October 3, 2011

Insider to Head The Royal Ballet (Pointe Magazine)

The name of Monica Mason’s successor has been known for a few months now, but it remains a surprise for many – Kevin O’Hare, The Royal Ballet’s current administrative director, will succeed her as artistic director at the end of the 2011-2012 season. Here is my take on his appointment, complete with quotes from choreographer Christopher Wheeldon, for the news pages of Pointe Magazine:

Cover of the October/November 2011 issue © Pointe Magazine

Cover of the October/November 2011 issue © Pointe Magazine

When it came to casting the part of next Royal Ballet artistic director, most ballet fans expected that a familiar face would land the job. (Several big names—including Christopher Wheeldon—were repeatedly tossed around.) In the end, however, Monica Mason will be succeeded in July 2012 by an insider no one saw coming: Kevin O’Hare, her administrative director since 2009.

A former principal with Birmingham Royal Ballet, O’Hare retired from dancing in 2000 to train in company management. After stints with the Royal Shakespeare Company and BRB, he joined The Royal’s management team in 2004. “Kevin knows the company and has already established a clear and communicative relationship with the dancers,” explains Wheeldon, who choreographed Alice’s Adventures in Wonderland for The Royal earlier this year.

While some have deemed the appointment unexciting, O’Hare is intimately familiar with the company’s English repertoire and won over the selection panel with ambitious plans to bring together “the most talented artists of the 21st century to collaborate on the same stage,” as he said in a press release. He won’t be lonely at the top, either: Both Wheeldon and resident choreographer Wayne McGregor, along with associate director Jeanetta Laurence, have agreed to be part of his “senior artistic team.” The terms of their involvement remain to be defined, according to Wheeldon, but “there are future projects in the works, including another possible full-length ballet.” (…)

» Read the full interview in Pointe Magazine’s news section (scroll down to see it)





August 1, 2011

Back to the Bolshoi – Q&A with Sergei Filin (Pointe Magazine)

Intrigue may be all the rage at the Bolshoi Ballet, but the company showed Paris in May it is still at the top of its game, with Natalia Osipova, Ivan Vasiliev and Maria Alexandrova all wowing astounded crowds. I caught up during the two-week tour with Sergei Filin, who seems to have transitioned seamlessly from star danseur noble to artistic director at a tricky time for the Moscow troupe. We had a chat in the Palais Garnier’s orchestra while the stage was being set for Don Quixote, and the resulting Q&A is in the latest issue of Pointe Magazine.

Cover of the August/September 2011 issue © Pointe Magazine

Cover of the August/September 2011 issue © Pointe Magazine

For all its high-wattage stars, the Bolshoi Ballet can still be laid low by internal politics. In March, a fresh scandal left it without a replacement for departing artistic director Yuri Burlaka. Former principal Sergei Filin, who had been at the helm of Moscow’s Stanislavsky Ballet, stepped in at the eleventh hour. He spoke to Pointe about the Bolshoi’s unique challenges at a momentous time for the company: Its historical stage, closed for restoration since 2005, is set to reopen this fall.

Pointe: What’s been most difficult about your transition from the Stanislavsky to the Bolshoi?
Sergei Filin: The feeling that I was abandoning people who had worked so hard for me. But the Bolshoi is my home.

PT: What lies ahead for you in the next few months?
SF: My first season will be tough, because no one can tell what surprises await us when we move back to the old stage. The main goal will be to transfer our large-scale ballets there quickly. But we’re lucky that, alongside the “old” stage, we’re able to keep the new, smaller stage we perform on at the moment, so from next year on I want to have workshops and new works staged there. (…)

» Read the full interview in Pointe Magazine’s news section (scroll down to see it)

Sergei Filin and John Neumeier in rehearsal with the Stanislavsky Ballet © Stanislavsky Music Theatre

Sergei Filin and John Neumeier in rehearsal with the Stanislavsky Ballet © Stanislavsky Music Theatre





June 1, 2011

Work in Progress – Eric Underwood on Tryst (Pointe Magazine)

Cover of the June/July 2011 issue © Pointe Magazine

Cover of the June/July 2011 issue © Pointe Magazine

One of several Americans with The Royal Ballet, soloist Eric Underwood has become an audience favorite in London, particularly in neo-classical and contemporary repertoire. In May 2010, he and soloist Melissa Hamilton made their joint debuts in Christopher Wheeldon’s 2002 Tryst. He discussed the rehearsal process with me at the time for Pointe Magazine:

Eric Underwood: Tryst’s structure is quite unique. I had to get my head around the idea that the lead couple does not interact with the corps de ballet. The main pas de deux was created on Darcey Bussell and Jonathan Cope, and Jonathan coached us for the revival. Wheeldon came in to work with us after we learned the roles. It wasn’t easy trying to capture the feeling that was there originally.

There is an energy more than a specific character—Wheeldon would speak of otherwordly gods that are drawn to each other, of their magnetic relationship. The music, by composer James MacMillan, is inspired by a Scottish poem, and Wheeldon was looking for the kind of very full movement that you find in nature, like grass in the wind. (…)

» Read the full article in Pointe Magazine: “A Rendezvous with Tryst“, June/July 2011

 

Melissa Hamilton & Eric Underwood in Tryst © Bill Cooper

Melissa Hamilton & Eric Underwood in Tryst © Bill Cooper





April 5, 2011

A Noble Radiance: Johan Kobborg Interview (Pointe Magazine)

Laura @ 17:58 —
Filed under: English,Interviews — Tags: , , , ,

The Royal Ballet’s Johan Kobborg needs no introduction – his legendary partnership with Alina Cojocaru, his dramatic flair, the productions he has staged around the world speak for themselves.  For Pointe Magazine’s Reverence column, he talked to me about Bournonville, shopping, singing and more:

Cover of the April/May 2011 issue © Pointe Magazine

Cover of the April/May 2011 issue © Pointe Magazine

In reaching the top, how much is talent and how much is sweat?
For me, it was definitely more determination than talent. I know principals all over the world who are actually not naturally talented, but have worked very hard.

What are you most proud of?
My productions of La Sylphide. Staging it at the Bolshoi was an enormous personal achievement, because they’d just done a different production of La Sylphide, and I was able to change the dancers’ opinions of the ballet.

You were trained in Bournonville technique. What do you love most about it?
For a dancer it’s an amazing technical base. Maybe especially for boys, because for all the jumps you’re not using your arms to get you in the air. It comes from the stomach. That core strength makes everything else easier.

What’s your biggest indulgence?
I’m a shopaholic. If you let me loose in Dolce & Gabbana and I see something, I just think, ‘I work so hard, I should have it.’ It’s not good. I’m also a bit of a sparkler—I always wear gold sneakers. I have lots of pairs. (…)

» Read the full interview in Pointe Magazine: “A Noble Radiance,” April/May 2011

Alina Cojocaru and Johan Kobborg in rehearsal for La Sylphide © Johan Persson

Alina Cojocaru and Johan Kobborg in rehearsal for La Sylphide © Johan Persson





December 23, 2010

Big, Bold, Bolshoi: Yuri Burlaka Interview (Pointe Magazine)

Yuri Burlaka has been a discreet presence at the helm of the Bolshoi Ballet, but he has clearly allowed the company to build on the renaissance Alexei Ratmansky initiated. I had the great pleasure to meet him in London last summer, and my “Director’s Notes” article is in the latest issue of Pointe Magazine:

Cover of the December 10/January 2011 issue © Pointe Magazine

Cover of the December '10/January 2011 issue © Pointe Magazine

Even on a Friday morning in the midst of a three-week tour to London, the atmosphere in a Bolshoi company class is reverential. There’s no chatting or laughing at the barre. The soft-spoken coach, Marina Kondratieva, enumerates steps calmly and thoughtfully. Each dancer respectfully thanks her and the pianist before leaving the room. Their dedication is a reminder of the company’s illustrious history.

Founded in 1776, Moscow’s Bolshoi Theatre has long boasted one of Russia’s preeminent ballet companies. Swan Lake received its première there, and Alexander Gorsky and Leonid Lavrovsky, among others, contributed to its distinctive bold, fearless style. After the Russian Revolution, the company grew close to the Soviet establishment, and produced stars such as Ekaterina Maximova and Vladimir Vasiliev under the 30-year directorship of Yuri Grigorovitch. “Bolshoi” means “big” in Russian, and any artistic director today has to cope with the challenge of bringing a weighty institution, reluctant to change its ways, into the 21st century. (…)

» Read the full interview in Pointe Magazine

Yuri Burlaka in rehearsal for Paquita Grand Pas © Damir Yusupov

Yuri Burlaka in rehearsal for Paquita Grand Pas © Damir Yusupov





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