Haglund's Heel

The "Fred Step" Spurs Synchronicity

Pas de bourree on over to the Ballet Bag to check out Linda's March 29 article on Frederick Ashton which illuminates – by detail and by video of Scene 1 of La Fille Mal Gardee – the "Fred Step. " It's a very thorough article and delightful reading.  It even quotes Alastair Macaulay on Ashton.

But what a coincidence!

This afternoon (March 30) Alastair Macaulay decided to write about the "Fred Step" in his ArtsBeat blog at The New York Times as though he had just thought of it out of the blue.  He followed the same type of detail in explaining the step as did the Ballet Bag and then described his favorite instance of the use of the step as being in Scene 1 of La Fille Mal Gardee - the exact scene that Bag Lady Linda had inserted video for in her article to illustrate the Fred Step! 

It's not the first time that a New York Times dance critic has experienced unexpected synchronicity with a ballet blogger or forum.

YAGP Gala Tribute to Vladimir Vasiliev

Mr. Vasiliev, we’re planning this wonderful gala tribute in your honor.  There’s this little catch:  it’s actually a “working” gala tribute in your honor – you know, like a “working” vacation?  If you wouldn’t mind rehearsing Ms. Bouder in the Tarantella from Anyuda and Ms. Obraztsova in Sentimental Walse?  Appreciate it.  Then, if you wouldn’t mind rehearsing Ms. Part and Mr. Davis in Macbeth?  Then, if you wouldn’t mind rehearsing Ms. Lane and Mr. Ribagorda in the Pas de Deux from Anyuda?  Then, if you wouldn’t mind spot-checking some of the other variations and directing the coda?  And lastly, if you wouldn’t mind choreographing the gala program closer and, of course, performing in it.  Well, you know, Mr. Vasiliev, 70 is the new 35.  Now, about the sound and lights ....

MANY, many thanks to the folks at YAGP for presenting one terrific gala celebrating the legendary Vladimir Vasiliev last evening.  It was fitting that the greatest dancing on view was by the honoree (via film clips) and that the most glamour of the evening was provided by the host and a former partner of Vasiliev‘s, the also-legendary Carla Fracci.   When Ms. Fracci entered the stage in a Renaissance-styled white, flowing gown with black hair parted down the middle, Haglund half-expected ABT's David Hallberg to leap from the wings and begin the Giselle PdD with her.  Ms. Fracci’s opening remarks set the tone for appreciating the artists of an earlier generation who made possible everything that the current generation now does.  The film tributes to Vasiliev’s accomplishments pounded her point home.

Lasting from 7:00 pm until about 10:30 pm, this gala was a smorgasbord of artists and choreography.   The Moiseyev Dance Company performed as Argentine Cowboys and Two Boys in a Fight (which was really just one boy, but it’s too hard to explain – ya hadda be there.)  Yevgenia Obraztsova (Mariinsky) and Emmanuel Thibault (POB) performed the PdD from La Sylphide beautifully.  Hallberg performed Ashton’s The Dance of the Blessed Spirits, which – but for some changes in speed and direction – didn’t really look all that Ashtony.  But it was nice to see a master’s rarely performed work performed by a master.  The Sleeping Beauty PdD by The Royal Ballet’s Sarah Lamb and Sergei Polunin was stunning in its effortlessness and grace.  Ms. Lamb has an aura of serenity about her that is very appealing and perfect for Princess Aurora.

Mr. Vasiliev’s choreography made up much of the second half of the evening. 

Ms. Obraztsova performed Sentimental Walse with perfect delicacy, the kind that made the audience sigh at the end. 

Sarah Lane and Luis Ribagorda (ABT) had the most challenging choreography of the evening with the “farewell” PdD from Vasiliev’s Anyuta.  What a treasure!  Longing, passion, and sadness all wrapped up in choreography of swoops, turns and lifts that fully embrace the gorgeous music by Valery Gavrilin.  Haglund would love to see this PdD performed more frequently.  Here’s a YouTube link to a performance of it by Vasiliev’s late wife, Ekaterina Maximova.. 

Ashley Bouder (NYCB) performed a spirited Tarantella – also from Anyuta.   

In an excerpt from Macbeth, Gray Davis (ABT) was the tortured Macbeth who was consumed with guilt from killing King Duncan.  Veronika Part’s Lady Macbeth, who was wrapped in a flowing, blood-red dress, approached him from behind and began manipulating his grief  as she locked her long legs and seductively arched feet around his body.  Chilling.

The evening’s offerings included other more contemporary choreography that relied upon arbitrary hyperextensions and angst-driven arm movements, as is the current, sad trend.

One highlight of the gala was Daniil Simkin (ABT) in Les Bourgeois by Ben van Cauwenbergh.  If it looks spectacular on YouTube, it’s even more so in the theater.  His comic routine fueled by an astonishing display of aerial ballet moves, Simkin crazied the crowd with his double tour assembles en l‘air followed by huge aerial cartwheels.  It would be such a pleasure to see this piece as part of ABT’s spring gala.

Polina Semionova (Berlin State Opera Ballet) and David Hallberg beautifully performed a PdD from Bejart’s Romeo and Juliet.  While Bejart’s ballet is based on the idea of Romeo and Juliet, it hardly tells the story.  Where Kenneth MacMillan took human movement and human moments and turned them into compelling choreography, Bejart, in this instance, seemingly found his steps first and then attempted to manipulate them around a story.  It’s what many current choreographers do, and it’s why their work product is not dramatically convincing.  It lacks humanity though it’s full of movement.

Ana Sophia Scheller (NYCB) and Joseph Phillips (ABT) performed Balanchine’s Tschaikovsky Pas de Deux.  Ms. Scheller has smoothed out many of the rough edges since the last time Haglund saw her perform this.  Mr. Phillips gave the piece the energy it truly deserves and excited the crowd with his coupe jetes and pirouettes.  Haglund appreciates Mr. Phillips’ maximum effort whether it always results in five pirouette revolutions or not.

The final choreography of the evening was the premiere of Mr. Vasiliev’s Piece D’Occasion for himself and the very lovely (and very young) Daria Khokhlova of the Bolshoi Ballet.  Seeing Mr. Vasiliev slouched over in a chair with his head in his hands, his human moment clearly exposed and instantly recognizable, most of the audience understood and felt his grief.  The Chopin piano made it gut-wrenching.  As he chased the memory of the love of his life, one could feel the collective chest of the audience tighten.  It was a sad note on which to end a happy evening, but it would have been impossible to have it any other way.

The audience stood and roared its appreciation for Vladimir Vasiliev.  The dancers piled bouquets at his feet.  One wondered whether he truly understands the magnitude of his influence on the art form.

We celebrated a legend who has given us much to treasure over more than a half century, and it would be selfish to ask him to continue contributing to the art form.  But we just can’t help it.  How nice it would be to have Mr. Vasiliev working in our midst on a more regular basis.  After all, 70 is the new 35.

Once again this year, the Haglund's Heel Medal of Honor goes to the YAGP Gala:

 

NY Export: Opus Jazz – PBS

Sass-sational!

Program reminder: NY Export: Opus Jazz on PBS

PBS's Dance in America series will air the new Jerome Robbins documentary/performance film NY Export: Opus Jazz at the following times on New York's Channel 13:

8:00pm Wednesday March 24th
1:00am Friday March 26th
12:00pm Sunday March 28th

Check out the film's website, too!

Some big city newspaper critics . . .

. . .  just hate writing ballet reviews if they can’t figure out how to make it an opportunity to write about Balanchine.  Other critics see choreography where the corps de ballet performs first arabesque saute and cry out to blessed relief, “Look at the Balanchine influence!”  [Sorry, Mr. B didn’t actually invent the first arabesque saute for corps work; he just used it ad nauseam.]

Still other critics do little more than promote the usual agenda which is:  a. whine if a visiting company doesn’t perform Balanchine, b. scowl and complain if it does, and c. wallow in the critics’ own celestially-bestowed gifts of choreographic insight as to what Balanchine intended here or intended there or intended in his underwear.

And one critic in particular wants the dwindling readership of his newspaper to know just how tired and bored and miserable he is when his job requires him to sit through a ballet performance that’s just not his cup of tea though the rest of the knowledgeable audience loves it.   Don’t know why his editors let that sort of fartournalism toot through.  One never reads elsewhere in that paper that a writer is miserable about having to write once again about Iraq or is so tired of having to cover the losing Mets day-in and day-out.  It seems kind of like the critic is really resentful that the general audience doesn’t agree with him; so he’ll just use his dark wit to belittle the audience for appreciating what he doesn‘t – or can‘t.

Yep, no doubt about it, dance criticism in the big city's newspapers has become little more than a tiresome cup of tea made with old, used teabags.  But at least it retains its diuretic properties judging from all the pissing that results.

On Haglund's Calendar – YAGP Tribute to Vasiliev

It looks like the folks at YAGP have put together another extraordinary evening tribute to a great one!  Anyone within a light-year of Manhattan on Saturday, March 27th, who misses this will be sorry.  So, get to the NY City Center website or box office pronto!  Yeah, the tickets are a bit pricey, but that's why we always save the discount insert from the Fall for Dance Playbill – right?  20% off makes a big difference.

The 1976 photo below by A. Klushkina of Vasiliev and Maximova taken from the YAGP and City Center websites epitomizes where love of ballet and love for one another meet.  What an elegant, passionate, vibrant image.

According to the program currently published on the YAGP website, we are going to be treated to a stupendous program that will include opening comments by the legendary Carla Fracci, Mariinsky Ballet's Yevgenia Obraztsova in Vasiliev's Sentimental Walse, ABT's Veronika Part and Gray Davis in Vasiliev's Macbeth, dancers from Moiseyev, Ashton's Cinderella PdD by the Royal Ballet's Sarah Lamb and Sergei Polunin, Ashton's Dance of the Blessed Spirits by ABT's David Hallberg, and Polina Semionova, Daniil Simkin, Sarah Lane, Luis Ribagorda, Ashley Bouder, and then The Great One, himself, Vladimir Vasiliev, will perform a Piece d'Occasion with Daria Khokhlova.

We've come to expect last minute program changes at these galas, but the YAGP folks have never disappointed us.  We've also come to expect less than orderly audiences at these events, so Haglund will be practicing his shushing and Sit! all week long in preparation.

Don't miss this event!

Corella Ballet – Spanish Television Coverage

Spanish television is covering the Corella Ballet Castilla y Leon's trip to New York.  Here is a clip of some of the dancing taken from YouTube via rtvcyl.es which reports on the company's great success on opening night.

Also, the Associated Press attended Corella Ballet's Opening Night at City Center.  Jocelyn Novek has a positive and unusually lengthy review that is rapidly being picked up by publications all over the world.  She loved the Maria Pages' pas de deux for Angel and Carmen Corella:

But the general atmosphere at City Center was one of excitement and affection. And it all came to a head just before the second intermission, with a rousing standing ovation for "Solea," a flamenco-infused pas de deux for Corella and his sister, Carmen, a former ABT soloist and now a principal in his company.

Much of the appeal of "Solea," choreographed by Maria Pages to flamenco music by Ruben Lebaniegos, was the obvious affection between brother and sister, who had never danced together before. As Corella ruefully told a small audience two nights earlier in a panel discussion, "Carmen is very tall" _ too tall for him to partner her in standard works.

But the two were perfectly matched in "Solea," both for their Latin good looks (this family sure has the right genes) and their infectious joy in dancing.

Just under eight minutes, "Solea" began with the Corellas sitting back to back on a dark stage. What unfolded was an intriguing melding of flamenco and classical ballet. A few flourishes of the pointe shoes became the equivalent of flamenco shoes tapping. Each dancer clapped as the other leaped or turned _ ballet moves to a flamenco beat.

At the end, the two laughed as the audience roared.

And Wendy Perone was positively blown away by Solea.  From her Dance Magazine blog:

I was choked up from the start, and the piece sustained that sibling connection so beautifully that I was in tears by the end. Everyone else must have felt the same, ’cause they gave it a roaring standing ovation, midway through the program.

Corella Ballet – AC Voltage at Maximum

NY City Center was the bright spot on the planet last night as a near capacity crowd turned out to welcome the Corella Ballet Castilla y Leon on its New York debut.  No doubt about it – Angel Corella is still at peak demand in the dance capital of the world. 

Not quite two years old, the Corella Ballet Castilla y Leon brought a debut program of works mostly unseen in New York, including Corella’s first choreographic effort, String Sextet; three gem gala-quality pieces:  Walpurgis Nacht by Leonid Lavrovsky, Sunny Duet by Vladimir Vasiliev and Natalia Kasatkina, and Solea by Maria Pages; and Christopher Wheeldon’s DGV: Danse A Grand Vitesse.  The program choices allowed us to focus on the performances and dancers without engaging in the nitpicking comparisons to other companies’ presentations - as New Yorkers tend to do. 

It would be a mistake to dwell on the merits of the evening’s choreography because the true importance of this company’s visit to New York was to show that Spain is indeed well on its way toward building its first classical ballet company.  Spanish classical dancers no longer need to leave home in search of an outlet for their talent.  Rather, the world’s talent has begun to gravitate toward Spain.

The evening opened with Angel Corella’s String Sextet set to Tchaikovsky’s Souvenir of Florence.  Corella has thrown his dancers a challenge that as time goes on will extend their limits, sharpen their technique, and see them acquire a Corella-stamp, so-to-speak.  Some opening night jitters were evident and one could sense the dancers’ adrenalin nearly pouring over the edge of the stage.  All of sudden, Joe Gatti appeared on stage and electrified the audience with his AC-like voltage, charisma, and “watch this!”  panache that was, well, gotta say it, Corella-imbued. 

The tutus for String Sextet were stylish, if a bit impractical, and tended not to compliment some of the smaller dancers who looked overwhelmed in the high collars and sleeves.  However, stylishness garners points in New York.  The yellow and white tutus in particular were sharply elegant.

The middle section of the evening opened with Lavrovsky’s Walpurgis Nacht to the familiar music of Gounod.  Once again, Joe Gatti “Mr. Watch This!” was brilliant in the technical challenges that included multiple pirouettes brought to a dead stop on releve and some very fierce jumping.  Kazuko Omori, who was one of the dancers in String Sextet for whom the costume did a disservice, soared in a little red tunic that revealed shapely legs and lovely lines.   Kirill Radev completed the trio with his own bursts of brilliance and clearly is a soloist who is destined to make a major impact with this company.

Sunny Duet (Vasiliev & Kasatkina) was performed by Herman Cornejo and Adiarys Almeida in its original 1973 form to Arno Babajanian’s archival recording.  A program insert noted that the specially commissioned score no longer exists.   The warm reds of the backdrop and dancers’ costumes were gorgeous.  The pas de deux - sensual, imaginative - with stunning and sustained lifts.  What a treat to see this revival.  And it is always a treat to see Herman Cornejo on stage - whenever, wherever, in whatever.

The third pas de deux was Maria Pages’ Solea for Carmen and Angel Corella.  You think New York doesn’t miss Carmen Corella?  Think again.  She was gorgeous. 

Pages created the solea to commissioned flamenco music that included some very complex rhythms and vocals.  Angel and Carmen began seated next to one another on chairs in the center of the darkened stage and proceeded to engage in a choreographic competition among brother and sister that melded flamenco with classical ballet.   Wonderfully unique.  Wonderfully personal for these two dancers.  Just delicious for the audience to see them dancing together on the New York stage.

The final offering of the evening was Wheeldon’s DVG:  Danse A Grand Vitesse to Michael Nyman’s score MGV: Musique a Grande Vitesse.  The music was originally commissioned to celebrate the opening of a new line of the TGV - the French high-speed rail service.  Nyman’s minimalist rhythms invoke images of the high-speed train cruising the French countryside.  It surges with energy that unfortunately isn’t represented in the choreography.  But Haglund is not going to p&m about the choreography except to say that it’s one more example that illustrates Wheeldon has lost touch with the vocabulary of his craft and is depending too much on quirky hand and arm movements and cheerleading routines.  Someone should pass him Gail Grant under the table just to remind him that the ballet vocabulary is a lot richer than he currently remembers.

That said, the dancers embraced DVG wholeheartedly and seemed inspired by the challenges of the pretzel pas de deuxing.   However, it’s not a piece that shows off the strengths of  classical dancers.  A contemporary classically-based piece that would have done that is Clark Tippet’s Bruch Violin Concerto which is in the Corella Ballet’s repertory.  In fact, former ABT principal Cynthia Harvey said in a recent interview that the piece has never looked better than as recently performed by this company.  That is a tremendous compliment.  And that is something which we need to see.

But for now, don't miss the Corella Ballet at City Center through Saturday evening.  We will only get to see Angel perform twice this spring with ABT at the Met – a criminal act of negligent scheduling by Kevin McKenzie – so see him now.  He is dancing wonderfully.

Haglund bestows this winged Pump Bump Award on the Corella Ballet which has clearly taken flight.

 

© Copyright 2010

March 15 - The Buzzards have returned to Hinckley

 

Well, Thank Goodness.

The first sighting was at 7:56am (Hinckley, Ohio time) according to the Official Buzzard Spotter, Dr. Hinkle.  The official celebration, Buzzard Sunday, will feature Buzzard Bingo, storytelling, buzzard-related merchandise and refreshments (however, no buzzard dishes will be served).  This Sunday, drive on out to the Buzzard Roost in the Hinckley Reservation in Hinckley Township just south of Rt. 303 for a full day's fun.

While Phil and Chuck may have an unshakable hold on the prediction-of-spring market, every year the buzzards are the true indicator that the opening of ABT single ticket sales is right around the corner.  Haglund's buckeye-bred intuitiveness picked this up many moons ago.

Portrait of Matilda - http://www.flickr.com/photos/72581584@N00/426152878/

Countdown to Corella - Part 4 - Casting

Here is the link to the NY City Center casting which is posted on the Corella Ballet Castilla y Leon website.