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Marcelo Gomes

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Thank you! That particular performance of the Onegin dream pdd is one of my favorites.

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I probably missed discussion of this but wasn't there an announcement a few years back that Marcelo had joined the Mikhailovsky while still on the roster at ABT ala David Hallberg's relationship with the Bolshoi? Maybe I'm mistaken and it was simply a guest relationship. In any case, I'm thrilled that Marcelo still makes ABT his priority.

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I probably missed discussion of this but wasn't there an announcement a few years back that Marcelo had joined the Mikhailovsky while still on the roster at ABT ala David Hallberg's relationship with the Bolshoi? Maybe I'm mistaken and it was simply a guest relationship. In any case, I'm thrilled that Marcelo still makes ABT his priority.

He made one guest appearance in Giselle with Polina Semionova at Mikhailovsky, but I never saw him scheduled for anything else.

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Okay, I am looking at this thread several years after it started and finding the comments fascinating. But perhaps the person who should have the last word is Gomes himself. And he has repeatedly spoken about how much he loves partnering and how important he feels it is to become the role he's dancing -- whatever that role may be. Clearly, he doesn't feel he's repressing himself, although he clearly enjoys taking the opportunity to dance with companies like Matthew Bourne's, where he can play more gay-identified roles.

In ballet, as long as you're doing the classical repertoire in a traditional company, you're going to have to do straight roles. And that's known as acting. It would of course be nice if more contemporary ballet choreographers worked with same-sex partnerships, but I think the fact that lifts and so forth are more easily done by men with women probably restricts that.

In any case, I feel Gomes is the finest partner out there, attentive, physically strong, and emotionally available. And a wonderful dancer, too.

BTW, both David Hallberg and James Whiteside are equally out.

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Yes there was an announcement that Mr. Gomes was to dance with Mikhailovsky Theatre a few years back. I do not know what happened, but outside of that one performance, I do not know of others in that Theatre.

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Yes there was an announcement that Mr. Gomes was to dance with Mikhailovsky Theatre a few years back. I do not know what happened, but outside of that one performance, I do not know of others in that Theatre.

In the rough cut of "Anatomy of a Male Dancer," which contributors got to see on-line last summer for about 48 hours, there is brief footage of that performance. But when he got home, he needed serious physical therapy, which they also show. He says that he wasn't used to the steeply raked stage at Mikhailovsky and he seems to have landed wrong on some leaps, which caused the injury. He also mentions that the Russian dancers train on that raked floor, even in their classrooms when young.

The documentary hasn't been released yet and we have not been given a date when it will, so I can't provide a link here. We also won't know if that footage makes the final cut. (I hope some BAers here also saw that rough cut and can confirm my memory on this.)

I think Gomes has danced in Russia since then with The Kings, but I'm not positive. I'm pretty sure I haven't seen any other announcements of him performing in Russia, certainly nothing at Mikhailovsky.

I've sometimes wondered if Hallberg's switching back and forth from flat American stages to Russian raked stages has contributed to his frequent injuries, but I've never seen him mention that in interviews.

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I think Gomes has danced in Russia since then with The Kings, but I'm not positive. I'm pretty sure I haven't seen any other announcements of him performing in Russia, certainly nothing at Mikhailovsky.

He has guested with Mariinsky and Bolshoi, both companies even put his bio on their websites:

http://www.bolshoi.ru/en/persons/people/1154/

http://www.mariinsky.ru/en/company/guest_ballet/gomes/

He danced Onegin with Vishneva at Bolshoi in 2013 and will dance with her again this October: http://www.bolshoi.ru/en/performances/655/roles/#all

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He has guested with Mariinsky and Bolshoi, both companies even put his bio on their websites:

http://www.bolshoi.ru/en/persons/people/1154/

http://www.mariinsky.ru/en/company/guest_ballet/gomes/

He danced Onegin with Vishneva at Bolshoi in 2013 and will dance with her again this October: http://www.bolshoi.ru/en/performances/655/roles/#all

Very interesting - thanks! Is it possible that different Russian theaters have stages raked at different angles and Mikhailovsky is more extreme? In footage of classes at the Vaganova School, you can see the raked floors when you look at the baseboards in the rooms. They seem to learn on those angles from an early age.

It's also possible that Gomes learned from the Mikhailovsky experience and has been able to adapt to those stages more carefully now.

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In an interview a long time ago, Wendy Whelan said that she had sustained an injury during NYCB's tour to Russia because of the raked stage.

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Perhaps an injury may occur to a dancer who is unaccustomed to dancing on a rake. Having experienced taking class on the floors at Vaganova Academy for well over two years (as a teacher, studying to be a teacher), there is a difference indeed. Many non-Russian trained dancers have survived this adjustment without injury for centuries. It may be a personal issue. The rake in Rep Zal, the studio most often seen in photos and on video, is the same as Mariinsky. A few of the other studios are the same, while some are a bit less. Rep Zal has the biggest rake/inclination.

It would be interesting to hear Mr. Halberg address this issue, although the Russian dancers I know who dance on our flat stages, have almost no problem with the adjustment.

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Not sure if anyone else on BA saw these but just read both and nice to see that Mr. Gomes, one of my favorite principals, has a good future in choreography, and have to agree with both about his inclusiveness of the company colleagues:

<http://www.nytimes.com/2015/10/30/arts/dance/review-with-aftereffect-marcelo-gomes-debuts-as-a-choreographer.html?_r=0>

<http://dancetabs.com/2015/10/american-ballet-theatre-aftereffect-company-b-the-green-table-new-york/>

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^ Exact what I would expect, a pearl-clutch disguised as a review.

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It looks as if Gomes and his partner, Nick Palmquist, have gotten engaged. Or, perhaps married, since in Palmquist's Instagram below, they're already wearing ring bands.

Congrats to both of them!

 

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Marcelo's post definitely looks like a proposal, but Nick's posts does indeed seem to imply that they're already married (those wedding bands). The two posts are only a day apart. Then again, Marcelo's picture may have been taken a while ago.

Regardless of their current marital status (engaged? married?), congrats to the couple. They sure look happy, not to mention they look great together.

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Posted (edited)

They may be wedding rings, or they may just be rings signifying commitment. Lots of couples have lots of different ways of adapting the traditions.

Edited by nanushka

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Missing Marcelo? Thanks to YouTube, we can see most of Act II of Giselle yesterday at the Mariinsky:

 

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And the end of Act II. One detail: I found it interesting that he does the brises on the diagonal instead of those entrechats. Easier at his age??

 

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And the bows. Marcelo did something he always did at ABT: he turned his back to the audience and gestured to the corps -- three times! What a guy!

 

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Wow. Thank you for posting those. Gomes' jump is definitely diminished (due to getting older or just not dancing very much any more), but his nobility, graciousness, dramatic intensity and partnering skills remain as glorious as ever. I've always thought he collapsed to the floor really well in Act II. Seriously. That's not easy to do without either looking overwrought or too careful so you don't hurt yourself. And, what a ginormous bouquet, and bigger than Osmolkina's! (Maybe the card says: "I'm sorry. Please come back. Kevin.") 

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Posted (edited)
18 minutes ago, ABT Fan said:

Wow. Thank you for posting those. Gomes' jump is definitely diminished (due to getting older or just not dancing very much any more), but his nobility, graciousness, dramatic intensity and partnering skills remain as glorious as ever. I've always thought he collapsed to the floor really well in Act II. Seriously. That's not easy to do without either looking overwrought or too careful so you don't hurt yourself. And, what a ginormous bouquet, and bigger than Osmolkina's! (Maybe the card says: "I'm sorry. Please come back. Kevin.") 

First, about Marcelo's dancing.  I have always loved Marcelo's dancing, and I went to nearly every ABT show he performed.  However, I think this video is indicative that his technique is in decline, even compared to what it was last season at ABT.  I agree with you completely.  Those brises were far from textbook. Nevertheless, if he ever comes back to the NYC area  to dance in anything, I will attend.  As noted, his gifts at this stage of his career are his dramatic insights, charisma, partnering, and nobility. 

Second, I know the folks who gave him that bouquet.  Some balletomane friends have been in Russia for about two weeks on a ballet extravaganza vacation. Attached to the flowers was a note from some of his NY fans expressing gratitude and best wishes.  I loved the expression on Marcelo's face when that  giant bouquet was presented to him.  I'm sure when it came out he assumed it was for Osmolkina.

If anyone at the Mariinsky is reading this, please include Marcelo as a guest artist for your next visit to the Kennedy Center.  The east coast fans on Marcelo will turn out in big numbers.

 

Edited by abatt

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That's nice to know the bouquet was from a bunch of his fans. How wonderful!

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RE: the partnering. I can't imagine these two have danced much together - if ever. I like to pay special attention to some of the really tricky partnering -- the floating thing across the back of the stage, the move backing away from Myrtha on the diagonal, e.g. -- things that are so often bungled or awkward. These were smooth as silk as only an attentive partner could manage. And that was really lovely to see.

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