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Simone Messmer Joins MCB as Principal Dancer


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Just yesterday I was thinking of checking the internet to see if there was anything new about her. I think that this is great news !

She's so remarkable and so one of a kind that she might be able to create a real identity and wide ranging presence here. MCB seems the be the kind of company that would give her that chance and hopefully grow and profit considerably from doing so. I used to feel that if some great company didn't feature her then someone should create such a company for her.

I've not really followed MCB since Edward left, but my interest has just re-escalated. I used to side trip to Florida for a few days from visiting my daughter further north principally to see it. Hopefully once again !

When Edward was there a lot of things seemed very right. There was an outstanding level of youthful, lovable talent, a feeling of family and some extremely good choices in programing, especially new programing. I still wish that he could reconnect some day. I always think of Yuri Grigorovich's return to the Bolshoi as a precedent.

In any case this may be another spark to the momentum that Edward created. Lourdes Lopez's decision to include Simone Messmer may be a fine step in this direction. I wish Simone Messmer and the company much success together.

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I don't know the dancer. Any clips...?

Some snippets from her year at San Francisco Ballet are at https://youtu.be/I5A5uXZKsDU?t=52s and https://youtu.be/S2nnuUKR7i0?t=1m23s .

I'll be curious to hear how her story plays out. She was tall enough that ABT seemed to cast her only in roles that didn't require a tall, strong partner (Murphy, Part, Kent, Vishneva were ahead of her in line for the ones they had), which nixed much of the classical repertory for her. So, it will be interesting to see if she breaks into partnered Petipa roles at MCB.

She has legs, at any rate: both my favorite finger variation in "Sleeping Beauty" and my favorite lead in "In the Upper Room". A bit of a Marie-Agnes Gillot type.

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Choriamb, thanks for for the clips. Over the years I’ve only been able to find two very brief ones from December, 2008. I would say that they give just a hint of what I’ve seen and felt in just one very specific area of her range. I don’t follow ABT that closely, but I’ve found very little in the way of ABT internet videos, especially for Veronika Part, who also seems limited in appearances, but not nearly as much as Simone Messmer apparently was . I once chatted briefly with Simone Messmer and she didn’t seem that tall, certainly not by Mariinsky standards.

(there’s a second followup clip)

Cristian, this is an interview by Gia Kourlas in Time Out New York, Sept., 2009, that touches on the enthusiasm that she has generated.

http://www.timeout.com/newyork/dance/simone-messmer

I’ve only seen her perform a few times, but I was taken immediately by her presence. Like Veronika Part she creates her own worlds and they are immense and compelling. As interviews suggest she commits herself completely. She was quoted as saying that what you see is what she is. I saw her perform Gamzatti and she created an identity totally her own and absolutely charged with imagery. Each style that I’ve seen her attempt has been a standout effort.

Added comment:

In February I posted the names of guest artists that I would have loved to have seen at this year's Mariinsky Festival. They were Alina Cojocaru (who performed five full length leads at previous Festivals), Veronika Part (hopefully Swan Lake) and someday -- Simone Messmer.

Added added: And I have to wonder if Lourdes Lopez, who apparently spent much time in NYC and was probably very familiar with the ballet scene, was 'smitten' as well.

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I once chatted briefly with Simone Messmer and she didn’t seem that tall, certainly not by Mariinsky standards.

You're absolutely right: she's average height. I just meant that--given the heights of ABT's male soloists and principals tend toward one extreme or the other--she was slightly too tall for the "short" contingent (Cornejo, Simken, etc.) and the "tall" contingent was otherwise occupied.

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In San Francisco Messmer was in Who Cares, Maelstorm (Morris), Hummingbird, From Foreign Lands, Shostakovitch Trilogy gloriously and Agon (at least was scheduled to do it during a week of many changes), maybe more; also Myrtha in Giselle. Delicately angular, seemed to hold a mid-phrase beat for a half as long more than wriiten like a jazz singer, very present on stage.

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In San Francisco Messmer was in.... Shostakovitch Trilogy gloriously and.... Delicately angular, seemed to hold a mid-phrase beat for a half as long more than wriiten like a jazz singer, very present on stage.

Sometimes very little says a lot and enthusiasm speaks for itself. And it's always good to hear more exact reasons for loving someone's exceptional art. Thanks, Quiggin.

And added (of course smile.png):

Back at ABT she was already saying this.

What are you looking forward to as a ballet dancer?

"I really need to take the next step. I’ve taken all the steps that I can to make myself a better dancer. And now I need to stop being comfortable with that. I don’t really know what that is yet….By week six of Met season, you’re pushing through and I want to feel like I put the thought and effort into every role, no matter how little it is. I want to have that opportunity."

http://www.timeout.com/newyork/dance/simone-messmer

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