“Above all I am grateful to my profession,” he said. “And I am lucky that in ballet it is possible to be a patriot in all innocence,” he said, meaning that he is lucky to serve his country through his art. Ratmansky also spoke of his tenure on American soil, which in many ways has been more nurturing and less controversial than his stint as the artistic director of the Bolshoi, where he learned the constraints of managing artists and being an artist at the same time.
Tuesday, November 20
Posted 20 November 2012 - 07:34 AM
Posted 20 November 2012 - 07:39 AM
How would you describe the personality of the Atlanta Ballet? What sets it apart from other companies you've worked with?
The dancers are always ready. What I mean by that is that I can come into the room with my coffee and say, "Okay, I'm thinking about this," and they are ready for the ride, whatever it is. There is a curiosity in the dancers. That comes from the top. It goes back to the type of dancer picked to be in the company. For John [John McFall, Artistic Director of the Atlanta Ballet], it's not just physical talent. It's a spirit he needs to connect to. It's a spirit that's curious. There's an urgency behind their need to be in this profession. And I also have to say they're just very nice people. For lack of a better word, it's a generous group.
Posted 22 November 2012 - 06:26 AM
The story of MacMillan’s inspiration for the second movement, created on Lynn Seymour, is well known, and taken out of context, this lovely pas de deux has become a gala staple. Seymour had a rich, almost voluptuous, way of moving. Sarah Lamb is a more linear dancer, but what really detracted from her performance was the self-conscious air she adopted. Her cavalier was Ryochi Hirano who is in a fair way becoming the partner of choice for the Royal Ballet’s ladies.
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