I will never forget my first day of company class with the Metropolitan Opera. I felt like an idiot because I was among the first 5 contemporary dancers to ever be invited to dance at the Met. All the other dancers were official ballerinas. And then there were the 5 “others”.
To be fair the other 4 were graduates of Juilliard and other respected conservatories where they had plenty of ballet technique — a few were even ballet-turned-modern dancers. They knew the drill.
I was the only one from a post-modern background where ballet was simply what you were supposed to do 2 times a week to pay your dues. Most in my dance program didn’t come to ballet class and would choose body awareness class instead. There were no serious corrections or talk of good feet and certainly there was nary a pointe shoe in sight!
So enter myself in my socks in Kramerevsky’s class at The Met.
Yes I was in socks.***
I also stood at the “wrong barre” and was told in no uncertain terms by a real Met Opera ballerina that her pointe shoe had made the dent in the floor my ill-clad feet were now hovering over. She actually said that. 💔
I was to move.
Oops.
And then of course out came Kramerevsky — with his Einsteinian hair and thick accent — I had no actual clue what he was saying.
He was a furious teacher — with a lightening bolt energy that juxtaposed against his perceived age in a manner that had my mouth on the floor. It was as if his sheer will alone made his body move!
“How did I get this job” was all I could think of. I definitely thought they had made a mistake.
Needless to say I think I attended company class a few more times and then I never went back.
I realize now this was a terrible decision but the truth was I didn’t know anything about ballet at that time. Especially compared with the real ballerinas in the room.
I accepted myself as a full-on post-modern-modern-dancer. Defined by the identity of a Pedestrian. I had accepted my lot and my love of ballet remained a secret — so I wasn’t about to out myself as a ballet fool for all to see.
Its lovely now, in hindsight, to think back and wonder “what did Krammy think of me?”.
But I can rest assured: he didn’t think a damn thing!!! I was barely present and even when I was there, I was hiding in the corner. I didn’t dare go across the floor.
But he still made an impression I can never forget.
And fast forward moons later when I finally accepted my love of ballet — it was partially the memory of his incredible energy with his shocking white hair that helped me realize that I wasn’t that old!!
I still had time to learn! And maybe if I am lucky and worked hard I could be a passionate white haired woman teaching with great energy someday!
Thank you Mr. Kramerevsky for giving me that inspiration.
It would be an honor if you would join all of my heavenly angel coaches up there.
RUSSELL MALIPHANT COMPANY
We have all been there -- something amazing happens -- something you really didn't expect --- and yet, Somehow, Someway, For Christ's Sake!!!! You Drop The Ball! And there it goes .... Tumbling Into The Abyss. A friendship dropped. A call un-returned. An offer gambled.An Interview Unposted!
Please tell me I am not the only one prone to such actions. Lie to me if you must. Even I, in all my energized excitement for dance become over-committed and overwhelmed with juggling so many competing roles.
2 years ago, nearly to this day I was given the incredible opportunity to interview one of my most favorite of favorite choreographers, Russell Maliphant of Sadler's Wells. CAN YOU BELIEVE IT!? I WAS SHOCKED!
Russell has worked with so many incredible dancers..(eh'hem Sylvie Guillem -- but she's one of many) RUSSELL HIMSELF IS AN INCREDIBLE DANCER and he makes work right up my alley. Emotional, well designed, movement centered work. It's not cerebral.. it's not some sort of puzzle to be figured out and analysed -- or a mere display of youth. Its an experience that reaches into your senses and reminds us why we go to see dance at all -- that indeed somethings are best left unsaid -- and expressed through music, movement and the that-which -can-not-be-named "something" of theater.
To this day, I've never seen a more genius use of the haunting music of Satie. After seeing his glorious Afterlight, I was sold! I get downright moody when anyone else tries to use that music. It's sacrilegious in my mind. The last time I saw a concert using Satie all I was thinking was: "Just. Stop. Please. Stop Moving Around. Russell already showed you what this music can be." I was exasperated. Really, Russell develops in his choreography that depth of feeling that has become all too rarified in today's world, and contains that magical ingredient behind every memorable work -- that is, SOUL.
Nevertheless, after being granted a wonderful interview dinner, and the luxury of his time, personal obligations took over, and writing this blog took a backseat; then time passed, guilt grew -- and well, I didn't follow up and publish our chat. Yes, I am a bad person. No one would ever accuse me of great networking skills.
That said, we all really missed out here because Russell and I had an incredible time discussing at length his ideas on his craft. We touched on his incredible life in the arts, discussing his beginning from a working class family to ballet at The Royal Ballet School -- and his surprising path to becoming one of the world's most sought after choreographers of work that is far beyond classical ballet. Indeed, Russell has built a reputation on utilizing any movement -- from Martial Arts, to moves found in the underground street scene, to ballet, to modern -- whatever movement expresses his vision is what you will see.
We discussed his early inspiration of Nureyev, whose performance left a memory of excitement, passion and charisma that has characterized what he loves in dancers to this day. We discussed his belief that dancers need to really investigate why we are dancing and develop the abilities to be fully expressive in the work. And his need to stop perfecting pirouettes in order to reach deeper into movement as an honest tool of communication.
And yes, you missed learning about the entire point of his last venture to the US -- The Rodin Project, a dance - theater work based on Rodin's sculptures, brought to life before our very eyes by his gifted dancers RIGHT HERE IN NY! I can imagine a work as this being on rotating performances at both the Rodin Museum in Philadelphia, and the Musee Rodin in Paris. Yes indeed, you missed out on this -- and the time for those things have past. And it's my fault.
And I am sorry.
Nevertheless, it has to mean something that Russell is back in NYC NOW! December 10 - 14th at The Joyce, with his newest work titled STILL CURRENT. I can't help but hope that this title is a sign -- a sign that we are all survived the ball drop -- and we are still relevant -- mistakes, mishaps and all.
That said - lets move along.
For those of you unfamiliar with Russell's work I implore you to take a few moments to peruse his website,here. You can also learn more through The Joyce Theater Blog, here, where they have written 2 features on Russell and his company for this week's performance.If you are a dancer, dance lover, dance skeptic, dating a dancer, or just a generally smart person, you can't remain in the dark on this company.
THEN AFTER YOU HAVE SEEN THE LIGHT, IMMEDIATELY GO HERE AND GET YOUR TICKET for a truly special night in the theatre.
It's not often that Russell makes it to this side of The Pond --- so you can't afford to miss out now!
Every now and then someone young and fun comes across my radar as newsworthy... and well since I myself am about to begin a fundraising campaign for my own ballet study in Russia and Cuba for next year, I was more than delighted to help out with Michael Mengden's quest to train at the fabulous Bolshoi Ballet Academy in Moscow, Russia for the next academic year.
As many of you are aware, The Bolshoi Ballet Academy is one of the world's most prestigious training centers in the world, having trained so many of the world's finest dancers. In fact, if you were to name any one dancer whom the general public might know, you could probably guess that they graduated from the Bolshoi. Just to give you an idea, here is a list of only a handful of graduates, any of whom you can google and see the fantastic achievements they have been able to make due to their training:
Boris Akimov / Nina Ananiashvili / Natalia Bessmertnova
Sergei Filin / Yekaterina Geltzer / Sofia Golovkina
Vyacheslav Gordeyev / Maria Kochetkova / Ilya Kuznetsov
Mikhail Lavrovsky / Olga Lepeshinskaya / Andris Liepa
Maris Liepa / Vladimir Malakhov / Ekaterina Maximova
Maya Plisetskaya / Alexander Plisetski / Polina Semionova
Vasily Tikhomirov / Nikolai Tsiskaridze /
Vladimir Vasiliev / Yuri Vladimirov
It has been only recently that the academy has opened itself up to accept foreign students, and as such the competition for entrance is fierce -- with dancers from around the world vying for terribly few placements.
Nevertheless, Michael Mengden, a junior in high school at the American School in Houston, Texas just completed AND PASSED A SIX WEEK AUDITION (can you imagine a 42 day audition?!!!). One of five children with a passion for classical ballet, his dream is to of course become a professional dancer. That said, a huge step for Michael to achieve this dream would be the ability to attend the academy -- an opportunity which now depends solely depends upon his ability to raise the monies to go. With the yearly tuition, room and board being $13,500, and round-trip airfare being $2,500.00, Michael has begun an online campaign to raise $16,500 which will fully pay for his training, as well as a few incidentals which can quickly add up.
As Michael points out in his plea online for funding, his journey to Russia serves a great purpose, not only for himself but to others he may help. "In the future through my experiences and knowledge, I will be able to impart on to the next generation the traditions in the art of classical ballet." Even our very own Ambassador to Russia points out the importance of such cultural exchange saying that "I can’t stress enough how important these exchanges are in building a strong relationship between our countries... Indirectly, they...help to undermine stereotypes.”
As Michael has said online, "I thank God for all I have been given (and) any donation to help offset these costs would be a true blessing of your generosity". And then goes on to say that "If you're unable to donate, however, I would truly appreciate a message on facebook, an email or a prayer. Any kind of help is greatly appreciated more than you will ever know".
This said, I am reaching out to you, my readers, to begin the holiday spirit of giving early. Even just $5 can go along way -- and well, if your very own dream was only a matter of money, wouldn't you hope that someone -- anyone -- would help you out?
You can make a donation on Michael's GO FUND ME Pagehere
You may also contact Michael directly: jtmengden@yahoo.com
And finally, become a Facebook Friend and follow his journey here
While weekend class at Steps on Broadway is a pretty normal event here in NYC, meeting a true Prince is not. Where are the Mannered Gents hiding these days? Turns out, sometimes they are pirouetting right beside you!
Such was the case when I fumbled into the ever so regal Remi Wortmeyer - a second soloist with Dutch National Ballet. Showcasing blond hair, sparkling eyes and a genuine warmth rarely experienced in New York, I was even more delighted to discover the depth of this upcoming artist, who not only renews my faith in Prince Charming, but is also creating quite a stir in the dance world, creating work far beyond his years.
Named as one of theTop 100 Dance Artists in the world, this small glance upon the life and dreams of Remi Wortmeyer proves only a teaser; I'm sure we will be hearing a lot more about this Gentleman for years to come!
A PROUSTIAN PRY
Name: Remi Joel Wortmeyer
Birthplace: Adelaide, Australia
Occupation: Second Soloist Het National Ballet (Dutch National Ballet)
What do you most value in your friends? Honesty
What is your principle defect? Not always being able to see the forest for the trees.
What would you like to be, other than a dancer? I love the art world and I hope to always be involved in creating -- either choreography, direction, etc. Lately I have been romancing the idea of having an atelier in Paris to paint and be inspired.
What is the Color of Love? The entire spectrum. Love isn't only found in the red of a valentines heart or the rose coloured glasses of first encounters; it's in the brown of a fresh cup of coffee delivered to you in bed by that same valentine six years on.
What quality in a person moves you? Passion
Dinner for 2, or 3? Dinner for all! We've all got to eat.
Who do you most admire? My family. My mum has spent fifteen years ill with emphysema and has just been given a new lease on life with a double lung transplant. She inspires me to live life to my fullest capacity with courage. My dad is a Saint, an example of unyielding devotion and strength at all times.
A book to treasure? I like many authors: Italo Calvino, Ovid, Muriel Spark, Stephen Fry, Malcolm Rock. But I have just finished reading Extremely Loud and Incredibly Close by Jonathan Safran Foer. It was a toi, toi present from Paul Lightfoot and Sol Leon for the premiere of the piece they created on me 'Short Time Together'.
What is a favorite way to waste time? Getting lost in new cities when traveling and stumbling upon interesting cafes and cultural hot spots.
Do nice guys always finish last? We'll see... ;)
What natural gift would you most like to possess? Patience
What is your Motto? I'm often knowfor a joke my friends and I would tell each other to break the nerves before going on stage "Live the dream", but my life motto would be to Live and love passionately.
Substance or Style? One without the other? No excuse, style with substance always.
Cat or Dog? Dog
Marital Bliss or Bondage? Depending on the spouse, but I'd say bliss.
What sort of Animal would you be? I would like to say a Panther but I'd probably be a frog... although it took just one kiss to turn the frog into a Prince, fingers crossed!
With what could you not do without? The support of my family.
ENTRÉE VOUS!
Let’s start at the beginning: I’ve read that you “live for ballet” – that you have always lived for ballet. Describe for us your first memories of this world.
I was not yet three years old when I started ballet, my teacher lied about my age to make me appear older so I could take my RAD (Royal Academy of Dance) exams. From the outside looking in, it could be perceived that I knew no other life starting so young, but I didn't miss out on a childhood. I rode horses with family (I come from a family of horse trainers/owners and acclaimed jockeys), went BMX biking with friends and was on the swimming, running and shot-put teams at academic school, but ballet was the thing that stuck.
How does your family feel about your career choice? Are they supportive?
Yes, they are supportive! I can not hold higher esteem for my family and the sacrifices they have made to support my balletic endeavors!
Recently you were named by Dance Europe to be one of the top 100 dancers IN! THE! WORLD! I think you ranked at #15! WHOA! Were you shocked?
Yes very! It is an accolade I never expected to receive, but am so thankful for the recognition.
Ballet technique is just so very detailed – and we all know, very difficult. Watching you in class, I remember looking at you the first moment and thinking “My God! A REAL PRINCE!” What do you feel is at the heart of your work? Is it simply, your talent…? Your work ethic? What do you think is the key to developing such a polished and breezy technique?
The joy must come first! As you said ballet is difficult and technique is a never ending battle. I don't like to separate technique from artistry. Artistry facilitates technique by guiding the bodies ability through space with a purpose of intent.
Did you create that body… or was it a gift, from the gods?
It's the only one I have, so I do my best to take care of it.
The technical level of ballet in the past 10 years has soared… particularly for the men...it’s reaching super hero abilities. What are some of the measures in your training that you have taken to meet the ever increasing demand on the male technique? Are you very measured in your training and recovery routine?
Yes, coming from Australia where there is a huge importance on research and development for sports medicine I have learnt the need to strengthen and recover outside of ballet training. I do Pilates and high repetition, low weight training for endurance and lean strong muscles. I also swear by alternated hot, cold showers after the show to flush out lactic acid for faster recovery.
Of course there must be so many, but name one of your favorite coaching or mentoring sessions. Share with us some pearls this particular session gave you and why it stands out in your mind.
A fond memory was being coached by John Neumeier for the Dutch premiere of his Sylvia. We discussed the character, Aminta, and how every step was telling the story, this rang true to me, I mean this was an entire ballet where my philosophy of artistry facilitating and determining technique was completely realised in the choreography.
Let’s talk choreography… it is not often that someone dancing as much as you do is also choreographing as seriously – and well you seem to be serious. Let’s talk about how working as a choreographer developed… when did you first begin? Is it nerve racking? Do you work with the dancers to come up with movement phrases through improv or do you have a strong idea of movement phrases already? What do you look for in a dancer?
I have always had an interest in choreography, I first choreographed a piece around the age of 12, (and) it makes me laugh now - it was called Fire and Ice, for the South Australian Children's Ballet Company. Since then I have created on the Australian Ballet, Melbourne Ballet and four ballets on Dutch National Ballet. The latest piece 'Bijou' premiered last month. It is stressful to hand over the piece to the dancers. Unlike a dancer, the choreographer has no control over the product once the curtain raises. I have been fortunate to create on very talented and devoted dancers, so this stress has been lessened a great deal. I think it's very important to listen to the ideas of your dancers during the creative process and to allow them to explore there interpretations of the vocabulary, but it is also necessary to have a clear vision, vocabulary and direction of your own.
Let’s speak of Magdalene (In Defence of Beauty), a Dance-Opera you choreographed for Dutch National last year. How did this come about, and what did this project mean for you?
Both Magdalene for Dutch National and Fade Not for the Australian Ballet, were experiments in combining ballet and opera on equal terms. Rather than putting a ballet treatment on a pre existing opera I wanted to work with writer Malcolm Rock and composer Chloe Charody on a new opera score written for dance. I also wanted to create a work where the singer is completely integrated with the dancers and pivotal in the choreography.
Women in ballet are seemingly bombarded with constant chatter regarding the aesthetic of their body, with what can be perceived as a secondary interest in their ability. Conversely, it seems for men, while there are comments on a man's form (“he’s so elegant --- look at his legs”) it seems that most conversations are centered on a man's actually ability to perform the skills. Having a body that rivals Adonis sure can’t hurt things, but how do you feel in terms of pressure to maintain your physique and to perform? Do you diet or watch calorie intake?
Personally I've been lucky in this regard. I have studied nutrition and understand the bodies need for food and the right kinds of food. Although I love desserts and fast food, I know that gaining weight is only the external affect of this kind of diet and (so,) you must eat nutritionally to maintain good health and well being. (This said,) I eat for function with a keen weakness for indulgence.
Coming to Dutch National from Australia – How does it feel ? Do you miss Australia?
I do miss my family and the Australian sun, but I am very happy to be exploring the history and artistic climate Europe has on offer.
Do you have any interest in teaching?
I enjoy coaching repertoire and assisting dancers in the development of the role.
Your list of repertoire reads like a novel… you claim a diverse repertoire and that’s exciting! Contemporary ballet is becoming more of a draw for audiences and is slowly making its way to the larger, proscenium stages. With its sexiness, bold, extreme lines and daring vocabulary one can hardly doubt why it is a favorite among the younger set. As such, more and more choreographers are choosing a contemporary or neo-classical vocabulary versus a purely classical vocabulary. They are dancing feelings, and ideas, not necessarily narrative stories. How do you feel about this – as a choreographer and as a dancer?
I feel there is definitely space for both and I am thankful that I have the opportunity to dance and choreograph in both disciplines. I feel that the more you are exposed to, the more you understand art and the intent behind it.
How do you feel about the Classics ? Do you feel they are simply for historical value, or do you feel that they have an important value to our culture of today?
I think it is very important to not see the classics as only museum pieces, and new classics should be constantly invented. (We see this with) Kenneth MacMillan's Manon and Neumeier's Lady of the Camellias -- these are works that are living on and will become Classics to future generations. Classical technique is evolving and new ballets should utilize this.
Seeing that contemporary technique demands such a high level of athleticism, do you feel that the need to “do everything” weakens the classical technique or dramatic polish in today’s dancers? How can one do everything well? Do you feel that Ballet training needs to alter to meet these needs? How have you prepared ?
I feel that the demand to be able to "do everything" is very strong, but I don't see it as weakening the classical form. It allows you to explore past your prior limitations. The more extremely opposite from Classical Ballet I stray, the more I understand the importance of (the Classical Ballet) training.
Is there a piece of advice you would give to an aspiring dancer in terms of how they approach their work?
Love it or leave it, there is no grey area, the audience will always know if you're not sincere.
Premiering New Works Feb 4th & 5th at City Center Studios
WHO JUST UP AND DECIDES TO DANCE IN HIS 20'S AND IS NOW RUNNING A CHAMBER-SIZED BALLET COMPANY IN 2011?
READ BELOW A FASCINATING CONVERSATION WITH YOUNG DIRECTOR MIRO MAGLOIRE, AS WE DISCUSS HIS PATH TO DANCE, HIS VIEWPOINTS & HIS VISION. THEN CLICK AT THE BOTTOM TO GET YOUR TICKETS TO ATTEND WHAT IS SURE TO BE AN INTIMATE & MEMORABLE AFFAIR OF LIVE MUSIC & PERFORMANCE.
Let's start with a bit of bio for those unfamiliar with you...Where were you born? Describe your family...your heritage, etc.
MIRO MAGLOIRE:I was born in Munich, Germany to Haitian-German parents, and I'm an only child.
You began as a musician -- a pianist, at age 6, if I am correct? Do you remember your beginnings -- was it a positive experience?
MIRO: Yes, I was around 6 or 7 years old when I started playing the piano. I enjoyed it, but I was really more absorbed in soccer. My first piano teacher, a composer, realized I wasn't a prodigy (and didn't like to practice) but he found a way to make it meaningful to me. He started teaching me how to look at the structure of music to see how it was built, and that struck a chord with me. The lessons were less about technique than about music itself. I think in many ways, my teacher's ability to sense this helped me discover my love for music. Had there been any serious pressure to succeed at that point, I would've quit, I'm sure.
Do you play any other instruments? Your family, are they also musical / artistic?
My parents are a physicist and a psychotherapist, respectively. So there was never a push to "be a musician" or artist. My main instrument has been the piano. I also learned the guitar for a few years, and I've dabbled a bit in Latin Percussion. I even studied the double bass for a few months.
You are of Haitian heritage -- which has an impressive artistic & literary culture.... did this sort of make the arts a normal expectation for you growing up? Do you feel this heritage plays an important role for you, or was it simply in the background?
I think it's very much in the background. I was raised in Germany, surrounded by German music, literature, and so on. When I grew up, in the entire city of Munich -- where there was a population of around 1 million -- there were only 4 or 5 other Haitian families. We knew them all and spent a lot of time together, but still -- I wouldn't call myself a "Haitian Artist" simply because my father is Haitian. That's too simplistic. On the other hand, even if that heritage is only in the background... the background can be a very powerful place, right?
Lets talk about your first success as a Composer.... where was this....what piece....how did it feel to be honored as a musician at only age 17?
Well, until about age 13 I was completely obsessed with soccer. Then I realized that I was not really good enough to make it a professional career. As a kid I was never really a "doer" -- I was a "thinker". I was even kicked out of ski class for my inability to understand why we had to trek up the big hill on foot when there was a ski lift. After that, the ski instructor commented that perhaps I "wasn't ready". So much for that. With soccer out of the question, I turned to music instead. But not to the piano - to composing! Around the same time, my family moved from Munich to Cologne, and this separated me from most of my friends and gave me more time to focus on music. I really threw myself into it, and spent all my free time composing -- my parents were supportive but never pushed me. I suppose they were just happy that their teenage son stayed out of trouble...
Cologne was the epicenter of Contemporary Music in Germany at the time, so of course I went to hear everything. I entered the Forum For Young Composers Competition at age 17 -- and I won a prize. It was bizarre. Sure, the piece was audacious for a 17 year-old... But in hindsight I don't think it was very good. The one thing the award did do, however, was to convince my parents that a career in music was possible for me. That was a huge help -- probably the most helpful thing to come out of the entire situation. Suddenly I had everyone's stamp of approval. No one had thought it would be a serious pursuit until then.
You then went on to study with Mauricio Kagel. Who is he? and what importance has this time of study held for you as a musician?
Kagel was an Argentinian-German composer -- amongst the leaders of contemporary composers in Germany. He was part of the group young composers who redefined the music scene in Germany after World War II. Most of the great composers prior to WWII had left Germany, primarily to America. It was really a destitute time in Germany, and those young composers built it up from the ashes, so to speak. By the time I became Kagel's student, he was in his 60's. He had an extraordinarily strong personality -- it was open-minded, very interesting -- but it was incredibly strong and hard-driving. He really put me to work. He worked all of his students hard. It was perplexing to be such a young student with such a demanding teacher. On the very first day he told me that he thought I was too young to make the decision to be a composer...
It then seems like you were a bit discouraged from composing... why?
The reality of being a composer really did not match what I had expected. Composers work alone, at the desk, all day long. I wrote, and wrote, and I missed the human contact. Also, as a composer you are in an executive position - you tell the musicians what to do, and you decide where the art form will go. That's a large responsibility for someone so young, and I wasn't ready for that.
Let's talk about Dance - and of course, particularly, Ballet -- was it love at first sight? How did you interest evolve in dance? What are some of your early experiences in the dance world. When did you move to NYC?
MIRO: While studying with Kagel, I had been accompanying dance classes to make some money on the side. At first, I took dance classes to better understand how to accompany them. But I immediately began to love it for its own sake. I skipped my music history class and went to ballet instead. At the time, the director of the Ailey School, Denise Jefferson, often came to teach in Cologne, and so I knew about that school - and when I stopped my composition studies, I applied to become a student there. By this point I was 23 years old. I signed up for a 6 month course, and then I added another 6 months, and so on. Until one of my teachers at Ailey, Yung Yung Tsuai, told me that if I really took my desire seriously I could become a dancer. That changed my outlook. Another teacher at Ailey, Kazuko Hirabayashi, took me under her wing, and when she became the director of the Martha Graham Dance Ensemble (the 'second' company) I followed her there. Without these two I wouldn't have become a dancer.
Many of the most reknowned Choreographers in history are intimately aware of music -- from Petipa to Balanchine to Morris, to Robbins to Astaire -- right down to even, Merce Cunningham --- do you think your beginnings as a musician have sort of made it an easier transition into the world of dance?
MIRO: Dance and music have the same ancestry - they used to be the same art form. So going from one to the other felt quite natural to me. (As an aside: I learned a lot about music from dancing!) And I suppose I've always approached my dancing, and now my choreography, from a musical point of view. For better or worse. In addition, now that I have a company it makes it easier to communicate with musicians - I am more aware of what can and can't be done with a piece of music. The nuts and bolts of the process are easier for me.
Whose choreography do you just LOVE? And what about music? Who are your inspirations?
MIRO: This is too difficult... I love so many choreographers and composers! Just for the sake of giving you an example, I am currently interested in Robbins: he never stopped trying new approaches. You can watch a season of his works and never see the same approach twice, and I find that really impressive. Always investigating how ballet can be theatrical. I admire that. Or, another example; the entire generation of composers active in the late 20th Century impress me. What they did with music fascinates me. I only regret that, because their music is perceived as "difficult", we don't hear it more.
You are, pardon my French, ballsy -- or courageous! Essentially, you have chosen to work in one of the most elitist art forms going, with no formal pedigree in ballet -- why is that and what have been the barriers to that? Why not work within the modern dance world, where of course most ideas are at least given a nod to? What have been some of the challenges? What is your thinking on coming into an art that essentially turns nearly everyone away?
MIRO: I didn't come to ballet for "the pink satin experience". I really appreciate the level of detail and definition in ballet. Pointe work, to me, is a tool, not an aesthetic choice. It's a tool that allows an incredibly specific way to shift your weight. A technical achievement, in other words, that can function within any aesthetic vision. It doesn't have to be about being light and airy.
And I never worried much about being accepted in ballet. When you decide to become a dancer at 23, you do it for yourself, not to get someone's approval. It's not my business to convince others of my choices -- my business is to create good music, good dances.
What led you to just go and create a company? How do you survive and how have you been received? What are the rewards -- and also the challenges? How long has New Chamber Ballet been in operation? What are your long term goals -- and what do you feel this sort of arrangement allows you to accomplish that can't be better accomplished in a larger company? Would you like to have a full-time company of dancers and musicians?
MIRO: I didn't start out creating a company. I started out creating work, one piece at a time, and it has evolved to this. New Chamber Ballet has now been in operation for 7 years. Of course, I'd love to have the financial backing to have the company in session full-time, to offer a full contract to my dancers and musicians, because as we stand now it is just exhausting for all parties involved. Everyone is working to the maximum, really it is daunting. A better financial structure would allow us to be even more productive, with less waste from sheer exhaustion. But I don't want a larger company -- I am interested in what can be said with a chamber-sized group. It seems more practical to me.
You insist on live music -- correct? Do you ever use recorded music? Is using live music a limitation?
MIRO: That's right -- I do insist. I used recorded music in the beginning, but really it makes no sense to me now. As I said before, music and dance came into existence together, and to give up on live music is to somehow sacrifice an important part of the art. There is just no comparison for the audience to hear recorded music and see live dance -- just as you wouldn't go to see the NYCB and have a live orchestra with a video of the dance, right? Of course this is limiting -- I can't afford to pay an entire orchestra, so I can't choose pieces that require a harp or a bassoon or even a clarinet. That's why we use piano and violin, because there's a large repertory for these two instruments. It gives me, and the choreographers who work with us, a lot of options. But we can't go back to using recorded music. It's just not the kind of experience I am trying to create. I don't mind the limitations: art is about creating something from nothing!
You use primarily piano and violin --what other instruments appeal to you -- what of voice or choral work?
MIRO: I really love all of them, and the voice too. My choice of piano and violin is simply a matter of practicality.
Let's talk about your mentorship under Willhem Burmann -- OOOHHHHH he is IMPECCABLE -- intimidatingly so! How did you meet, what was the connection? How has he mentored you? Don't you play for his classes sometimes?
MIRO: I had been studying ballet with Peff Modelski. She really opened a lot of doors for me in terms of understanding how my body could work as a dancer. During that time I had gone to watch a class of Stanley Williams at SAB. I was fascinated by his teaching. He passed away shortly thereafter and Peff told me I should try to take Willy Burmann's class. At first I was hesitant -- his class had a reputation of being the most difficult, and I was wondering if I had any business being in there -- but I ended up going, 1 or 2 times a week at first, then daily. And after a while I could hardly imagine training with anyone else. Physically, it resonated with me the way no other ballet class had before. But beyond that, it began to change the way I thought about ballet. He really insists that you build the artistry into the training, which makes all the difference. Also, you learn from watching the people around you work.
There were two dancers in particular, in his class, who shaped my idea of what ballet can be: Wendy Whelan and Alessandra Ferri. They are completely different, but each in her own way took what she learned from Willy to a point where it became transformative for the rest of us. I mean, I used to go watch both of them dance whenever I could - I still do, in Wendy's case - because it has such an impact on me. Alessandra Ferri was also instrumental in another aspect of my career: I think she had heard me play the piano somewhere, and one day she asked me if I wanted to play for her private warm-up with Willy Burmann -- he gave her a warm-up for every performance. I was in awe -- what an honor! This led to my playing for Willy Burmann's classes more often, and of course, we eventually recorded a number of CDs of ballet class music. And just like he formed my dancing, Willy also profoundly changed the way I thought about playing for class. Many people have noticed his insistent manner of communicating with the pianists -- and well, honestly, it's great to have a ballet teacher who really cares about and has a vision for the music in his class. It may take a lot of effort to get it right. But it's worth every bit of it.
Ok lets talk about the Composers on the program this weekend...we've got Debussy, Saint Saens, Handel, and also Stockhausen. What do these composers have in common -- anything? Also, research suggests that Debussy and Saint Saens hated each other -- do you feel that this program could you know, excite them in the grave?
MIRO: The composers don't really have that much in common -- the program wasn't curated with regard to its music. The choreographers independently came up with these choices -- ironically yes, a Debussy and a Saint-Saens. And yes, I heard that they weren't too fond of each other - that might cause a rumble. Maybe there will be a storm somewhere! Once the other choreographers told me their choices, I adapted my own so that it would make sense. But really its just a product of moving within the limits of what we can perform live. If you set the limits strictly -- such as 'only piano and violin' -- you can move quite freely within.
And the dancing -- what excites you about your fellow choreographers? What should the audience expect to see?
MIRO: I try to find choreographers that are different from what I do, and who have a good rapport with my dancers. This weekend we have works by Emery LeCrone and Constantine Baecher. Emery -- she is just 24, she's prolific, and she'll try anything! One moment she's doing something very weird and avant-garde in a small space -- the next an abstract ballet on a big stage. But through all that she has a lot to give to the dancers, which is an often overlooked quality in choreographers. With Constantine, we've worked a lot together. As an American who has trained and worked almost exclusively Europe -- he went to school in Hamburg, and is dancing with The Royal Danish Ballet -- he has a totally different viewpoint of what dance can and should be. His works are so theatrical. Sometimes it's a stretch for our dancers - but they really enjoy it. So, between the two of them, I find the collaboration inspiring and energizing.
What do you look for in dancers that you work with ? How do you cast? Do you have any thoughts with regards to training for dancers?
MIRO: I look for someone who has a strong ballet technique that is entirely at the service of their desire to move. They have to like working with choreographers - not everyone has that spirit of exploration. They have to have enough experience to do solo work. And -- this may surprise you -- the first thing I wonder is, can they handle the schedule? This is so important, because NCB is not a 6 days a week, 10am-6pm company, but we try to achieve things as if we were. That takes an enormous amount of focus from everyone. I don't want a constant turnover of dancers. I need someone who can manage the demanding schedule, otherwise it won't work. That's it, in a nutshell...
What would you hope that your audience can garner from a New Chamber Ballet performance that they may not be as able to get at say, a NYCB performance?
MIRO: A more intimate atmosphere, and a more direct experience of the work. There is no physical barrier between the performers, the musicians and the audience. It's almost a return to a more primal, "village square"-like situation, where everyone sits in a circle and someone goes to the center to sing, dance or tell a story. The transformation from "normal person" to "artist" happens right in front of your eyes. I find that more powerful. Our stage really isn't a "stage" but just a big square. This is totally different than the experience in a large theater; its a totally different idea. Other companies are explicitly drawing a line between the audience and themselves. I am focusing on a different approach - not necessarily a better one, but certainly different.
Nearly every Creative has a muse -- do you?
MIRO: My dancers.
Are you also working on musical compositions -- aside from those for ballets?
MIRO: No. I rarely get around to compose, and if so, only for my own ballets.
Ok thanks so much Miro! That was great. Now, are you ready for your Proustian Questionairre?
MIRO: Aren't people given at least a week to compose fascinating answers to Proustian Questions?
Really? Maybe, but not this time... can we try? Just your instantaneous responses?
MIRO: Ok...we can try. I'll try.
MIRO MAGLOIRE'S PROUSTIAN CHALLENGE
YOUR LAST SUPPER: Homecooked veggies, rice, everything -- a raid of the fridge! Everything - prepared homestyle!
YOU HAVE A WEAKNESS FOR: Chocolate & Italian Renaissance Paintings. (My doctor barred the chocolate, so now I overdose on paintings alone)
A QUALITY YOU ADMIRE IN A WOMAN, A MAN: Warmth. Is that boring? (MB: No!)
YOUR IDEA OF EARTHLY HAPPINESS: A Chocolate Dinner shared with all of my favorite Composers, served in a grand room decorated with the works by the brilliant Italian Renaissance Painter, Raphael. (But see above for Doctor's orders...)
SOMETHING YOU CANT LIVE WITHOUT: Dance & Music.
DINNER FOR 2 or 3: 2
LOWEST DEPTH OF MISERY: Taking too much time off. Getting restless.
WHAT WOULD YOU HAVE LIKED TO HAVE BEEN: Until age 10, a soccer player. Since Age 20, a choreographer and composer......oh wait, that's what I am!
RATHER BORN PAST OR PRESENT: Present.
LESSON YOU WOULD PASS ON: If you want it, you can do it. But you really have to want it.
EARLY MORNING or EARLY EVE: Early Morning.
LOCATION OF CHOICE: RIGHT HERE.
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SEE NEW CHAMBER BALLET FRI & SAT FEB 4th & 5th at 8PM
New Chamber Ballet's 2010/11 season continues with a program of five ballets to live music on violin and piano: 1.) "Prelude In Grays," a new ballet by Constantine Baecher of the Royal Danish Ballet set to music by Debussy 2.) The world premiere of a daunting solo by Emery LeCrone, performed by Alexandra Blacker, to music by Camille Saint-Saens 3.) A new trio by Miro Magloire, accompanied only by the sounds of percussive sticks 4) The revival of Magloire's "Klavierstück" to music by Stockhausen, in which the piano is on stage, with the dancers "circling and hugging it as if bewitched by it, yet also occasionally moving away..." [Jack Anderson, NY Theatre Wire] 5.) "Symmetry," a duet set to Handel violin sonatas.
Performers include Alexandra Blacker, Madeline Deavenport, Katie Gibson, Victoria North and Lauren Toole. The music will be played live by Erik Carlson (violin) and Steven Beck (piano).
"It's heartening to see work so focused on the meeting of dance and music." - Alastair Macaulay, The New York Times
Tickets are $22 ($12 for seniors, students with ID and professional dancers) and can be purchased at http://www.smarttix.com/ or by phone at (212) 868-4444.
Daniil and I had a most fantastic evening chatting it up over his favorite cookies and hot cocoa. A newly promoted soloist wunderkind for American Ballet Theatre, Daniil humored the Madame with ALL of her probing questions!
Gracing the stages of NYC for the past 18 months, Daniil has fast become a New Yorker par excellence. Praised by the Audience and Critics alike, Daniil is rising to the status of a sort of ballet super-hero...bringing both lightening-sharp technical abilities with a stage presence many years his senior. The comparisons to "the other greats" of course have been clearly made, but Madame B. wondered...what's behind all this jazz?? As a dancer myself and a lover of not only ballet, I had of course seen Daniil perform on a number of occasions and had intuitively felt that somehow he was more than "just a ballet dancer". Indeed, my intuition was right! Read below to find out more!
THE TEASER COURSE: NAME:Daniil Simkin BIRTHPLACE:Novosibirsk, Russia -- 3rd Largest City in Russia. AGE:22 OCCUPATION:Ballet Dancer, Soloist: American Ballet Theatre, NYC HOW LONG IN NYC?:1&1/2 years. Mama's Boy, or Papa's Pride? Mama's Boy. She taught me for 10 years, and I talk to her daily. Your favorite meal?Pelmini, a Russian Style Pasta with Filling. Can talent be overcome?I don't like the word Talent. It is too surface; it is such a combination of so many things and yet, no one knows what it is -- it is cliche. Your Favorite Virtue?Strong Work Ethic. What do you most value in your friends?Loyalty. What are your principle defects?Perfectionist... and I think too much. What is your dream of happiness?There is no "dream" of happiness -- happiness is something you decide each day -- it is something that comes from within. What would you like to be, other than a dancer?When I was a younger boy, I thought I'd like to be a dentist. It seemed a smart choice for a good life. What is the Color of Love?Black because black is no color. What quality in a person moves you?Generosity. What is your favorite gift received?The gift of Someone's Time. Dinner for 2, or 3?2 Who do you most admire?My Parents. Name a favorite composer?Mozart Name a favorite Book. 2 come to mind: Fight Club, by Chuck Palahniuk & The Power of Now, Eckhart Tolle What is a favorite way to waste time?Thinking -- but I am trying to cut back! Do Nice Guys Always Finish Last?No. What is it you most dislike? Emotionalism -- when it is out of control. What natural gift would you most like to possess?Beauty of the tongue -- ease of verbal expression. In what would you like to be rather caught dead?A perfectly fitted, perfectly pressed Armani Suit. What is your present state of mind?Right now, I am giving an interview. What is your motto?(Tryto) Go With The Flow. Substance or Style?Both. What is your vice?Thinking too much -- & Chocolate. Marital bliss or bondage? There are always two sides. But I hope for Bliss. If you had a million dollars....I would not change a thing! What sort of Animal would you be?A Cat. A Favorite Word(s):Cellar Door - supposedly the most beautiful words in the English language.
With what could you not do without?Cookies.
THE ENTREE COURSE:
You did not have a normal European ballet upbringing such as in being tucked away into an elite academy -- you were trained by your parents..at home. How has this affected your viewpoint as a dancer? DS:In many ways I feel that this allowed me to become more comfortable in my own skin -- less self-conscious and perhaps a bit more assured. I was trained more similarly to a musician -- who trains privately -- not in a class of others. As such, I was kept out of an overly competitive environment. My Mother and I made my goals and I competed mainly with myself. I was trained in a very positive manner by my Mother -- who knew what would work for me and my body. I am very thankful for this great luck! Most young trainees spend up to 7 hours a day practicing, regardless of their own individual needs or body type. I, as a former Athlete, have always found this idea a bit "curious" and even dangerous. Do you believe training with your parents has in some ways saved your body? Were they more respectful of your individual needs? DS:Well, I think it is important to realize that I attended a regular Academic School (not an Academic School for Dancers) and had normal academic pressures. I had homework and assignments, activities, etc. So, I could only train about 2 hours a day. Coming from a intensive conservatory experience themselves, my parents really thought it was important for me to have a broad education for myself -- giving me options to decide what I wanted to do. So we worked in a manner that fit with all of my other obligations. Again I was lucky -- and this schedule worked for me. Science has shown that different muscle types respond differently to training. I have a lot of fast-twitch muscle so it responds more readily to this kind of highly focused work. Many professional dancers seem very sincere in their efforts to be "an Artist"-- very serious about their work.... and often appear burdened by their "calling". You seem at ease and thrilled to dance! How thrilled are you? Do you feel that this makes you any less sincere in your desire to communicate as an artist to your audience? Or do you feel misunderstood? DS:First, I am a person. Me -- Daniil, myself. Then I am working on developing as a dancer. Most important you have to be yourself and trust that the Art will naturally develop from the working process...this comes often through the soul, or the sub-conscious mind. You can not put your finger on or define exactly what that is -- you can not "pose" as an Artist or "brood" as an Artist. You always see one's personality in the work, and I really enjoy the dancing. I am very happy to be doing this! But the more someone "tries to be an artist" the further away they become from the purpose of the Art, which is to allow the sub-conscious/soul to come through and express itself. You are most often compared to Baryshnikov / Nureyev. What does this mean to you? What do those men mean to you? DS:I feel so lucky! I am so privileged to be living my life as a dancer -- here in NYC, and for ABT. It is of course a great honor to be compared to these men -- who are amazing and who played such a great role in the history of ballet. However, I am really just trying to dance my dance, be myself. I don't want to get tricked into trying to become them or trying to better them. Certainly these men and others are my great inspirations -- and the comparisons are flattering and shocking. Also, My father really inspires me. Of course, I can study these Men and especially now with You Tube I can study so many of the great male dancers. But I don't want to get caught up in these ideas -- that can put a lot of pressure on me, and on others. Inevitably, I am just trying to deliver my own performance - just trying to be myself. Given that audience numbers are dwindling -- and that there is a load of competition for the audience in today's society (you can watch an Opera at the movies nowadays for $12!)...what do you think is the one thing that is necessary to forward the classical form -- and what can prohibit this art form from moving forward? DS:Our art-form and the approach of our art-form is a little dated. I believe that the veil of mystique needs to be lifted.... I am not a "special breed" of a human or some super-natural, royal person. I am a simple person, who is a dancer. This image of the Ballet World as being elite and mystical, I believe that this could be updated -- we need to give access into the community and to the dancers and dances. Our art-form has a lot of potential but only if it chooses to grows as our culture grows, only then can it be successful and appreciated into the future. Abstract vs Classical -- both have their critics -- on one hand Abstract works can often be critiqued as isolating or lacking in artistic weight -- yet, they have certainly risen the barre as to the physical feats/demands, and from this standpoint can be exciting! Whereas The Classics, with their beautiful stories and history are sometimes critiqued as being passe. What do you think? Do you find this a valid concern for the form, or just a sort of noise? DS:First, it is important to realize that Dance is the quintessential art-form in that its vehicle is human movement. Science has shown that 80-90% of human communication is non-verbal -- body language -- as in movement. So, to say that either is somehow against the other is I think to dismiss the human right to explore the many varieties of human movement or dance. When a group of people mutually agree to explore something then they have a right to be there. It is cliche to think that only Classical Dance has a soul. Classical Dance can be performed with or without a soul. Modern Dance can also be performed with a soul. For example, take Jiri Kilian, this has soul. Or take the work of Mat Eks -- his work is very physically demanding. Yet, when done with soul, when performed well, it gives an incredible amount back. It can be extremely moving. I prefer not to buy into simple cliche descriptions of one against the other.
How have you addressed the rising athletic demands of the form? Do you seek information from the Athletic Community to address the physical concerns? DS: I have not really addressed myself as an athlete, per se. However I do think there is a lot of research available that I am interested in. In many ways the "performing arts" world lags behind on some the research being used on top athletes -- and well, dance is both athletic and artistic -- it is a both aspects -- not just fluff. It is mind connected to body. I am interested in anything that helps improve that. You Tweet / Facebook etc etc. You have enough fans on Facebook to fill The Metropolitan Opera House - do you think this sort of changes the game in any sort of manner?
DS:No it doesn't change anything. I just think that we need more transparency in the community...it is good in 2010. Good for the audience and others to connect. Anyway, I am drawn to the computer -- ever since my father got one. I love technology! And I enjoy keeping in touch with people and making friends. It's fun -- it's a great past-time and it's what people do these days. It's normal. Do you crave "A Dance Partnership?" DS:Not in that traditional sense of having only one partner. It's good to develop with someone for sure, but it is enriching to have experience with different partners, with varying work.
"I am not an elitist and I suppose that is the bulk of my problem. Often times Elitism is mistaken for art." (Marilyn Monroe) How do you feel about this statement? DS:Again, this whole thing with Elitism --it is sort of just making a point. Andy Warhol made his points. I think you can make a point -- even an elitist point, that doesn't mean you are making art. This elitist portrayal of the ballet or of a ballet dancer, this seems self-important to me -- it is not art. Again all this mysticism, for me is sort of false -- I am not attracted to these ideas -- it loses its magic, somehow, you know? You have to be humble to create art on a high level, get past the self-absorption -- that's just my point of view.
THANK YOU DANIIL!
DS:My Pleasure!Thanks for the Cookies!
------------------------------ Check out Daniil's Videos here! You can follow Daniil on Facebook or at his Website, here! And Yes! He Tweets... right here!
Upcoming Performances:
Sunday, April 25th 2010 X Mariinsky International Ballet Festival Gala in St. Petersburg
Rep: Fallen Angel and Les Bourgeois (St. Petersburg)
Saturday, May 8th 2010 – Sunday, May 9th 2010 Gala in Munich, Germany
Repertoire: Les Bourgeois and Le Corsaire Pas de Deux (Munich, Germany)
Monday, May 17th 2010 ABT at the MET Opening Night Gala
Repertoire: To be announced (Metropolitan Opera, New York City, USA)
Wednesday, June 9th 2010 ABT at the MET: Premieres Repertory
Repertoire: Brahms Haydn Variations & Fancy Free (Metropolitan Opera, New York City, USA)
Thursday, June 10th 2010ABT at the MET: All Ashton Repertory – The Dream (debut)
Repertoire: Puck in Ashton’s ‘The Dream’ (Metropolitan Opera, New York City, USA)
Friday, June 11th 2010 ABT at the MET: Premieres Repertory
Repertory: The Brahms Haydn Variations (Metropolitan Opera, New York City, USA)
Saturday, June 12th 2010ABT at the MET: All-Ashton Repertory
The Dream (Metropolitan Opera, New York City, USA)
Saturday, June 12th 2010 ABT athe the MET: All-American Repertory
Fancy Free (Metropolitan Opera, New York City, USA)
Thursday, July 1st 2010ABT Premieres Repertory
The Brahms Haydn Variations (Metropolitan Opera, New York City, USA)
Saturday, July 3rd 2010 ABT at the MET: All American Repetory
The Brahms Haydn Variations (Metropolitan Opera, New York City, USA)
Saturday, July 3rd 2010 All American Repertory
Fancy Free (Metropolitan Opera, New York City, USA)
Wednesday, July 28th 2010 Un Violon Sur le Sable in Royan, France
Open Air performance (Royan, France)
Friday, August 6th 2010 – Saturday, August 7th 2010 Vail International Ballet Festival in Vail, USA (Vail, Colorado, USA)
Friday, August 20th 2010Don Quixote with NBS in Tokyo, Japan
Partner: Reiko Koide (Toyko, Japan, U-Port Hall)
Sunday, August 22nd 2010 Don Quixote with NBS in Tokyo, Japan
Partner: Reiko Koide (Tokyo, Japan, U-Port Hall)
Saturday, August 28th 2010 – Sunday, August 29th 2010 Ballet Superstar Gala in Taipei
