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Ballet Superstar Roberto Bolle Talks Favorite Dancers, Choreographers, and Katy Perry

13 May

Roberto Bolle - Photo Luciano Romano

Roberto Bolle – Photo: Luciano Romano

How does Roberto Bolle, Italian ballet superstar and one of Italy’s most beloved artists, find a moment to sit down and chat?

As principal dancer for both American Ballet Theatre and Milan’s La Scala Ballet, Bolle splits his time between the two companies, regularly darting between New York and Milan. He will kick off the ABT spring season on May 13 at NYC’s Metropolitan Opera House, after recently touring with the company in Hong Kong and Beijing. He’s danced for the Queen of England at Buckingham Palace and for Pope John Paul II in St. Peter’s Square; he’s performed principal roles for the Royal Ballet, the Tokyo Ballet, the National Ballet of Canada, The Stuttgart Ballet and more. This fall he will be back as dancer and Artistic Director in Roberto Bolle and Friends, a gala of solos and pas de deux presented at NY City Center September 17 celebrating “2013 – The Year of Italian Culture in the United States.”

But luckily, one day, after ABT company class and rehearsals, and before stepping out on the red carpet at the Metropolitan Museum of Art’s star-studded annual Costume Institute Gala, Roberto took a few minutes to discuss his favorite choreographers and ballerinas, his upcoming Roberto Bolle and Friends, and what the future may have in store.

Here are some excerpts from that conversation:

Roberto Bolle - Photo: Andrea Varani

Roberto Bolle – Photo: Andrea Varani

Who are some of your favorite ballerinas? Who do you love dancing with?

Ah, I love dancing with Svetlana Zakharova (Bolshoi) – she’s so perfect physically and technically – so beautiful. I also love Julie Kent – we’re working on Frederick Ashton’s A Month in the Country at ABT – a debut for us – working in a piece like that is very interpretive and emotional. Julie’s a great artist and I like to share the stage with her. Sometimes I miss Alessandra Ferri – she’s great – we hope to dance together again in the future.

Who are your favorite choreographers?

I will be dancing in ABT’s world premiere of Alexei Ratmansky’s Shostakovich Trilogy at the end of May, in Symphony #9. I like the choreography and like working with Alexi – I think he’s one of the best choreographers now and one of the best in the world. He’s smart and fast and very demanding – it’s not easy – it’s very hard work and sometimes we have a short period of rehearsal time to put things together, working with the corps and principals. Everyone’s involved in the movement and it’s good – I love working with him.

I also love dancing Balanchine because I think he was a genius. One of his great masterpieces that I like is Apollo – I’ve loved it every time I’ve danced it. I have to say I also really like Kenneth McMillan – I’ve done Romeo and Juliet and Manon – he’s great because he used the technique to express emotions. It’s beautiful to be on stage and be Romeo and play the character, because you can actually dance and feel so much emotion. His work is a great combination of musicality/choreography /story. Antony Tudor‘s work is also very emotional, but Leaves are Fading is the only piece I’ve danced by him, and it’s a shame. I’d like to do more.

Tell me about Roberto Bolle and Friends

Roberto Bolle and Friends Gala is a performance I’ve been doing in Italy for the last ten years. I am dancer and Artistic Director. I choose the dancers and with them we choose the pieces to perform. The focus is on bringing ballet to the public, and we often do so in dramatic outdoor spaces. We’ve performed in so many beautiful and unique places in Italy – from the Coliseum to biggest square, the Duomo, in Milan. We’ve performed in an outdoor arena in Verona with 10,000 people in attendance. In Milan there were 50,000 people – it was like a pop event!

What gave you the idea to put this show together?

In the beginning the idea was to be like Pavarotti and Friends and what that did for opera – the idea of putting together friends and artists you admire and go on stage and do a sort of gala performance. Often we could bring together artists I admire who never had a chance to perform together, particularly in Italy.

Roberto Bolle - Photo: Luciano Romano

Roberto Bolle – Photo: Luciano Romano

What brings Roberto Bolle and Friends to New York City Center?

It was already a big achievement to celebrate the “Year of Italian Culture in the United States.” The embassy and the Italian Ministry of Culture wanted to bring the most important kind of events and performances here as part of that celebration. I am honored to be representing the best of Italy. The show will feature 10-11 pieces, almost all solos and pas de deux.

Where do you see yourself in the next few years?

In the future, when I stop dancing, I would like to be Artistic Director of La Scala. It would be great to have a company to work with, and to work with young people and promote and coach them, to be the director and do the artistic part as well.

How do you stay in shape? You actually look like Apollo!

I stay in shape from ballet – there’s no special routine at the gym. I eat well, stay away from junk food, and don’t eat carbohydrates like pasta and bread. But I do eat rice… I come from a part of Italy where they produce rice (Piedmont) – so, I eat lots of rice! Also, I stay away from sweets.

You are on your way to the Metropolitan Museum of Art’s annual Costume Institute Gala, New York’s party of the year. I hear you’re sitting with Katy Perry. Who else are you going with and, most importantly – what are you wearing?

Actually, I’m a guest of designers Dolce & Gabbana, they’re friends of mine. I’m at their table and so is Katy Perry. What am I wearing? Well, Dolce & Gabbana, of course!

Walking red carpet at Met Gala with Franca Sozzani, Editor-in-Chief of Vogue Italia

Roberto Bolle and Friends is presented by Artedanze S.r.l, in association with NY City Center. Acqua di Parma, the leading Italian lifestyle brand, is the Patron of this event. Performance on Tuesday, September 17 at 7pm. For tickets:

This story first appeared in the Huffington Post Arts/Culture page, May 9, 2013.

Addendum – the September 17 GALA was great! Have a look:

Final piece of the evening - Roberto Bolle in Prototype; Photo: xChanges vfx

Final piece of the evening – Roberto Bolle in Prototype; Photo: xChanges vfx

President of Acqua di Parma Gabriella Scarpa, dancer/artistic director Roberto Bolle and actress/producer Trudie Styler attend Acqua di Parma gala event

President of Acqua di Parma Gabriella Scarpa, dancer/artistic director Roberto Bolle and actress/producer Trudie Styler attend Acqua di Parma gala event. Photo: Getty Images for Acqua di Parma

Musician Michael Stipe and actress Toni Collette attend Acqua di Parma gala event with Roberto Bolle; Photo: Getty Images for Acqua di Parma

Musician Michael Stipe and actress Toni Collette attend Acqua di Parma gala event with Roberto Bolle; Photo: Getty Images for Acqua di Parma

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PRESERVING THE WORK

5 May

The events of this week made me realize there is so much more to a ballet archive than the simple collection of photos, film, dance notation and personal remembrances. It’s not just about the collection of materials, it’s ultimately about the preservation of the ballets within that archive.

The ongoing mission of The Antony Tudor Ballet Trust, in addition to the licensing and production of Antony Tudor’s ballets, has been to preserve Mr. Tudor’s work – his ballets, his teachings and his creative process – for future generations so they are never lost.

Antony Tudor teaching at the “old” Met – NYC, 1961

This week the National Endowment for the Arts announced an award in support of the development of The Antony Tudor Dance Studies Curriculum.  Their award, along with funding from the Jerome Robbins Foundation, the CORPS de Ballet and the Cornelius N. Bliss Memorial Fund, will allow the Trust’s “Curriculum Committee” to complete lesson plans for a dance curriculum which will offer a multifaceted, comprehensive approach to learning the work of Antony Tudor. The curriculum, intended for university dance programs, will include Tudor’s method of choreographic composition; his unique use of gesture and movement; the application of choreographic phrases in partnering, pointe and men’s classes; and, of course, Tudor’s unique musicality. Archival images, performance video, and studio exercises will be part of the package.

According to Sally Brayley Bliss, Trustee of the Antony Tudor Ballet Trust, “engaging the student-dancer on a level where significant learning takes place is the most effective means for preserving Tudor’s work. A fully developed Tudor Curriculum will best serve to assist dance teachers and students in the interpretation, presentation, and performance of Antony Tudor’s choreography…. it is vitally important this be done now while those who worked directly with Antony Tudor are here and ready to share their knowledge.”

Tudor at “old” Met, including left to right Pina Bausch, Jennifer Masley, James Waring, Bruce Marks – June 1961. Photo: Liz Sawyer

According to Mikhail Baryshnikov, former Artistic Director of American Ballet Theatre, performing in even one Tudor ballet amounted to “a passport to become mature, to be an adult dancer, a dancer in-depth…”.

This week the NEA endorsed The Trust’s mission to insure Antony Tudor’s legacy – the development of an education program that engages young dancers in the choreographic complexities and creative process of his unique style.  Tudor was one of the great masters of 20th century choreography. The Tudor Curriculum will ensure his legacy will live on through learning. I’m excited!

ABOUT ANTONY TUDOR:

Antony Tudor was one of the giants of twentieth century choreography. He presented his works at American Ballet Theatre’s first season, and continued to choreograph works for companies throughout the world. His ballets have been performed by the world’s leading ballet companies including Paris Opera Ballet, San Francisco Ballet, and the Royal Ballet. Tudor was Choreographer Emeritus at American Ballet Theatre, and also was a renowned teacher at The Juilliard School, where he was a founding faculty member of the School’s Dance Division.

Tudor rehearsing “Little Improvisations” with Lance Westergard and Lee Wagner at Juilliard – 1964. Photo: Liz Sawyer

Licensing for performances of Antony Tudor’s ballets has been more or less consistent since Mr. Tudor’s death in 1987, with the exception of a spike in performances during Mr. Tudor’s Centennial year in 2008. Almost every major ballet company, regional dance company, university dance program, and international ballet school desires to have Tudor ballets in its repertoire.

Adria Rolnik, author of Adriaballetbeat, is Web Coordinator and Archivist  (Photos, Materials, Memorabilia) for the Antony Tudor Ballet Trust.

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