More of Cheliabinsk (Opera House)
The seats in the Orchestra. So gorgeous.
Lobby
Front of the theatre
Yekaterinburg and Cheliabinsk
Great cities, great audiences.
Yekaterinburg is the city where the last Czar of Russia, Nicolas II and his family (wife, 4 daughters, and son) were killed by the Bolsheviks. Quite the history lesson I’m receiving.
I can’t tell you much about Cheliabinsk. We were in and out in 1/2 a day. But the audience!
Forgive the blurriness of these photos. I think its time to invest in a better camera, low and behold, I just received one as a gift! Thank you (you know who you are).
The cathedral erected on the site where the Czar’s family were murdered.
The family
Opera House in Cheliabinsk
More of Novosibirsk
Some more of our first city on the tour, Novosibirsk…
Entering the theatre
Joaquin, relaxing in the dressing room
Yes, my view outside. A snowy landscape
Porcelain statues, with “Mariinsky Vodka” inside, given to us from the presenters
And then on our way to Yekaterinburg, via a 1970’s propeller plane with Ural Airlines
Pashalsta… can you repeat that?
An attempted jump… more like my jazz days
Upon my arrival in Moscow, having taken the redeye, I promptly started rehearsals for Wheeldon’s Four 4. It is a glorious piece to dance. Seldom are there pieces that are created specifically for men, 4 men to be exact, my part being being originated by Ethan Stiefel.
After a quick rehearsal by the director of the Kirov Ballet, Yuri Fateev, we went to film a video portion of the show in the Red Square. Having seen this before, it still is a sight that makes me realize the history that Russia holds. It is such an amazingly textured country, with such epic history. You cant help but be in awe.
Jose Manuel Carreno, Joaquin De Luz and I…. freezing
The filming… freezing
Just some troops, keeping an eye on things
My attempt at being a Russian novelist, or something like that.
On my way to work… London Edition
My walk to work in London was 5 minutes. But wasn’t shy of great London landmarks. Well, great in my opinion….
The Coliseum, where ABT will perform in March for 2 weeks. Also home of the English National Opera.
The Opera House from the ‘front’ entrance. Heading down Floral Street, to your right, you will see the stage door, and the new addition connecting the Royal Ballet School to the Opera House.
The outside and inside view.
The architiect is Wilkinson Eyre (correct me if I’m wrong)… a stunning addition.
1st stop: London
I have embarked on a journey.
An experience, for lack of a better word.
I am joining four other dancers in a gala tour through Russia, performing a solo and a Chris Wheeldon ballet created for the program called 4 four.
After the close of the City Center season, at the crack of dawn the next day, I flew to London to learn this supposed solo, by one of my greatest inspirations, Sir Anthony Dowell. This piece was created for him in the 80’s by Sir Fredrick Ashton (so many Sir’s) called ‘Dance of the Blessed Spirit’. The music is from Gluck’s Orfeo et Euridice.
I have just passed an amazing three days at the Royal Ballet rehearsing with him (the facilities!) and realized what an honor it was for me to work with him. The solo has never been performed since he last danced it in the 80’s. It was an unparalleled experience. His innate sense of coaching and vision of the role was what impressed me the most. He is so elegant, so poetic in his movement. It was clear why he was such a revered artist.
During my stay, I was able to see the company dance Kenneth MacMillian’s Manon (in ABT’s rep) and a rep. program of Balanchine’s Serenade and Theme and Variations. Its interesting to watch a ballet that you have JUST performed and see the different staging, tiny nuances in execution of choreography. The company looked great. I even saw Alexandra Ansanelli, a former City Ballet principle and New York favorite. She was her usual brilliant self.
So here I am, writing 37,000 feet in air, on my way to Moscow to rehearse at the Bolshoi for a couple of days. Then on to…
Season Wrap Up
In a far too brief moment, the season at City Center came to its conclusion.
In an effort to cram in almost every ballet that was being presented during the season, I seemed to only have two shows off the whole run. Not to complain, I always look at this career and think that I only have a certain amount of time to dance. It’s the bitter truth and makes for the attempt to live every moment on stage and in rehearsal to its fullest.
My highlights though, personally speaking (others might have another opinion), were a handful of works as diverse as its comes. One being the world premiere of Lauri Stallings Citizen. If the ballet didn’t provoke discussion the costumes sure did (as you see below). It’s the first time, and maybe the last I wear a corset. Always up for some diversity and challenge, it proved an interesting step in another direction for me. Her movement was based a lot on Ohad Naharin’s Gaga method, which I loved to try and adapt to. And barely faked my way through. It was a true challenge and a great rehearsal process.
Another was the return of Balanchine’s Ballo Della Regina. I honestly haven’t felt that free on stage as I do in this ballet. Created as a clear vehicle for the ballerina, the steps for the man are liberating and have a certain breath to them. Working with famed ballerina Merril Ashley is always a joy. And having her ‘nit pick’ is something I crave as a dancer. The sweat, the work, its bliss.
The Tudor celebration also proved to be yet another shading of the ABT rep. that I respect. Tudor can be very limiting in its movement, due to the fact that you don’t have to work for the steps, the drama of the step and the ballet will explain themselves. It can seem like you are not doing anything, but yet it all unfolds itself. That was most present in the ‘Romeo and Juliet’ bedroom pas de deux that Gillian Murphy and I danced.
Nevertheless, it was a great season and utterly fulfilling in many ways. From Balanchine (Tchi pas, Theme and Variations, Ballo) to Tudor (Pillar, R and J) to new works (Citizen) to Kiliyan (Overgrown Path).
I enjoyed every minute of it.
Bard and Gehry
After returning to ABT, we soon embarked on a small tour to the Hudson Valley where an imposing theater exists. Frank Gehry designed a structure for Bard College, which is tucked away in the campus in all its silver shine. It was the fall foliage, which the valley is so famous for, and we couldn’t have gone at a better time. The leaves were AMAZING. It was so refreshing to get out of the city and experience the changing of the trees.
The program included an older piece if Jiri Kilyan called “Overgrown Path” with solo piano music by Leos Janacek. I strongly suggest you go on iTunes and purchase this piece of music. It is so subtle and gorgeous in its simplicity.
The Metropolitan Opera
With the season at ABT coming back into swing, I was offered a very interesting performance opportunity. The Metropolitan Opera was mounting a production of an opera called La Gioconda. In the opera’s third act there is a piece d’occasion called ‘Dance of the Hours’ (you would remember the music if you ever saw Disney’s Fantasia), with choreography by Christopher Wheeldon. I took up the performances, not only to work with Chris but to have anther excuse to dance on the Met stage. It was very interesting to dance with a 100 piece chorus behind us singing at full volume. Very motivating… to never open MY mouth and sing.
The mask (see below) was worn in my entrance. I was the moon and my partner, Gillian Murphy was the sun. The costume was blue leather (very hard to dance in) and beautifully embroidered.
So that kicked off my fall season in full swing. A memorable and worth while adventure.
Florence and surroundings
Two weeks to celebrate my mom’s 60th Birthday was exactly what I needed. My recent obsession with the Rennaisnace, it being a product of such creation, made Tuscany the perfect place to relax.
My brother and I even found a vintage Fiat 500 to cruise around in.
This moment I found particularly interesting.
Amidst the beauty of ancient ruins and towns, there still is the need for modern conveniences.
