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Misty Copeland


Helene

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Nice interview....still going on with Qs from listeners. Everything fine except that the interviewer, Ms. Rehm, referred to her subject, just before a break, as "priiiiimaaaa balleriiiiinaaaaa!!!!" Not that many of us wouldn't like that but she is currently a soloist. :). [in final moments of interview, Rehm correctly said "soloist."]

Bit of news that I had not heard before: Copeland's Siegfried in her two upcoming Wash Ballet SWAN LAKES will be "a black man"....not named, but this must be the fantastic Brooklyn Mack...or Andile N?

Edited by Natalia
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Nice interview....still going on with Qs from listeners. Everything fine except that the interviewer, Ms. Rehm, referred to her subject, just before a break, as "priiiiimaaaa balleriiiiinaaaaa!!!!" Not that many of us wouldn't like that but she is currently a soloist. smile.png. [in final moments of interview, Rehm correctly said "soloist."]

Bit of news that I had not heard before: Copeland's Siegfried in her two upcoming Wash Ballet SWAN LAKES will be "a black man"....not named, but this must be the fantastic Brooklyn Mack...or Andile N?

She said it was Brooklyn Mack. She also left the impression, plain and simple, that Ratmansky created Firebird on her.

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Twyla Tharp created the leading roles on "Waiting at the Station" on two of the least experienced members of PNB. They didn't dance them, but helped teach the parts to the leads, and they were rewarded for their effort with ensemble parts. Did Copeland work with Ratmansky in the studio on its creation? I don't know how Ratmansky works.

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except I think that the attitude we usually need to change first, and then keep resetting when it jumps back to default position, is usually our own towards our ideological opponents.

Sure. We should still refer to racism if it seems to be called for, though.

Everything fine except that the interviewer, Ms. Rehm, referred to her subject, just before a break, as "priiiiimaaaa balleriiiiinaaaaa!!!!" Not that many of us wouldn't like that but she is currently a soloist. :). [in final moments of interview, Rehm correctly said "soloist."]

I've often noted in stories and interviews not aimed at a ballet-specific audience that any ballet dancer of any rank is called a "ballerina" or even a "prima ballerina," when they want to be really flattering. Mostly it's pardonable, but in this case I'm glad Rehm corrected herself - it's an important distinction to make here.

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There are Soloists who are ballerinas and Principal Dancers who are not. I assume the general public would assume "prima ballerina" is at the top of any ranking with the addition of being a star. With "ballerina" it could go either way, and in speech, who knows whether it's being heard as "ballerina" = "female dancer wearing pointe shoes" or "Ballerina."

Interviewers and journalists in general tend to exaggerate tangible achievement and get rank wrong. The number of hometown papers that say or imply that professional division students are company members and corps members are soloists and principals is pretty high. Even talk show hosts on public radio are at the mercy of their researchers when the subject isn't one of their specialties.

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Twyla Tharp created the leading roles on "Waiting at the Station" on two of the least experienced members of PNB. They didn't dance them, but helped teach the parts to the leads, and they were rewarded for their effort with ensemble parts. Did Copeland work with Ratmansky in the studio on its creation? I don't know how Ratmansky works.

Copeland said "having this role created on me." ABT's page says Osipova "created the role." It's possible the company's wording is just a formality,a nicety for the ranking star. The subject of the interview was Copeland's career, not the details of Firebird's creation, granted, but listeners who don't know any better would have thought Ratmansky made a ballet for her.

dirac, I agree, we should call as we see it. We need the word "racism."

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Given Osipova's schedule, it would not surprise me in the least to learn that the Firebird was "created on" Misty in the rehearsal studio, but premiered or debuted by Osipova. Given how little time Ratmansky has before he must move on to the next commission, he may have been in the studio creating the ballet on ABT's own dancers, with Osipova learning the part at a later time under the instruction of of someone else (Mrs. Ratmansky?). If you recall, a good portion of the Firebird's choreography seemed oddly to be solo work without interaction with the rest of the company. At the time, many people commented that this may have been attributed in part to Osipova's schedule/lack of availability while the work was being created in the studio.

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I was certain that Firebird was created on Copeland and she was the first cast (but I see ABT's site says it was Osipova). It was a big deal (at least to me) that a newly created work by Ratmansky had a soloist as its first cast principal. Maybe Copeland was first cast at the Met and that's what I'm thinking of?

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There are plenty of situations were a role was created on one dancer, but premiered by another. Macmillan's "Romeo and Juliet" was created on and for Lynn Seymour and Christopher Gable, but The Powers That Be gave the premiere to Fonteyn and Nureyev. Then there are the roles created for one dancer who was injured or pregnant for the premiere, which was danced by another (examples: Christopher d'Amboise for Victor Castelli in "Mozartiana," "Suzanne Farrell for Diana Adams in "Movements for Orchestra.")

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Paul Taylor created a work for ABT (I forget the name of it now) but he created it on his own company first in the studio and then had someone teach it to the ABT dancers, as he does not like to create works on any dancers other than those in his own company. Thus, it premiered at ABT with ABT dancers, but it was not created on ABT's dancers.I think it is a fairly common occurrence for a choreographer to create a work on someone who does not perform the premiere of the work, for a variety of reasons.

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During my visit to ABT last night, I noticed huge posters of Misty & Brooklyn Mack in a deep-penchee pose from White Swan pdd. Very cool.

By the way, a week ago, some single tickets for her Swan Lake performances were going for $2,000 each at StubHub. Balcony seats around $500 but must be bought in pairs, meaning paying at least $1,000. I called WB, as the KennCen web suggested. WB told me that the KC erred in referring people to them, as they are no longer handling the tix for the two Misty Copeland shows. So the game has been on for driving prices way way up for these two shows.

A "Tulip Craze" in ballet? I don't recall this sort of craze for ballet tix since Nureyev/Fonteyn in their prime,

So whether or not her official rank at ABT is "priiiiimaaaaa balleriiiiiiinaaaaa," she's certainly a prima at the box office.

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People who don't follow ballet but who follow Misty have been asking her what's next. Will she "move on up" to Broadway or movies?

That's a hilarious reminder that for most folks, even many sophisticates, ballet is a niche art form to be transcended.

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I know but you have to consider the demographics in Our Nation's Capital. There's even a buzz that President Obama and his family may be attending her debut.

I had no problem obtaining a normal Dress Circle seat at the Met for her NY debut...about $70. But she won't be having a Siegfried of color in NY. Part of the thrill in DC is to see Misty and Brooklyn together. Huge moment of pride. One can understand.

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This morning the Kennedy Center had some in the balcony for $215. If she doesn't perform that would be sad for those paying high prices. Recognizing the pride in this performance it would be nice if Sun evening was moved to the Opera House.

Does Misty Copeland do a fairy in Cinderella?

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I finally found a single center-balcony, 3rd row ticket for $300 for Misty-and-Brooklyn's first performance. So there will be at least one Ballet Alerter there.

It will be quite a week of ballet at the Kennedy Center, as the run of WB Swan Lakes coincides with NYCB. For me, it will be NYCB at the opera house on Tuesday and Thursday, followed by WB Swan Lake at the Eisenhower on Thursday (Misty) and Saturday night (somebody other than Misty). My dance card will be full that week.

My ABT playbill from the opening night indicates that Misty dances Fairy Autumn on Thurs night and Sunday afternoon. She also was supposed to debut the lead in Rodeo last Wednesday. Not sure how they went. I 'm not in DC now & had to miss.

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People who don't follow ballet but who follow Misty have been asking her what's next. Will she "move on up" to Broadway or movies?

That's a hilarious reminder that for most folks, even many sophisticates, ballet is a niche art form to be transcended.

A dancer's life is short. Copeland would do well at this point in her career to consider exploring stage or film possibilities. It's not impossible that Robert Fairchild, Megan Fairchild, and/or Tiler Peck might find that their Broadway gigs lead to something else, possibly even movie roles. It would be very reasonable if they at least thought seriously about any such offers.

Natalia, please do tell us about the performance!

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Misty was featured on the PBS News Hour this past Friday, April 10. If someone finds the link to an online vid of the segment, please add here.

Natalia we watched the Newshour Friday (we do every night) and Misty wasn't on it. The arts segment was on a music festival.

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