Irina Dvorovenko Retiring from ABT
Posted 22 January 2013 - 11:31 AM
Her May 18th Tatiana is her final performance with the company.
Posted 23 January 2013 - 09:08 AM
IRINA DVOROVENKO TO GIVE FINAL PERFORMANCE WITH
AMERICAN BALLET THEATRE
Farewell Performance Scheduled for Saturday evening, May 18
at Metropolitan Opera House
Irina Dvorovenko, a Principal Dancer with American Ballet Theatre since 2000, will give her final performance with the Company on May 18, 2013 at the Metropolitan Opera House in the role of Tatiana in Onegin. Dvorovenko will dance opposite Cory Stearns in the role of Eugene Onegin.
Born in Kiev, Ukraine, Irina Dvorovenko began her ballet training at the age of 10 at the Kiev Ballet School. She joined the National Opera and Ballet Theatre of Kiev in 1990 as a soloist, rising to the rank of principal dancer in 1992. Her repertoire with that company included Gamzatti in La Bayadère, the title roles in Cinderella and Paquita, Kitri, the Queen of the Driads, and Mercedes in Don Quixote, Giselle and Myrta in Giselle, the Sugar Plum Fairy in The Nutcracker, Princess Aurora and Princess Florine in The Sleeping Beauty, Odette-Odile in Swan Lake and the Tchaikovsky Pas de deux. She also danced
the pas de deux Le Corsaire and Diana and Acteon.
Dvorovenko's awards include a Gold Medal and the “Anna Pavlova” Prize at the International Ballet Competition in Moscow (1992), the Grand Prix at the International Ballet Competition Serge Lifar in the Ukraine (1994), a Diploma and the Grand Prix in the Junior Division of the Ukraine Ballet Competition (1987), a Diploma in the Junior Division of the Moscow Ballet Competition (1988), a Silver Medal at the Jackson International Ballet Competition (1990), and a Bronze Medal at the International Ballet Competition in Osaka, Japan (1991).
Dvorovenko joined American Ballet Theatre in August 1996 and was promoted to Soloist in 1997. She was appointed Principal Dancer in August 2000. Her repertoire with the Company includes Terpsichore and Polyhymnia in Apollo, Mathilda Kchessinska
and the Tsarina in Anastasia, Nikiya and Gamzatti in La Bayadère, the second movement in Bruch Violin Concerto No. 1, the title role in Ben Stevenson’s Cinderella, Swanilda in Coppélia, Medora in Le Corsaire, Kitri and Mercedes in Don Quixote, The Dying Swan, Giselle, Myrta and the peasant pas de deux in Giselle, Grand Pas Classique, the Queen of Hearts in Jeu de Cartes, the pas de deux from Known by Heart, Le Grand Pas de Deux, Marguerite in Lady of the Camellias, Hanna Glawari and Valencienne in The Merry Widow, the Sugar Plum Fairy in Kevin McKenzie’s The Nutcracker, the Operetta Star in Offenbach in the Underworld, Tatiana in Onegin, the Paquita pas de deux, Cerrito and Taglioni in
Pas des Déesses, the Siren in Prodigal Son, Raymonda in Raymonda, Juliet in Romeo and Juliet, Princess Aurora in The Sleeping Beauty, Odette-Odile in Swan Lake, the first and second movements in Symphony in C, the Sylvia Pas de Deux, Katherina in The Taming of the Shrew and the Tchaikovsky Pas de Deux. Dvorovenko has performed leading roles in Allegro Brillante, Birthday Offering, Études, In The Upper Room, Petite Mort,
Les Sylphides, Symphonie Concertante and Without Words and a featured role in Push Comes to Shove. She created a leading role in The Brahms/Haydn Variations.
Following her final performance with American Ballet Theatre, Dvorovenko plans to continue performing as a guest artist with companies around the world.
Subscriptions for American Ballet Theatre’s 2013 Spring season at the Metropolitan Opera House are on sale now by phone at 212-362-6000, or online at ABT's website www.abt.org.
Posted 23 January 2013 - 10:31 AM
It would have been nice if Irina and Max could have done a retirement gala together - why couldn't they have waited to announce Max's retirement a little so they could have made a joint announcement at least? Max has performed even less frequently than his wife, so perhaps he's injured/out of shape/already "retired" and so a joint retirement gala wouldn't have been possible for him. A Swan Lake farewell would have been appropriate.
In any case, I wonder if they'll do any teaching/coaching at ABT? I've seen them on teacher's rosters elsewhere (of course now I can't remember where).
Posted 23 January 2013 - 11:26 AM
Posted 23 January 2013 - 11:47 AM
I think the next female soloist who will be promoted from within ABT will be Boylston, but I doubt that will happen in the near future. She is the only female soloist who repeatedly gets numerous star, principal roles. They are testing her out to see if she has the stamina and ability to handle all these important, difficult roles. While I adore Stella, I think the promotion ship has sailed. I don't think Lane, Kajiya or Copeland are realistic candidates. They get a few leading roles here and there, but not the way Boylston does. I like Messmer very much, but she also has not been tested in numerous, grueling principal roles.
Back to Irina, it's ironic that she is leaving now, since she is still a very strong dancer. I think we all anticipated that some other senior lady principal at ABT might retire this season.
Posted 23 January 2013 - 12:02 PM
Posted 24 January 2013 - 04:53 AM
Time will tell if, perhaps, Irina's retirement might be due to hubby Max possibly taking-on an artistic directorship of a ballet company? In that case, it may make sense that she wants to keep the family together. Denis Matvienko is the AD of the big troupe in Kyiv, so not there.
Posted 08 May 2013 - 12:24 PM
Posted 08 May 2013 - 06:45 PM
Posted 09 May 2013 - 04:18 AM
ABT ,more than anything, needs more coaches. This is their chance to get someone familiar with their repertoire.
Posted 09 May 2013 - 11:52 AM
And double yikes:
"Irina Dvorovenko: And when you know that people are helping you, and that they care about you, you have more strength and security in yourself. In the company [ABT], there are a lot of principals and the big problem that the majority of the dancers [face] is that they feel nobody cares about them. They care about the performance and to push them, go, but artists are very sensitive. Every person needs nourishment. You cannot be pushed constantly, constantly, constantly. At 20 years old, they see a psychiatrist three times a week. It’s not normal. We want to be nourished, cared for; even I sometimes see some person down at the ballet who has a role of soloist. I can talk and explain and [say], “Calm down.” You want to be hugged a little bit and feel that somebody cares about you. Then you feel you are important. Just very sensitive moments. The problem is that they throw you somewhere and then ask you to survive, but without help it’s really difficult."
Great interview - thanks for posting! Irina is indeed quite funny throughout her interview. But her candor regarding ABT is not. I'm frankly quite surprised she said the things she did for a publication, and in her specific mentions of a few dancers. Every company has its problems and critics, but the lack of coaching, support and dancer development at ABT is pretty well known by now and as we see here, dancers aren't being quiet anymore. About a year ago, Sascha Radetsky wrote in DanceMagazine about his wife, Stella Abrera:
"She stretched her sciatic nerve a few years ago and had to relinquish her dream role—a well-deserved opportunity that, inexplicably, has not again materialized." See full article here: http://www.dancemaga...2/Breaking-Free. I believe he was referring to Stella as Giselle.
TimeOut is a pretty well known magazine, so this is not good publicity for ABT. (I don't mean for the general public, who might not be as concerned with her comments, but the dance world.)
I believe ABT has also suffered with Susan Jaffe leaving as ballet mistress due to her new role in North Carolina. I think she still teaches classes there occassionally, but she was coaching the soloist women quite a bit (Sarah Lane, Isabella Boylston). No doubt a great loss to them.
Posted 09 May 2013 - 01:34 PM
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