Jock Soto, whose final performance with New York City Ballet is June 19th, has danced myriad roles since joining the company in 1981. His repertoire includes ballets by Balanchine and Robbins. Many choreographers have created roles on him, including Peter Martins, Christopher Wheeldon, Lynne Taylor-Corbett, and Kevin O’Day. Soto has appeared on Broadway in Ziegfeld Follies (choreographed by Wheeldon), and teaches partnering and men’s class at the School of American Ballet. A 2003 Dance Magazine Award recipient, he co-wrote Our Meals with former NYCB dancer Heather Watts, published by Riverhead Books in 1997.
There are only a few dancers who have a kind of generosity which distinguishes not only their artistry but who they are. They keep a focus on the larger picture, becoming anchors of integrity not only to the choreography, but to their colleagues. Jock Soto has defined this kind of integrity with his work at the New York City Ballet for 24 years.
A pioneer in the art of partnering, Jock has cultivated his skill to an unparalleled level of expertise. Like a great magician, he is a master of illusion. His performances are seamless miracles that blend brute strength with silken sensitivity tailored to the lines and needs of his ballerinas, each of whom he presents as if she were a rare and exotic orchid.
To his fans in the audience, Jock is a charismatic master, the last of Balanchine’s chosen men. He is one of the special ones, a powerful presence of dark, refined elegance. As one of his many partners, I can say that dancing with him has been the experience of a lifetime. He has taken us to a purer form of the dance, allowing us to feel the glide of angels and giving us each a small taste of heaven.
—Wendy Whelan, NYCB principal dancer
Victor Castelli, an expressive soloist with NYCB who later became a ballet master with the company, died at the age of 52 on February 8 from complications due to liver cancer. A favorite of both Robbins and Balanchine, he created the jaunty solo role in the “Gigue” section of Balanchine’s Mozartiana. Castelli also excelled as the doomed Poet in La Sonnambula, as the easy-going “green boy” in Dances at a Gathering, and as the frustrated Door in Variations pour une Porte et un Soupir.
Jean-Pierre Frohlich, a fellow NYCB ballet master and a close friend of Castelli’s, recalls the dancer’s joi de vivre, as well as his elegance, beautifully elongated lines, and patience. “One of my strongest memories is watching him learn Prodigal Son from Balanchine,” said Frohlich. “It was fascinating, because Balanchine explained everything to him. Near the end, when he is leaning against the table, Balanchine used to say, ‘Think of Jesus Christ on the cross.’ ”
A dancer whom Robbins relied on to experiment with his choreography, Castelli later became a valuable assistant to the choreographer, working with him on Jerome Robbins’ Broadway and traveling to the Paris Opéra Ballet to stage Robbins’ works there. Castelli was appointed ballet master in 1990, when he retired from dancing. “He was always true to the creator, to get the look that the creator wanted,” said Frohlich. After Robbins’ death, Castelli served on the advisory committee of the Robbins Rights Trust. New York City Ballet dedicated its February 13 performance of Mozartiana to the memory of Castelli.—Joseph Carman
William Lawrence Boyette
William Lawrence Boyette, dancer, teacher, and Denver dance pioneer, died in March at the age of 80. Boyette performed with the Metropolitan Opera Ballet and American Ballet Theatre. Then, in 1959, he founded the Ballet Arts Center in Denver and later the Foundation for Public Education in Ballet Arts (now called Ballet Arts Theatre). In addition he opened the Ballet Arts Boulder Studio and taught and choreographed at the University of Colorado until 1991.
Back in July, the Bolshoi Ballet grabbed international headlines after canceling the scheduled premiere of a new full-length ballet just three days before opening night. The ballet was Nureyev, and, as it was centered on the life of an openly gay male dancer who defected from the Soviet Union, it was widely speculated that the decision was an act of censorship.
Further theories of political motivations arose as Kirill Serebrennikov, the project's already-controversial director, was being questioned in connection with an embezzlement investigation. But according to the Bolshoi, the ballet was pulled due to it simply not being ready, and was not canceled but postponed; a tentative premiere was set for May 2018.
But it looks like Russian audiences will be getting to see the new ballet far sooner than they might have hoped.
The dancers file into an audition room. They are given a number and asked to wait for registration to finish before the audition starts. At the end of the room, behind a table and a computer (and probably a number of mobile devices), there I sit, doing audio tests and updating the audition schedule as the room fills up with candidates. The dancers, more nervous than they need to be, see me, typing, perhaps teasing my colleagues, almost certainly with a coffee cup at my side.
By itself, a competition trophy won't really prepare you for professional life. Sometimes it is not even a plus. "Some directors are afraid that a kid who wins a lot of medals will come to their company with too many expectations," says Youth America Grand Prix artistic director Larissa Saveliev. "Directors want to mold young dancers to fit their company."
More valuable than taking home a title from a competition is the exposure you can get and the connections you can make while you're there. But how can you take advantage of the opportunity?
New York Live Arts opens its 2017-18 season with A Love Supreme, a revised work by Anne Teresa De Keersmaeker and collaborator Salva Sanchis. Known as a choreographer of pure form, pattern and musicality, De Keersmaeker can bring a visceral power to the stage without the use of narrative. She has taken this 2005 work to John Coltrane's famous jazz score of the same title and recast it for four young men of her company Rosas, giving it an infusion of new energy.
Photo by Anne Van Aerschot
Before too long, dancers and choreographers will get to create on the luxurious 170-acre property in rural Connecticut that is currently home to legendary visual artist Jasper Johns.
If you think that sounds far more glamorous than your average choreographic retreat, you're right. Though there are some seriously generous opportunities out there, this one seems particularly lavish.
Every dancer has learned—probably the hard way—that healthy feet are the foundation of a productive and happy day in the studio. As dancers, our most important asset has to carry the weight (literally) of everything we do. So it's not surprising that most professional dancers have foot care down to an art.
Three dancers shared their foot-care products they can't live without.
Dancers trying their hand at designing is nothing new. But they do tend to stick with studio or performance-wear (think Miami City Ballet's Ella Titus and her line of knit warm-ups or former NYCB dancer Janie Taylor and her ballet costumes). But several dancers at American Ballet Theatre—corps members Jamie Kopit, Erica Lall, Katie Boren, Katie Williams, Lauren Post, Zhong-Jing Fang and soloist Cassandra Trenary—are about to launch a fashion line that's built around designs that can be worn outside of the studio. Titled Company Cooperative, the luxe line of women's wear is handmade in New York City's garment district and designed by the dancers themselves.
Royal Ballet dancers Yasmine Naghdi and Beatriz Stix-Brunell recently got together for a different kind of performance: no decadent costumes, sets, stage makeup or lighting. Instead, the principal and first soloist danced choreography by principal character artist Kristen McNally in a stark studio.
The movement is crystal clear, and at the beginning, Naghdi and Stix-Brunell duck and weave around each other with near vacant stares. Do they even know they have a partner? And how should they interact? The situation raises a much larger question: How often do we see a female duet in ballet?