Ambonnay

Carreno to Retire July 2011

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Carreno recently confirmed that he is indeed retiring from ABT in July 2011:

http://www.yourobserver.com/news/longboat-key/A-and-E/090720107900/A-QA-with-Jose-Manuel-Carreo

"When do you plan to retire from American Ballet Theatre?

Next July.

What happens then?

I’ll be a freelance dancer. I’ll continue to teach and coach different places and of course concentrate on this festival [Carreño Dance Festival, which Carreno is launching]."

I wonder whether Carreno's indication that he would become a freelance dancer after this retirement, tells us anything about whether the timing of his retirement was entirely of his own choosing? :blink:

A related note that Carreno/Kent will perform in Sarasota in December 2011.

"The festival will kick off Dec. 21 to Dec. 22 [2011] at the Sarasota Opera House with performances by Carreño and ABT partner Julie Kent; New York City Ballet’s Tiler Peck and Joaquin de Luz; Houston Ballet’s Joseph Walsh and Lauren Strongin-Ciobanu (a former principal with Sarasota Ballet); and contemporary dancers Drew Jacoby and Ruby Pronk."

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Oh dear - my beloved ABT is going through what I suppose is a generational change. What with Corella, Stiefel, and Max dancing infrequently and now Carreno set to retire, how much can Hallberg and Gomes handle? Cornejo is limited to the shorter ballerinas. Good thing Cory is in the wings but I think it's time to start bringing some of the other young men up through the ranks - Tam, Hammoudi, Hoven, Stappas? (I'm not a particular fan of Matthews, Radetsky or Saveliev) PS - Based on what happened last season with Bolle bowing out prematurely, I'm not sure he can be counted on. But give me a minute to feel sad about what feels like the end of an era. :crying:

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I wonder whether Carreno's indication that he would become a freelance dancer after this retirement, tells us anything about whether the timing of his retirement was entirely of his own choosing? :blink:

He said he was going to freelance and dedicate his time to the festival. That isn't so different from what Bocca did towards the end of his career, although Bocca focused on a company and Carreno will focus on a festival.

As a freelancer he'll be in demand and can do as much as he wants or as little as he wants, based on his own priorities. Good for him!

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What with Corella, Stiefel, and Max dancing infrequently and now Carreno set to retire... :crying:

Ethan Stiefel announced last week that he is stepping down as Dean of the School of Dance at UNCSA at the end of this school year, in part so that he can be free to perform more.

So it appears all are not lost. But Carreno... :wub:

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ABT's release on the matter:

JOSE MANUEL CARREÑO TO RETIRE

AS PRINCIPAL DANCER WITH

AMERICAN BALLET THEATRE

New York Farewell Scheduled for Thursday, June 30, 2011 at Metropolitan Opera

House

Jose Manuel Carreño, a Principal Dancer with American Ballet Theatre since

1995, will retire from the Company in August 2011 following performances on the

Company’s tour to Asia. A New York farewell is scheduled for Thursday evening,

June 30, 2011 at the Metropolitan Opera House. The evening will be highlighted

by a special performance of Swan Lake featuring Carreño in the role of Prince

Siegfried dancing opposite Julie Kent as Odette and Gillian Murphy as Odile.

Jose Manuel Carreño was born in Cuba, where he received his training at the

Provincial School of Ballet and the National Ballet School. He won the Gold Medal at

the New York International Ballet Competition in 1987 and the Grand Prix at the

International Ballet Competition in Jackson, Mississippi in 1990.

Carreño joined English National Ballet in 1990, where his repertoire included

Solor in “The Kingdom of the Shades” from La Bayadère, the Prince in Cinderella, Franz

in Coppélia, Albrecht in Giselle, the Prince in The Nutcracker, Romeo in Romeo and

Juliet, Petruchio in The Taming of the Shrew and leading roles in A Stranger I Came,

Études, Graduation Ball and Prince Igor. In 1993, he joined The Royal Ballet as a

principal dancer where his repertoire included the Bluebird in The Sleeping Beauty,

Basilio in Don Quixote, Oberon and Puck in The Dream and a leading role in Herman

Schmerman.

Carreño joined American Ballet Theatre as a Principal Dancer in June 1995.

His repertoire with the Company includes the title role in Apollo, the leading role in

Ballet Imperial, Solor in La Bayadère, Franz in Coppélia, Conrad, Ali, the Slave, and

Lankendem in Le Corsaire, Basilio in Don Quixote, the third sailor in Fancy Free,

Albrecht in Giselle, Des Grieux in Manon, the Cavalier in The Nutcracker, the pas de

deux Diana and Acteon,Grand Pas Classique, Other Dances, Sinatra Suite and Tchaikovsky Pas de Deux, Sergei

On the Dnieper, the Man From the House Opposite in Pillar of Fire, the Warrior

in Polovtsian Dances, the Son in Prodigal Son, Jean de Brienne in Raymonda, Romeo in

Romeo and Juliet, Prince Désiré in The Sleeping Beauty, Prince Siegfried in Swan Lake,

the second movement in Symphony in C, the first and second variations in Variations for

Four and leading roles in Push Comes to Shove, Theme and Variations, Without Words,

Clear, Études, Overgrown Path, Petite Mort and Rabbit and Rogue. He created a leading

role in Within You Without You: A Tribute to George Harrison.

Carreño has appeared as a guest artist with companies throughout the world.

Following his retirement from American Ballet Theatre, he plans to continue performing

as a guest artist.

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"A New York farewell is scheduled for Thursday evening,

June 30, 2011 at the Metropolitan Opera House. The evening will be highlighted

by a special performance of Swan Lake featuring Carreño in the role of Prince

Siegfried dancing opposite Julie Kent as Odette and Gillian Murphy as Odile."

Exciting to have Odette/Odile split :P

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Bummer.

I had hoped that the management at ABT would revive The Moor's Pavane one day because I thought Carreno would be perfect for the part of The Moor (Othello). Now it looks like that will never happen.

Like I said -- bummer.

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Sad to see Jose leave ABT, but isn't there something to be said for dancers retiring before they start to noticeably decline (and then retire en masse a la NYCB)?

I saw Jose dance Swan Lake with Gillian this season and they were phenomenal. Their partnership has certainly evolved and improved since the 2002 (?) recording; it's remarkable. Although his jumps might not be what they used to be, his partnering was perfect, his acting sublime, and his pirouettes completely controlled and delectable. In my mind he's the best spinner in town. NYC will miss Jose big time.

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Sad to see Jose leave ABT, but isn't there something to be said for dancers retiring before they start to noticeably decline (and then retire en masse a la NYCB)?

I saw Jose dance Swan Lake with Gillian this season and they were phenomenal. Their partnership has certainly evolved and improved since the 2002 (?) recording; it's remarkable. Although his jumps might not be what they used to be, his partnering was perfect, his acting sublime, and his pirouettes completely controlled and delectable. In my mind he's the best spinner in town. NYC will miss Jose big time.

Uh, what recording? If you mean the ABT Swan Lake on PBS, Jose wasn't in that, though Gillian of course was. I've never had a problem with Jose's dancing or his partnering so not sure what has 'improved'. Gillian has definately improved since that PBS recordiing, and I've enjoyed watching her grow as an artist (her technique of course is usually not a problem.)

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I've never had a problem with his dancing or partnering either. I just thought their partnership seemed even better than when I saw them together last, which as you point out could not have been on the PBS video. (I've seen them together in Don Q fairly recently and I believe Swan Lake as well, although i can't say what year without going through my programs) The delicacy and ease in the lifts seemed remarkable; it was perfectly fluid. I think that partnerships almost always improve over time, and I was struck by how effortless they made it look. I'm looking forward to seeing Cory Stearns get more comfortable with some of the ballerinas and work towards achieving this fluidity and ease. It's part of the glorious illusion of ballet.

Anyway, 4mrdcr, I was trying to complement their dancing, not disparage them in any way. Seems like I struck a nerve, which was not my intent at all. Susan Jaffe and Jose are my all time favorite ACT II SL.

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