leibling

I saw the first two acts on Friday night (sadly, I had to miss acts 3 and 4 as my little ones were falling asleep), and then the whole production on Sunday afternoon. From the moment Cory Stearns walked onstage in act 1, it was clear that he is an extremely elegant dancer. He seemed to work well with the Richmond Ballet dancers, but his fine-grained movement immediately set him apart. His solo at the end of act 1 was so beautifully executed- soft plies, invisible preparations, seamless musicality. My favorite moment came after that solo, when he kneeled downstage right with his head in his hands- he seemed at a complete loss. My next favorite moment came as he spotted a flock of swans in the distance- he is standing with a group of men sharing a drink, and as he brought the cup to his lips, his eyes suddenly fell upon something in the distance. It was fascinating to watch this subtle yet profound change expression. Sarah Lane certainly measured up to all of the hype surrounding her. She was a beautiful Odette, and I can imagine how her Odile would have been wonderful. Interestingly, I don't see her as a "natural" Odette- but that speaks of her ability to transform herself. She shared the same seamless quality as her partner, and their pas de deux was beautifully and deeply moving. I of course expected the guest artists to be impressive, so it was wonderful to see the depth of talent in Richmond Ballet shine as well. Tony Oates performed the pas de trois with a similar elegance, musicality and soft plie as Stearns displayed. Oates' presence is warm and coupled with strong, secure, technique and beautiful line- earlier this season he performed the lead in Balanchine's Theme and Variations with complete control while also conveying a certain amount of thrill in the choreography. He is a developing talent to be watched! In act 3, Eri Nishihara flew across the stage with pointe work that was so light and effortless, but never once lost the elegance of her upper body. She is another extremely musical dancer in this company, responding innately to the music as she hears it. The entire corps de ballet moved as one, with every angle of the arms and legs matched exactly whether in movement or stationary. The swans framing the stage never moved or flinched and yet seemed to radiate beauty and life. Sunday afternoon brought all of these beautiful moments again- at the end of a long weekend- as well as the truly stunning performance by Cody Beaton and Fernando Sabino in the leads. Beaton and Sabino are longtime Richmond Ballet dancers, and frequently paired together. Two years ago I was pleasantly surprised by Beaton's beautiful, girlish and charming Aurora in Sleeping Beauty, but I think her accomplishments as Odette and Odile surpassed her work then. She is unbelievably strong- and my only quibble would be that sometimes I can see that strength a little too much in Odile of all roles- but as Odette, that strength expressed itself in deep back bends, quivering pointe work and flying, sustained balances. Her arms were fluid, and I loved the shapes she created with them as they enfolded her body or curved around her head as wings. She conveyed every trill in the music as part of her character, and every step seemed to be part of a longer, larger phrase, fluidly transitioning from one to the next. The emotion she brought to her character read clearly through the entire theater- we were in the middle of the balcony. As Odile, Beaton was perhaps slightly too hard-edged during the pas de deux...Odile, in my opinion, should have some softness and allure as opposed to glitteringly tight control, but that is my own personal taste. None the less, she delivered the requisite 32 fouettés on the music and on center. Sabino is not technically as solid as Ms. Beaton, but held his own in his variations and his presence is warm and appealing and he tells the story. The pair shares similar dance values, and together they create a beautiful chemistry. The ending of the ballet- the first time I have seen the "happy" version- had me in tears, still, as Sabino's Siegfried rises from the ground lost and dejected before turning around to discover Odette in her true form emerging from the mist. The music- so exquisitely played by the Richmond Symphony- helps at this moment, too. There is something about this company that enables them to deliver beautifully detailed productions of the classics. I still have not forgotten Sleeping Beauty from two years ago- I think it was my favorite of any production I have seen, and I have to say the same about Swan Lake. You might go to other companies and find more technically assured dancers (though Beaton is most definitely emerging as a first-class ballerina), but you don't find the attention to detail, nor the love and pride at pulling off such a production. Every dancer seems to understand their place in the story and also realize how important they are to the production as a whole. Everyone contributes to the telling of the story- from the ladies-in-waiting all the way through the ranks, and they work so well together. Considering the crowd at the theater during the two shows I attended, it looks as if Richmond also appreciates this jewel of a ballet company.

I believe that incoming soloist Jovani Furlan danced the Taylor solo when Miami City Ballet presented Episodes a few years ago.

I had the pleasure to attend Richmond Ballet’s production of The Sleeping Beauty over the weekend. It is a production of which the dancers and artistic staff should be proud; rich in details, wonderfully rehearsed and very well danced. The audience, many of whom are long-time loyal fans gave an enthusiastic ovation at the end of the performance, which was the last of a four show run at the Carpenter Theater in downtown Richmond. Richmond Ballet, in many ways, reflects the community it calls home. Much as Richmond is a mid-sized, mid-Atlantic city which projects a modest, refined elegance without being flashy or gaudy, the dancers of Richmond Ballet come across as earnest hard-working dancers that give their all to their work. The dancers are not the most technically strong, nor the most refined, but they are elegant and deeply understanding of the material they have been given. They are able to tell a story, which in this case, proves so much more worthwhile than an arsenal of meaningless pyrotechnics. First and foremost, the corps de ballet deserves special recognition. Every arm, every breath, every angle of the gaze had been put into place, and the unison was almost uncanny. I especially appreciated the attention to the port de bras- soft, feminine, breathy. Aurora’s friends expressed their youthful elegance and femininity through that port de bras, and the Lilac Fairy attendants expressed their ethereal magic through theirs. The musicality was reflected all the way through their fingertips. I would also enjoy a more angled epaulement through the neck and head, but this minor quibble did not distract from the overall pleasure I enjoyed from their clear, clean and musical dancing. That beautiful port de bras and musicality was also evident throughout the soloist level. The Fairies conveyed the clean, clear classical shapes required by the choreography as well as a deep understanding of their given qualities. Sabrina Holland sticks in my memory as the Fairy of the Woodland Glade, her variation rich in beautiful line and soft movement. Eri Nishihara was on double duty as Fairy of the Enchanted Garden during the prologue, and later, Princess Florine in Act 3. The Enchanted Garden choreography was less aggressive than I have seen in other versions, but Nishihara has a very strong presence and technique, so the variation carried the same big energy and movement even though I missed the opening sequence of jetes through a la seconde. The Fairies’ Cavaliers were fine, attentive partners, providing all the support needed to maintain the illusion of fairies floating into the room. The role of Carabosse was portrayed by Elena Bello, an intriguing artist who is most definitely on the rise. Earlier this season she gave a convincing portrayal of Billie Holiday in John Butler’s Portrait of Bille, one that I can only imagine was made all-the-more difficult by the close proximity of the audience. As Carabosse, her portrayal did not consistently reach as far into the theater as was necessary, but there were still many wonderful elements. Her evil “laugh” seemed to physically originate from somewhere deep in Carabosse’s wronged, resentful soul, and her mime was delivered with believable emphasis. In truth, I believe her character may have made more of an impact if the fine, black tutu had been accompanied by black tights and shoes rather than pink; it was jarring to see Bello’s lines cut at the hip. Additionally, her choreography was the most contemporary of the production, and at times some of those contemporary elements did not fit with the rest of the production. Even so, as a character, Carabosse was fully differentiated from the other characters, and perhaps that was the point. Richmond Ballet fielded a stunning Lilac Fairy. Lauren Archer was simply beautiful-beautiful line, beautiful movement, beautiful dancer. She exuded wisdom and serenity-stillness within a storm. She was tall and imposing- necessary qualities in a Lilac, but delicate and ethereal, too. I loved her musical determination during the end of her variation- a difficult releve fouette, plié arabesque hop combination ending with an endedans pirouette. Somehow, her determination to stay on the music came across as strength and stability, adding to the many qualities the Lilac Fairy brings. In her confrontation with Carabosse, her simple gestures stopped time and banished Carabosse from the kingdom. As the Prince Florimund, Marty Davis proved he was up to the task. The Prince in Sleeping Beauty is a difficult role, in my opinion, as he has less time onstage to develop his character. Davis was a strong, attentive partner, and equally convincing in his enchantment with Aurora, as revealed in the Vision Scene. Davis also brought a wonderful enthusiasm, and his love for the role and the ballet was evident throughout his moments onstage. Which brings us to Princess Aurora. Initially, I did not think of Cody Beaton as a “natural” Princess Aurora. She is wonderfully comfortable in contemporary works, but I find her classical technique a bit tight through the shoulders. Her first entrance, however, revealed an Aurora who was as strong and vibrant as any sixteen-year-old girl could be, and I could see where Beaton had worked to change her shape and try to fit a classical mold. Her technical strength and precision came to serve her extremely well during the Rose Adagio- not a wobble, bobble or hint of a mishap to be seen, and this was her third performance in three days. I might have wished for a slightly more delicate demeanor, but this is a minor quibble considering how well-danced the Rose Adagio and following variation were. Where Beaton completely won me over, however, was in the finale of Act 1 and the moment she pricks her finger. Suddenly, this strong, vibrant dancer became vulnerable, and the effect was marvelous. She was completely believable in her shock and bewilderment, and also used the music to express her growing hysteria during the bouree and chaine circle. The entire stage was caught up in the action, too, as Carabosse revealed herself. This suddenly display of vulnerability, on Beaton’s part, makes me wish to see what she would do with a role such as Giselle. There are several others who deserve special mention for their contribution to the success of this production: Jerri Kumery and Peter Elverson as the regal (and very tall) King and Queen, Susan Massey Isreal as the Nurse (she actually had to “sleep” in one of those uncomfortable stage positions through much of the prologue), and Khalyom Khojaev as Puss n’ Boots. Puss n’ Boots was present throughout, from the beginning until the end, as a member of the court, a choice I don’t remember in other productions. However, he brought moments of lightness and humor as well as some spectacular dancing underneath that mask and costume. And lest I forget, the cast of children in the garland dance were charming- happy and expressive, but also beautifully trained and wonderfully rehearsed. So- altogether, this is a production of which the entire Richmond Ballet family should be very proud. If you were to look at each individual dancer and compare their abilities with the abilities of dancers in other, bigger and more metropolitan companies, you might doubt as to whether this company should attempt to pull off such a classical ballet. However, I cannot think of a production of Sleeping Beauty where the love and care for the artistic product has been more evident, and I cannot think of a production that I have enjoyed more.

Five that made me want to dance.... 1. Nutcracker- the earliest ballet I remember seeing, and this was a local, civic version (Marta Jackson's, to be exact) 2. Giselle with Marianna Tcherkassky as a guest at Richmond Ballet- her bourees were the most amazingly liquid movements I had ever seen. 3. Paquita- the Cynthia Gregory/Fernando Bujones performance from PBS- not only did she balance forever, but she brought such majesty and aplomb to the role! 4. Theme and Variations-Gelsey and Misha, of course! 5. Concerto Barocco- the marriage of music and movement entranced me, and I fell in love with the second movement in particular. and a last one (so I have six)- Apollo- the first time I saw this was on a Dance in America broadcast featuring Baryshnikov and several dancers from ABT. However, it wasn't until years later when I watched this rehearsed by Iliana Lopez and Franklin Gamero (MCB) at Wolf Trap that I saw the magic of Apollo.

Craig Salstein- he has been there for a long time. Has danced extensively, and has become a very respectable teacher. Not to mention his intelligence and friendly nature...

Thanks, Jack. Unfortunately I have long since discarded my program, and I didn't think to look to see who was credited with the coaching. I suspect the entire artistic staff had their hands in this, and I would hate to leave anyone out!

It is not often that I have a chance to see two casts of a ballet back to back, but the weekend of Sleeping Beauty performances at Carolina Ballet provided just such an opportunity. As an added bonus the performance featured live orchestra, and despite a few missed notes, the energy coming out of the pit carried over onto the stage and into the audience. Al Sturgis kept the music moving, and while some of the passages seemed on the slow side nothing detracted from the high quality of the dancing on stage. One of the most notable things in this production, at least to me, was the stylistic consistency. It was clear that the soloists and principals had been coached, as nuances were consistent throughout both casts. If the corps seemed to lack "weight" in their character-inspired entrances (polonaise, mazauka, etc.) at least the shape of the dancing was more or less the same. The other quibbles I had are really very minor- I found the sets rather one-dimensional and the colors a bit too bright- bordering on cartoonish. The choreography did not always flow from one section to the next....the traditional choreography was kept for the main set pieces, but many of the group dances had been re-created and looked to be from a different era. Not that the choreography was bad- in fact, the whole ballet seemed to have a lot of dancing and movement, which was nice. I just found the difference between the classical and (presumably) neoclassical jarring. And on to the dancing....one thing is that, with the occasional exception, all of the dancers seemed to truly believe the roles they were dancing. They were thoroughly committed to the story and the picture they were trying to create. Mikhail Nikitine- a former Principal dancer appearing as the King, brought weight and gravitas to his passages, and he had a real rapport with the Princess Aurora as well as his Queen. The fairies each clearly showed the steps and music, and Ashley Hathaway, Saturday evening's "Candide," bearing Beauty as her gift, brought true radiance onstage with her, each step clearly shaped and yet melting into the next- I would love to see her in featured roles more often! Elice McKinley looked to be having the time of her life as the hyper-energetic "Canari," never missing a step. As "Violente," both Cecilia Iliesiu and Alyssa Pilger were wonderful. Pilger was quite shocking in her clarity and attack, making the movements clear and big. Iliesiu is a much taller girl- long legs and arms, so to see her move so quickly was wonderful. However she also contrasted that quickness with softness and fluidity, bringing nuance and layers to what can easily be a one-dimensional exercise in attack. Both dancers had confidence in spades, and, an example of the coaching I presume, etched the shapes of the last diagonal with such ferocious clarity that I believe I will never forget the details of that particular passage. As the Lilac Fairy Sunday afternoon, Lara O'Brien was everything one could hope for. Warm, generous, strong, brave, wise....these qualities came through in her dancing as well as her mime. Her solo was technically secure and wonderfully musical. O'Brien pulled double duty during the run, appearing as the evil Fairy, Carabosse, Saturday night. What fun it must have been for her to be on both sides of this battle! Her evil fairy was so dynamic and riveting that she very nearly stole the show. Her Carabosse exuded malicious intent, her long fingers pointing malevolently at those who forgot her. Powerful, manipulative, this fairy uses her evil to make sure she always gets her way. Equally effective and compelling, and yet totally different, Lindsay Purrington in the same role Sunday afternoon, presented a character full of self-loathing. Her evil behavior derived from a lifetime of mistreatment; the dark child who has always been made fun of. Each Carabosse was paired with a Raven- a male escort who shadows and reinforces Carabosse's actions. Eugene Barnes, paired with Purrington, thrives on this type of role. Oliver Beres, paired with O'Brien, danced better than I have ever seen, and equalled O'Brien in every way. The Act 3 wedding guests were limited to Puss-n-Boots and the White Cat, the Bluebird and Princess Florine, and the Fairies. The Fairies presented the variations typically danced by a group of Precious Stones, and I was happy to see them all again. Adam Crawford Chavis, on Saturday night, distinguished himself as the Lilac Fairy's Cavalier. Tall and handsome, Chavis is another dancer who completely comments himself to the role. Musical, and a big mover, he persevered with what sounded like a slow tempo. If his jumps landed heavily it was only because he was determined to remain aloft as long as possible, milking every possible second in the air. Nikolai Smirnov, as Bluebird, jumped and flitted around the stage, dancing all of the steps he was given- every single entrechat six- without a trace of fatigue. Lindsay Turkel, as Princess Florine, was a pleasant surprise- elegant and musical with a bit of spunkiness mixed in. Yet another dancer of which I hope to see more. Saturday evening, Princess Aurora and Prince Desiree were danced by Jan Burkhard and Marcelo Martinez. Martinez, a mesmerizing artist in contemporary roles, seemed a bit reserved and careful-particularly in his solos - as if he were still finding his way through the role. His interactions with other characters didn't always read honestly- coming across more as something he was told to do as opposed to something he wished to express, but I suspect he will grow into this with time. His partnering, however, especially in the Act 2 dream scene, was sublime. Jan Burkhard, as Aurora, another fantastic dancer, also seemed to be finding her way through the role, but what a pleasure to be able to witness her on this journey! A dancer with strong, free and expressive technique, musicality, line and intelligence, she only needs time to grow. I particularly enjoyed her in Act 2- her movement seemed to emanate from a very quiet, still place, and many times it looked as if she might simply shimmer and then vanish in her partner's hands. Throughout the ballet there was a warmth about her that made her glow from inside. Sunday afternoon brought Richard Krusch and Margaret Severin-Hansen as Prince Desiree and Princess Aurora. Krusch is very gifted- flexible, yet strong, beautiful lines through the feet and legs. While I sometimes find him rather inexpressive, I enjoyed him here. He was warm in a subtle way and responsive to his ballerina. His dancing was technically beautiful and secure, too. And what can I say about Margaret Severin-Hansen? A long time Principal dancer, she has gone from strength to strength in roles across the repertoire. I expected great things. What I didn't expect was for Severin-Hansen to surpass anything I could have imagined. Her first act, in particular, was the most wonderful I have seen. The steps flowed out of her as if she was creating them on the spot, and as the act went on, her dancing only became bigger, fuller and richer- the coupe-jetes with which Aurora circles the stage after having pricked her finger grew in size as she became more frantic and frightened. The rose adagio brought tears to my eyes simply from the joy she expressed- pulling as much out of every detail as she could. During the Act 2 Vision solo, she seemed to hover above the stage without touching the floor. By Act 3, the size and scope of her dancing was still increasing- balances lingering longer when possible and speed increasing as needed, and yet still so delicate and feminine. If at times the stage seemed a bit too empty- well, Carolina Ballet is not a big company, and as I mentioned earlier, the corps sometimes seemed to be not as comfortable with or committed to the nuances, but they will learn. The company is such a wonderful group of dancers- they all seem so eager to do whatever they can to get things right. And from what it looks like, they have someone who can help them with that.

I hope the link works.... Robert Lindgren (Bobby to many,and eternally Mr. Lindgren to me) passed away at his home in Winston-Salem, NC today. He was a wonderfully sweet man .... I always loved the way his eyes would light up when he talked about his adventures. The school he built- the Dance Department at the (University of) North Carolina School of the Arts, stands as a testament to his love of dance... http://www.journalnow.com/news/local/article_51ec3a2e-b9bb-11e2-8f59-001a4bcf6878.html

I have thought of Rebello as a MAJOR talent since I first saw him in the school- and the Brown Boy is a perfect role for him. Also, Christian, your description of Dances made me miss it a lot!

Jacksonville Civic Ballet, directed by Marta Jackson. I believe she may still be teaching in Jacksonville, Fl, but I am not sure. She also became my first teacher. I don't remember anything about the performances I saw except that the tutus were the most beautiful things I had ever seen...at four years old.

Hi Jack- I sam the opening night- Thursday October 10. Send me a private message if you make it here to see the last weekend of shows!

Carolina Ballet's "Balanchine Celebration" offers five contrasting works- so between the purity of Apollo and the Broadway inspired "Who Cares?" there is something for everyone to enjoy. For me, the most enjoyable parts of the evening came from the two ballets I least expected to appreciate. "Tarantella" has never really been a favorite of mine- until this performance. Margaret Severin-Hansen probably danced the best Tarantella I have ever seen. From her first entrance where she seemed to jump higher than her partner, Pablo Perez, to the very last exit, her energy never faltered. More than the energy she displayed, though, I believe it was her sheer joy of dancing combined with technical precision as well as a dynamic, warm stage presence that won me over. She shared a true rapport with her partner, so that their moments together onstage seemed to be a conversation. Perez also danced well, but the truth if the matter was that I couldn't take my eyes off of Severin-Hansen. My next surprise favorite was Valse Fantasie, and once again, it was the dancers who drew me in to the choreographic and artistic details. Jan Burkhard and Richard Krusch ate up the space, shared a rapport with each other and had the technique to tackle this deceptively difficult piece. Burkhard was just lovely- lyrical, sweeping, plush, musical with a wonderfully airborne jump. Krusch appealed to me more than he has in the past- he proved himself to be more than just another man with beautiful legs. The four women were also wonderful- the energy with which they flew across the floor sparkled. As for the other works on the program.... Apollo looked to be a different ballet from the one I have enjoyed so much in the past. The dancers danced well enough, but I felt that an understanding of the story-telling details was missing. The shapes that distinguish the personalities of the different muses seemed blurred- Calliope could just as easily have been Terpsichore. It seemed that the dancers went from one picture to the next without really connecting each moment, so the ballet became exactly that- a series of beautiful moments reminiscent of a slide show rather than the powerful narrative that I have seen before. Agon pas de deux was also well-danced, but once again seemed to be a series of moments. In some ways, I felt as if the dancers were trying too hard to convey the character of this pas de deux through their faces as well as in the overemphasis of particular musical cues. The choreography in this pas de deux speaks for itself, so adding to the edginess with hardened stares into the audience actually detracts from the structure and intent of the choreography. I also missed how the music is reflected in the shape of the steps and the movement.... during the short male solo, there is a point when the man performs a series of turned-in "pas de chats"- it can come across as being as percussive as the music is at that point, but here those wonderful little steps were blurred, and therefore lost some of their impact. And finally, some of the physical tension between the man and the woman was missing. In the last few moments of the pas de deux, the man takes the woman's leg in his hand, and then releases her leg and slides down to lie on the floor while holding onto her hand and she descends into a huge penchee arabesque. I have seen this performed where his descent to the floor is unmistakable reason for her penchee- a true cause and effect relationship, but here he seemed to simply be partnering her as she arrived at another "moment," albeit a beautiful moment. Who Cares? closed the program. It was a little strange to see Who Cares? without the corps of ten girls. This looked like an expanded version of the concert version which features the principal solo and pas de deuxs. It is hard not to like Who Cares?, though, with it's wonderful score and accessible dancing. The five couples were wonderful- the men were particularly nice in "Bidin' my Time." Margaret Severin-Hansen continued to hit the high notes in "Man I Love," - a full-bodied, articulate interpretation. Gabor Kapin was very nice, as well, when it came to his solo. The best part of Who Cares? came from the pit- live music. It was not a full orchestra by any means- rather just three instruments (piano, percussion and a string instrument- a bass cello, perhaps?)- but these three provided all the ambience needed to round out this Balanchine Celebration.

I can't help but to second everything that Justdoit wrote about the dancers of MCB. The interesting thing to remember is that Villella hired all of them... and in that sense did help to create the supportive camaraderie that exists in the company. The amount of detail, the devotion to going beyond what is being asked, the pure love of dance that flows off the stage in every performance- these are the traits inherent in the dancers for which the company in recognized. I firmly believe that they will survive this transition because they are Miami City Ballet- able to adapt, roll with the punches, if you will, and still come out better off in the end. Don't know if this really pertains to any of the political goings on, but I couldn't help but to support Justdoit's statements.

I didn't mean to imply at all that there was any trick photography... on the contrary- I am absolutely sure that those are real bourees. The closest I ever saw live was Marianna Tcherkassky (sp?) in Giselle many years ago... I have never forgotten her bourees as NOTHING seemed to move as she floated across the stage.... so I have no doubt that that was exactly how Jeanette looked, too. Now to teach that to students.....

Wow. At first I thought it was trick photography!

I saw Western- the casting was: 1st movement: Jennifer Knonenberg and Carlos Guerra 2nd movement: Katia Carranza and Renan Cerdeiro 3rd movement: Jeanette Delgado and Renato Penteado 4th movement: Patricia Delgado and Yann Trividic

Yup- that is Jeremy Cox and Daniel Baker. I think they are guesting for the tour to Paris.

Bart- I think that IS Daniel Baker in the clip from Upper Room.

Thanks- I knew I could count on all of you Ballet-talkers!

Does anyone know where I might be able to find music for this Bournonville divertissement? Bournonville.com mentions something about a third act pas de trois, and other sources have mentioned ballet music in the second and third acts of the opera, but I cannot find it. I suspect that the music for the entire divertissement might be embedded within a track longer than what is allowed as a preview on i-tunes. Any leads?

Marianna Tcherkassky. I have never forgotten her amazing, liquid bourees.

I believe that MCB's version of Diana and Actaeon was choreographed by Balanchine for Edward Villella and Patricia Mc Bride's television appearance on the Ed Sullivan Show in 1968.

I am having exactly the same problem as Amy. I also have a Mac- which is new to me, and I didn't have this problem on my other computer. What happens is that when I hit "View new content," the board will list posts made since the last time I presumedly logged in. The problem is, as Amy said, I didn't log on at the time that is given! My solution has been to "sign out" each time I leave "Ballet Talk," and that seems to help. I feel as if there is some sort of conflict between the safari browser and the Ballet Talk software.

I have had the same problem- I thought my husband was reading Ballet Talk through my account!

The dancers in the Tchaikovsky clip on You Tube are Marife Gimenez and Eric Quillere. He left MCB in 2003, and she left a couple of years before that.