tire of all the reed thin models in the same standard poses.

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I find it a refreshing idea: to use a dancer as model. I do tire of all the reed thin models in the same standard poses.

Yeah, they should start using ballerinas. Because THEY're not reed thin....

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The pictures are a little different from a fashion photography perspective in that the models can't usually move like that, so images like this would normally be impossible to get. I have to say I love the second image (and those must be some seriously stretchy pants!), but I dislike the rather banal orientalism of the third picture.

Love the belted jackets!!! Almost like "le smoking"! Fabulous! Hooray David!

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I find it a refreshing idea: to use a dancer as model. I do tire of all the reed thin models in the same standard poses.

Yeah, they should start using ballerinas. Because THEY're not reed thin....

They have lots of muscle tone. And it depends on the body type: a Sara Mearns or Carrie Imler does not look like a stick. Neither for that matter do Aurélie Dupont, Marie-Agnès Gillot or Agnes Letestu.

I'm guessing you're thinking of the Russian predilection for super-thin body types (Zakharova, Lopatkina, perhaps), but they do have muscle, and apparently, stamina. Still, I prefer more meat on the bones.

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another tweet from Ariane Bavelier, Le Figaro dance critic:

David Hallberg croisé chez le physical therapiste du City Center annonce son retour cet été ni à ny ni à Moscou mais au Tokyo ballet.

David Hallberg, encountered at the City Center physical therapist's, announces he will be back this summer neither in NY or Moscow, but at the Tokyo Ballet.

(Tokyo Ballet's website schedule currently lists nothing after Bayadere in June)

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I have a question. Why do people love to bring up and give credit to Paris Opera for David's training when he only studied there for 1 year? Shouldn't Ballet Arizona School, and most specifically his teacher Kee Juan Han, receive most of the credit?

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His instagram account has posts from Seattle, so he's on the correct coast to depart for Japan ;) He's noted many times how much he loves performing in Japan so this will be a wonderful place for him to test the stage again. Trusting all goes well and we see him again sooner than later in NYC!

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I have a question. Why do people love to bring up and give credit to Paris Opera for David's training when he only studied there for 1 year? Shouldn't Ballet Arizona School, and most specifically his teacher Kee Juan Han, receive most of the credit?

For the same reason that SAB is given credit for training say, Ashley Bouder or Adrian Danchig-Waring, both of whom were students there for about a year before entering NYCB as apprentices? And Bouder and Danchig-Waring aren't particularly unusual in this regard: they were just the first two "one and done" dancers I found moving through the dancer bios on NYCB's website. It seems that many (if not most?) NYCB dancers attended SAB for only a year or two.

That being said, 1) yes, a dancer's important early teachers should be given credit! (and which credit the NYCB website very graciously accords them); POB does look mighty prestigious on the bio nonetheless wink1.gif ; and 3) I'd be interested to know the extent to which Hallberg's dancing really was formed by his time at POB. Any thoughts?

I have to admit that I'm completely enraptured by POB's exquisitely pliant and expressive feet ... it's about all I can look at when I watch them dance and I barely notice anything else.

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Svetlana Zakharova was only at the Vaganova for one year -- she received most of her training in Kiev. Viktoria Tereshkina was also a transplant -- she went to the Vaganova at age 16. she received most of her training in Siberia.

But this isn't so unusual with many prestigious ballet academies -- students are often expected to be finished products well before graduation and they need a bit of resume polishing or connections.

The thing about David Hallberg and POB is that he's said many times that he found the training overly harsh and unhelpful. That seems to have been a common complaint about Claude Bessy's reign.

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I understand also that the stages are very hard in Japan, so probably not the best thing to make one's comeback from an injury.

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I hope and pray he will be able to overcome this injury! He is such a gifted dancer, and it would be a tragic twist of fate to have such an amazing career cut very short by injury. It wouldn't be the first time, but no less tragic all the same. He was so kind to my son when they met in New York (my son is 8, and David had seen a video of him dancing at age 3, so my son was blown away that 'The David Halburg knows who I am!" He said it so loudly we all fell out laughing). Sending well wishes his way and hoping he is back on the stage very soon!

As an aside, I would love to see Polunin dance in person. He is another one of my sons 'idols'. Granted he has know idea the history there. Will anyone be attending?

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I have a question. Why do people love to bring up and give credit to Paris Opera for David's training when he only studied there for 1 year? Shouldn't Ballet Arizona School, and most specifically his teacher Kee Juan Han, receive most of the credit?

I agree. My understanding is that David only studied 1 summer at the POB.

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According to the bio on his website, Hallberg attended the Paris Opera Ballet School from 1999-2000, at least a semester:

http://davidhallberg.com/bio/

Being accepted into the Paris Opera Ballet School is seen as a sign that Hallberg was recognized as being good enough for one of the three schools that trains most of its students from an early age -- unlike SAB -- and which feeds the company for the vast majority of its dancers, and not as part of an international track like the Bolshoi has.

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I thought Osipova was still on the injured list.

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