Prepare for The Most Epic Jewels Ever
NYCB's Sterling Hyltin and Gonzalo Garcia in "Rubies." PC Paul Kolnik
What does it look like when three of the world's top companies all share the stage in one ballet? We'll soon find out.
New York City Ballet, Paris Opéra Ballet and the Bolshoi Ballet held a press conference from New York, Paris and Moscow through Facebook Live this morning to announce one of the most exciting collaborations we've heard about in years: a joint performance of George Balanchine's Jewels.
The three companies will come together during the Lincoln Center Festival, July 20 to 23, to share the same stage where the ballet had its 1967 premiere. To celebrate the ballet's 50th anniversary, each company will take on one act. POB will perform "Emeralds," and NYCB and the Bolshoi will alternate performing "Rubies" and "Diamonds" throughout the five shows. A complete casting schedule will be announced later on.
Lincoln Center Festival director hinted at the possibility of a live stream for ballet lovers who can't snag a ticket.
In this morning's press conference, the three artistic directors (Aurélie Dupont of POB, Makhar Vaziev of the Bolshoi and Peter Martins from NYCB) pointed out how the refined grace of "Emeralds" reflects Balanchine's years in France, while "Rubies" showcases the jazzy American style and "Diamonds" channels the pristine classicism he learned in St. Petersburg.
The NYCB orchestra will accompany all three companies, with the sets and lighting from NYCB's current production. But each company will bring its own costumes. NYCB will wear the original Karinska designs. POB will wear its Christian Lacroix designs for "Emeralds." And the Bolshoi will perform in its costumes by Elena Zaitseva.
Bolshoi's Olga Smirnova and Semyon Chudin in "Diamonds." PC Elena Fetisova
This isn't the first time three companies have teamed up to share a program of Jewels. Four years ago, Pacific Northwest Ballet and Ballet West flew to Las Vegas to join Nevada Ballet Theatre for a performance of the iconic plotless three-act ballet.
But these three world-class companies bring the idea of a Jewels collaboration to entirely new heights. POB has had the ballet in its rep since 2000 and the Bolshoi since 2012. (And of course, NYCB has been dancing it since 1967.) These performances will offer an unparalleled opportunity to compare and contrast each company's approach to Balanchine's steps. Dupont points out that this collaboration will show audiences how dancers from the French school, the Russian school and the American school all tackle the same work differently. Vaziev added that the dancers themselves will be able to enrich their own performances by comparing their approaches. "I can only imagine the wings will be packed with dancers watching the other companies," said Martins.
We have a feeling that Mr. B would approve.
Booking a gig on a cruise ship can feel like you're diving into the unknown—dropping everything to live in the middle of the ocean without family, friends or cell service. But cruise jobs can also offer incredible rewards, like traveling the world for free and delving into a new style.
Is ship life the right fit for you? Here are some elements to consider.
We knew that New York downtown dance darling Okwui Okpokwasili was a big deal. Critics and audiences have been raving about her dance-theater works for years, and the new documentary about her, Bronx Gothic, has attracted the attention of the larger arts community.
But never in our wildest dreams did we imagine she'd show up in a Jay Z video, along with flex dancer Storyboard P. Though we're slightly less surprised to see Storyboard in Jay Z's "4:44" video than we were to see Okpokwasili, we're jazzed that two of our favorites are featured on such a huge platform. (We're also feeling #blessed that we didn't have to subscribe to Tidal to watch this.)
Throughout the years, choreographer Seán Curran has worked with a diverse array of talented collaborators—from Kyrgyz music ensemble Ustatshakirt Plus to the the Grammy Award–winning King's Singers. But perhaps none are as meaningful as his most recent group of co-choreographers: At-risk teens from the after school program and nonprofit The Wooden Floor.
Curran has been in residence with The Wooden Floor since June, where he's worked with students to build choreography based on their lives and communities:
Their creation will be shown July 20-22 at The Wooden Floor Studio Theatre in Santa Ana, California.
"Besides the stage, baking is my other happy place," says New York City Ballet corps member Jenelle Manzi.
Four years ago, she thought her baking days were over when she was diagnosed with gluten intolerance. Manzi had been dealing with pain, frequent illness and joint inflammation for nearly 10 years. Once she cut out gluten, Manzi gradually started to feel better, noticing a transformation in how her body felt and functioned. She found her joints were less inflamed, and she got sick less often.
New York City Ballet soloist Unity Phelan and American Ballet Theatre soloist Cassandra Trenary spend every day making their hard work look effortless and graceful both in the studio and onstage. That's exactly what makes them the perfect spokesmodels for the dance-inspired activewear line, Belle Force.
To celebrate our 90th anniversary, we excavated some of our favorite hidden gems from the DM Archives—images that capture a few of the moments in time we've documented over the decades.
This image was captured during a 1978 New York City Ballet tour that took the company to Copenhagen—home turf for Adam Luders (right), who trained at the Royal Danish Ballet School and briefly danced with the company before joining NYCB as a principal dancer in 1975. Next to Luders is (of course) George Balanchine, in conversation with ballerina Suzanne Farrell. And looking on with a smile? NYCB's current ballet master in chief Peter Martins.
On March 8, 2016, Rami Shafi found himself inspired to film an impromptu dance video of his best friend, Aaron Moses Robin, improvising on Gay St. in New York City's Greenwich Village. Thus was born Pedestrian Wanderlust, a collection of dance videos that has grown to include a monthly improv jam.
Shafi works with anyone who wants to take part in the project, filming videos in locations chosen by the dancers and later adding music. The videos are shot on Shafi's iPhone in one take and, other than the starting and ending points, are entirely improvised. The editing afterwards—including the music choice—is minimal. "I don't like to edit too much. It's just what it is," says Shafi. "I usually can do the editing on the train ride home."