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Corella Ballet: recalling the company’s solid US debut
In March 2010, Angel Corella’s grand project - several years in the making - Corella Ballet, made its American debut at NY’s City Center. Whatever expectations the audience had for the new company, no doubt much was going to be measured against Corella himself in his new
capacity as both artistic director and principal dancer.
The company’s appearance drew Corella’s own fans among the general dance going public, but they soon found reason to celebrate his new achievement on its own merits. There were several standout dancers, Adiarys Almeida, a strong principal with a classical bent, Ashley Ellis, lately of ABT, Carmen Corella, Herman Cornejo, and several soloists. Corella brought his own charisma and star power to the stage, and it seemed, a new kind of confidence, born of his new status of both overseeing and nurturing young talent.
The aim of Corella Ballet, as told to me in an interview with Corella himself, is both to establish a classical ballet company in Spain, the first of its kind in quite some time, and to give opportunities to young dancers primarily in Spain that Corella himself had experienced a dearth of at the start of his career. It was that situation that brought him to American shores to dance with ABT, and it is quite a nice coming full circle to see him providing those chances to new young talent and bringing them here in his new company to demonstrate their abilities.
In his conception of the company, Corella presented a visual feast, starting with a photographic series of his dancers in stylized poses and costumes recalling works of literature. These were on display in the lobby of City Center during the company’s run. The costumes, extravagant and memorable, with a Spanish flair – taffeta like material for the tutus, browns and other rich colors with designs that recalled Spanish royalty, caught the eye from the start.
These also appeared in his first ballet, String Sextet choreographed by Corella to music by Tchaikovsky. The ballet’s four movements suggested a dialogue between the dancers and the audience; with three couples at first, then one couple, a solo variation, and ending with two couples. The corps supported nicely, they seemed excited to represent the company in this debut. Of the dancers, soloist Maria Jose Sales, stood out for her delicate beauty and her refinement of technique. Her pas de deux with Sergey D’yachkov was a luxurious display of her lovely line, technical clarity and excellent training. Joseph Gatti, in the third movement, made the most of the steps with a strong presence and attack. The entire ballet had a Spanish flair; a tango movement was suggested at one point when during a pas de deux, a leg was seductively and slyly wrapped around the man’s. This ballet proved that the male dancers were quite strong technically and this was a welcome sight for such a new company.
Walpurgisnacht, with choreography by Leonid Lavrovsky to music by Charles Francoise Gounod followed, and after that, Sunny Duet with the compelling Almeida partnered by Herman Cornejo. Though petit, Almeida packs a punch- she has a strength that suggests endless series of fouettes should she wish to undertake them. Cornejo was exciting as always, and seems to have found a nice home in Corella’s company to compliment his ABT performances.
A highlight was the next ballet, Solea, with choreography by Maria Pages to music of Ruben Lebaniegos on guitar, intriguingly danced in flamenco style to music with the same flair. Carmen and Angel Corella made the most of this brother and sister duet, playing on themes of competition – Carmen would do a series of pirouettes and then Angel would do his own series as if to match her. Carmen was a revelation that evening; she seems to have acquired a new confidence as principal in Corella Ballet and her talent, always in evidence in smaller roles as a soloist at ABT, seemed now to have burst forth in a shining way that was never fully given the opportunity the larger company.
Carmen illustrated this even more effectively in the last ballet of the evening, DGV: DAnse A Grand Vitesse, by Christopher Wheeldon to music of Michael Nyman. Here she really commanded the stage with a surety of technique and appeal. Natalia Tapia stood out in a pas de deux with Angel, and the entire corps made an impression in Wheeldon’s slinky movements. The concept of his modern world, angst and the search for meaning seen in the constant movements set against the backdrop of industrialization/technology and its cacophony of sound. The ballet was quite interesting and the audience applauded heartily at the end. In all, it was a varied program that showcased the new company’s strengths and left the audience longing for a repeat performance and the possibility of seeing what Corella Ballet’s next US appearance would be like. Let us hope that they will return again soon, with even more with which to dazzle us.
copyright©NadineLavi2010 for Forum Artistico
Nadine's past blogs:
Nadine Lavi’s Dance Notes:"ABT's 70th Anniversary"
Nadine Lavi's Dance Notes: Nadine Lavi’s Dance Notes:"Avi Scher & Dancers"
Nadine Lavi's Dance Notes: Nadine Lavi’s Dance Notes March 13, 2010
Nadine Lavi’s Dance Notes: The gift of a great teacher – Fabrice Herrault
Nadine Lavi's Dance Notes: "Morphoses at Central Park’s Summerstage 2009 in NY"
Nadine Lavi's Dance Notes "The Latin Choreographers Festival 2009: An Evening of Dance and Theater"
Nadine Lavi's Dance Notes "Beatriz Stix-Brunell: First-class dancing from a young dancer on the rise
Nadine Lavi's Dance Notes "Highlights of ABT's Spring Season"
Nadine Lavi's Dance Notes "In Appreciation: Fabrice Herrault: Ballet Master Extraordinaire"
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