Ballet Star Angel Corella to Leave ABT
A favorite dancer in the U. S. since 1995, Angel Corella will retire from American Ballet Theatre this spring. Audiences have been elated by his exuberance, his astounding leaps and pirouettes, and his warmth in classical roles from the Slave in Le Corsaire to all the prince roles. He has also created roles in works by Tharp, Wheeldon, Stanton Welch, and Mark Morris. Companies where he has been a guest artist include the Kirov Ballet, The Royal Ballet, The Australian Ballet, and La Scala.
In Dance Magazine's cover story on him in November 1995 (cover below), Elizabeth Kaye wrote: "In class other dancers gather around him when he does 20 pirouettes from a single preparation."
For his farewell performance on June 28, he will dance Swan Lake with Paloma Herrera. (I hope Nina Ananiashvili comes to his farewell, because I have a fabulous memory of Corella at her farewell.)
Corella will continue to lead Corella Ballet, both as artistic director and as principal dancer. The company, now known as Barcelona Ballet, appears at NY City Center, April 17–20.
Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
We knew that Ivo van Hove and Anne Teresa de Keersmaeker's production of West Side Story would challenge our preconceived notions about the show.
But a recent Vogue story gives us a taste of just how nontraditional the Broadway revival will be. Most notably, van Hove is cutting "I Feel Pretty" and the "Somewhere" ballet, condensing the show into one act to better reflect the urgency of the 48-hour plot. (The choice has been approved by the West Side Story estate, including Sondheim, who has "long been uncomfortable" with some of the "I Feel Pretty" lyrics.)
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.