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Semionova Signs on Full Time with ABT

26 posts in this topic

Wow! I'm not surprised, but I guess I didn't expect it to be announced so soon! I have to admit I'm kinda thrilled!

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I have to admit I'm kinda thrilled!

Me too! I loved her in Swan Lake last year.

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I haven't seen much of Polina's dancing, but it seems that most people enjoy watching her, and I've heard so much about her. I'm thrilled that I will eventually get a chance to watch her dance.

As a sidenote...what does Semionova's addition to the ABT roster full-time mean in the grad scheme of things (the talented female soloists having to wait their turn and the lack of male talent in the higher ranks - and Polina is tall too...although this does mean that Kevin has his bases covered with the female principals should there be any retirements in the next few years)

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Semionova is a lovely dancer and, at this point in her career, may not be as prone to 'injuries' as are other principal ladies on the roster......hmmmmm.

Still, I'm sorry that this might impact on 'home grown' promotions.

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Official release:

POLINA SEMIONOVA TO JOIN

AMERICAN BALLET THEATRE AS PRINCIPAL DANCER

Polina Semionova will join American Ballet Theatre as a Principal Dancer in September 2012, it was announced today by Artistic Director Kevin McKenzie. She will perform with ABT during the Company’s New York seasons, as well as its national and international tours. Semionova first appeared as a Guest Artist with American Ballet Theatre in 2011.

Born in Moscow, Semionova studied at the Bolshoi Ballet School before joining the Berlin State Ballet as the company’s youngest principal dancer in 2002. Her repertoire with Berlin State Ballet includes Odette-Odile in Swan Lake, Nikiya in

La Bayadère, Marie in The Nutcracker, Princess Aurora in The Sleeping Beauty, Swanilda in Coppélia, Kitri in Don Quixote, the title roles in Giselle and Manon, Tatiana in John Cranko’s Onegin, Sieglinde and Brünhilde in Maurice Bejart’s Ring um den Ring, Juliet in John Cranko’s Romeo and Juliet and the title roles in Roland Petit’s Carmen and Sir Frederick Ashton’s Sylvia. She has performed principal roles in Jerome Robbins’ Afternoon of a Faun, George Balanchine’s Ballet Imperial, Apollo (Terpsichore),

A Midsummer Night’s Dream, Tchaikovsky Pas de Deux and Diamonds pas de deux, William Forsythe’s The Vertiginous Thrill of Exactitude and Jiří Kylián’s Return to the Strange Land. Semionova created the title role in Vladimir Malakhov’s Cinderella and Creativity in Bigonzetti’s Caravaggio.

Semionova has appeared as a guest artist with English National Ballet, Tokyo Ballet, Teatro alla Scala, Vienna State Opera Ballet, Zurich Ballet, the Mariinsky Ballet, Mikhailovsky Ballet, Bolshoi Ballet, Munich Ballet and Dresden Ballet.

Semionova’s awards include a gold medal at the Moscow International Ballet Competition (2001), First Prize at the Vaganova-Prix Ballet Competition in St. Petersburg, the Junior Prize at the Nagoya International Ballet Competition (2002), Daphne Prize (2004), German Critics Choice Award (2005) and the Dance Open Award (2010).

Semionova’s repertoire with the ABT includes Nikiya in La Bayadère, Kitri in

Don Quixote, Myrta in Giselle and Odette/Odile in Swan Lake.

American Ballet Theatre’s Spring 2012 season at the Metropolitan Opera House continues through Saturday, July 7. For additional information, please visit ABT’s website at www.abt.org.

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It is interesting that the press release specifically notes that Semionova will appear on all the company's tours, and not merely at the New York Met season. A lot of people have complained that ABT brings the B-casts on their tours.

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Was Polina a soloist or principal in Germany? I read conflicting things.

(I read in an article yesterday that N. Osipova is at the Bolshoi.)

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Was Polina a soloist or principal in Germany? I read conflicting things.

She was a first soloist, equivalent to principal, the highest rank in the company.

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Actually, she started as a principal dancer, Malakhov hired her from the Bolshoi school and made her principcal directly.

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Was Polina a soloist or principal in Germany? I read conflicting things.

(I read in an article yesterday that N. Osipova is at the Bolshoi.)

Polina was signed-on as Principal sraght out of school. Malakhov was on the jury of the 2002/03 Vaganova Prix competition in StP in which Polina won a top prize.

So Osipova is back at the Bolshoi? Temporary guest or ????

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(I read in an article yesterday that N. Osipova is at the Bolshoi.)

Perhaps this is the article in question?

http://www.ottawacitizen.com/touch/entertainment/story.html?id=6659989

It says (next to last paragraph):

Unfortunately, none of the Bolshoi’s big stars — Svetlana Zakharova, a chilly blond with hyper-flexible, extreme leg extensions; bubbly, dark-haired powerhouse Natalia Osipova; or the airborne Ivan Vailiev will be performing in Ottawa.

This is simply a clueless reporter.

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I thought Natasha was being cheeky, not that I had passed along a false rumor. Sarcasm and other emotions do not translate very well on the internet!

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Congrats to Semionova, and I actually really like her, but this promotion makes me feel bad for the Soloists who are already there. If McKenzie felt like his female Soloists weren't ready to be Principals, he could have just continued to prep them, instead of outsourcing the position to someone else. It's not like ABT is in dire need of female Principals right now like they need for male Principals.

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(I read in an article yesterday that N. Osipova is at the Bolshoi.)

Perhaps this is the article in question?

http://www.ottawacit...html?id=6659989

It says (next to last paragraph):

Unfortunately, none of the Bolshoi’s big stars — Svetlana Zakharova, a chilly blond with hyper-flexible, extreme leg extensions; bubbly, dark-haired powerhouse Natalia Osipova; or the airborne Ivan Vailiev will be performing in Ottawa.

This is simply a clueless reporter.

Yes ...starting with Zakharova's hair description. Since when is she a blond...? huh.png

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Congrats to Semionova, and I actually really like her, but this promotion makes me feel bad for the Soloists who are already there..

Why, oh why, don't they promote Stella Abrera? She is one of the most exquisite dancers of this generation and after her performances in SB in New Zealand, has shown her ability to carry major principal roles. I think that at this stage she is more polished than Semionova, who still needs some serious coaching to bring her fluidity up several notches.

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Do ABT female soloists / principals ever get poached by other companies?

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Yes ...starting with Zakharova's hair description. Since when is she a blond...? huh.png

I don't think she is blond now but she has been blond (or blondish) for a while. At that time for sure Osipova was at Bolshoi, so everything matches, just in another era. biggrin.png

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Do ABT female soloists / principals ever get poached by other companies?

Erica Cornejo was a soloist with ABT before she joined Boston Ballet in 2006.

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Do ABT female soloists / principals ever get poached by other companies?

Erica Cornejo was a soloist with ABT before she joined Boston Ballet in 2006.

Beginning at the end of the summer, Maria Riccetto will be gone from ABT for a year to dance with Julio Bocca's company in Argentina (she guested as Medora with them recently as well).

Sarah and Stella have also performed a variety of roles at other companies recently as guests (Stella as Aurora and Sarah Lane as O/O and Giselle), and Sarah has mentioned that Angel has spoken with her about joining Barcelona Ballet part time if they can work out scheduling, etc. Angel also "poached" quite a few ABT dancers as part of his permanent roster when he originally started his ballet company.

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Based on the financial difficulties at Barcelona Ballet (linked elesewhere),Barcelona Ballet might not have much in the way of funding to hire Sarah Lane, or anyone else, as a guest artist.

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Congrats to Semionova, and I actually really like her, but this promotion makes me feel bad for the Soloists who are already there..

Why, oh why, don't they promote Stella Abrera? She is one of the most exquisite dancers of this generation and after her performances in SB in New Zealand, has shown her ability to carry major principal roles. I think that at this stage she is more polished than Semionova, who still needs some serious coaching to bring her fluidity up several notches.

I would have no hard feelings for any of the Soloists and Corp dancers for leaving and dancing elsewhere. McKenzie relies on hiring foreign stars way too much instead of developing what he has. Too often McKenzie lets dancers, who could be brilliant, languish away in Corps, or never promotes dancers who should have been promoted ages ago (Abrera). The only 2 positive things I can say he has done was establishing an associate school for ABT (We will happily see the fruits of this in the future reflected in the Corp being uniform) and hiring Ratmansky. Other than that, his decisions as an AD, I feel, holds back ABT from becoming great like companies such as the Mariinskiy, Bolshoi, or POB.

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Congrats to Semionova, and I actually really like her, but this promotion makes me feel bad for the Soloists who are already there..

Why, oh why, don't they promote Stella Abrera? She is one of the most exquisite dancers of this generation and after her performances in SB in New Zealand, has shown her ability to carry major principal roles. I think that at this stage she is more polished than Semionova, who still needs some serious coaching to bring her fluidity up several notches.

I would have no hard feelings for any of the Soloists and Corp dancers for leaving and dancing elsewhere. McKenzie relies on hiring foreign stars way too much instead of developing what he has. Too often McKenzie lets dancers, who could be brilliant, languish away in Corps, or never promotes dancers who should have been promoted ages ago (Abrera). The only 2 positive things I can say he has done was establishing an associate school for ABT (We will happily see the fruits of this in the future reflected in the Corp being uniform) and hiring Ratmansky. Other than that, his decisions as an AD, I feel, holds back ABT from becoming great like companies such as the Mariinskiy, Bolshoi, or POB.

Well said. I totally agree. The only thing I would add is that he promotes certain dancers who are not ready for promotion at the expense of those he doesn't promote.

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Many on this board have thanked McKenzie for bringing to NY performers they have wanted to see perform, and for the wonderful performances. This does not mean he should not promote or develop, but apparently a lot of people seem happy to have the opportunity to see certain stars. I am grateful for this in certain aspects, even though I appreciate many in the company.

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I am so thriiiiiled that she is coming full time, and according to the response to her performances, nyc audiences are too !

Her Nikiya was spectacular. It is really a luxury to have the chance to see her perform in the years to come, and hopefully, grow even more under Kolpakova's guidance

Thansssk abt !!!

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