2012-0628 ABT最高舞星Angel Corella
在美國紐約大都會歌劇院the Metropolitan Opera 舞完天鵝湖Swan Lake之後
Angel Corella跟他所屬的ABT美國芭蕾舞團正式Say Good-bye
(AP美聯社的照片圖說:In this June 28, 2012 photo provided by American Ballet Theatre, Angel Corella waves to the audience after his retirement performance of “Swan Lake” with the American Ballet Theatre at the Metropolitan Opera House in New York. (AP Photo/American Ballet Theatre, Rosalie O'Connor) — AP )
其實這幾年Angel Corella就逐漸把重心放在Bacelona Ballet的團務上
今晚 Corella的好朋友 另一位ABT的最高舞星Ethan Stiefel也將舉行ABT的告別演出
Angel Corella與Ethan Stiefel 在2012年6月底的分別謝幕
Angel Corella將在西班牙 Ethan Stiefel將在紐西蘭 兩人都在當地的芭蕾舞團擔任舞蹈總監的工作
1999年發行 長達113分鐘的Petipa - Le Corsaire
是由Ethan Stiefel, Angel Corella, Vladimir Malakhov三人聯手演出
這三位年輕都很有個人特色 那時候的青春有勁 讓人久久難忘
Julie Kent在這齣舞劇中 等於是眾星拱月 美麗絕倫 真是值得收藏的好作品
(When Angel Corella first joined American Ballet Theater in 1995, his charms were impossible to deny: He was as ebullient as a puppy. His smile could melt an iceberg.)
因為他的笑容 舞迷覺得他所主演的羅密歐好像也陽光多了 沒有那麼多文藝青年的憂鬱
New York Times
Angel Corella in ‘Swan Lake,’ His Ballet Theater Farewell
By GIA KOURLAS Published: June 29, 2012
When Angel Corella first joined American Ballet Theater in 1995, his charms were impossible to deny: He was as ebullient as a puppy. His smile could melt an iceberg. And Mr. Corella, born in Madrid, could dash off pirouettes as easily as others breathe.
On Thursday night he performed with Ballet Theater for the final time, in “Swan Lake,” opposite Paloma Herrera. Their partnership has meaning: While they went on to dance with others — and in many instances, more successfully — their earliest performance together in a full-length ballet was “Don Quixote” in 1996. It sent the audience into near-hysterics; the screams still reverberate in my ears.
But over the years Mr. Corella changed, and “Swan Lake” shows off a more meditative, introspective side of his personality and dancing. He portrays Prince Siegfried, an aristocrat whose mother is anxious to see him married off, as if he knew there were something else out there for him but isn’t sure how to find it. In a sense his suffering is universal, and Mr. Corella uses subtle means to indicate his internal pressure: a fading smile, a subtle sideways glance or a lonely stroll through happy, dancing couples.
The duality between Mr. Corella and Siegfried — for each there is the possibility of a new beginning but, with that, an ending to mourn — was palpable in this farewell performance, which nevertheless was weighed down by a production that has increasingly lost any semblance of freshness. (Alexei Ratmansky, isn’t it time for a redo?)
Ms. Herrera, while tough and teasing as Odile, the black swan, is too much of a dancer and not enough of a bird as Odette, the white swan. There’s an over-rehearsed quality to her performance that limits her ability to transform and be transformed.
Melanie Hamrick and Hee Seo, dancing with Gennadi Saveliev’s Benno in the peasant pas de trois, were well matched, bringing their own brand of lovely reserve to crisp piqué turns and hops on point. Devon Teuscher, who performed the part of a lead swan in the first act and appeared in the Spanish Dance in the second, constantly drew the eye for her elegant arms and épaulement, which lends her upper body such ease that nearly everyone else onstage looks constricted at the throat.
As the sorcerer von Rothbart, who escorts Odile to the prince’s birthday ball and seduces the eligible princesses one by one, Jared Matthews was out of his element. With the right dancer, it’s a diabolical scene; in this version von Rothbart requires a pirate’s swagger, yet Mr. Matthews was merely playing dress-up. Sarah Lane, as the Spanish Princess, did a better job of sweeping him off his feet than he did hers.
Consistent principal men are becoming an endangered species at Ballet Theater. Next Saturday Ethan Stiefel, dancing in “Le Corsaire,” will also retire from the company. For me, there are only three active and able male principals remaining: Marcelo Gomes, David Hallberg and Cory Stearns. The current roster of male soloists isn’t exactly overflowing with principal material.
As for Mr. Corella, the smile remains, but he has grown from a boy into a man. Now 36, he also directs the Barcelona Ballet, yet his youthful vivacity remains intact. During an emotional curtain call, in which dancers showered him with flowers, he dazzled the Met audience one last time with a flurry of multiple pirouettes. It was sweet, fitting and a touch of “Don Quixote” all over again. The crowd roared in appreciation. He laughed.
Ballet fans give ABT star Corella a loving sendoff