Word: villella
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...Balanchine died in 1983 at age 79. Today no fewer than 34 U.S. ballet companies are run by people he trained, among them the San Francisco Ballet (directed by Helgi Tomasson), the Miami City Ballet (Edward Villella) and the Suzanne Farrell Ballet in Washington. Countless other Balanchine alumni are serving as ballet masters, choreographers and teachers. ?No other modern choreographer has attracted so many devoted followers, and no other body of dances has inspired so thoroughgoing and committed an attempt at long-term preservation,? says critic Terry Teachout, who is writing a short biography of Balanchine. ?It?s a sign...
...that I knew him well,? says former NYCB dancer Ib Andersen, artistic director of Ballet Arizona. ?But his ballets are part of me, his musicality, his timing, his sense of structure. My god, this man did everything.? Those who worked with him, says Edward Villella, ?understood we were in a moment of history. Picasso and Stravinsky changed their art forms in the last century. Balanchine did that for ours...
Ethan Stiefel, the greatest American-born male ballet dancer since Edward Villella, has appeared in a dazzlingly wide range of works since joining American Ballet Theatre in 1997--Le Corsaire, Billy the Kid, Balanchine's Apollo, Twyla Tharp's Push Comes to Shove--performing them all with a casual virtuosity and unmannered grace worthy of Fred Astaire. On Oct. 26, Stiefel adds a new role to his repertoire: the male lead in Dim Lustre, Antony Tudor's rarely seen, piercingly Proustian tale of remembered love. It's part of A.B.T.'s New York City winter season...
...becoming demographic majorities. In New York City, Eliot Feld choreographs his edgily urban dances for a colorful troupe drawn from the classrooms of Ballet Tech, a public school devoted to dance; the equally diverse Miami City Ballet recently premiered Mambo No. 2 A.M., a collaboration between Balanchine acolyte Edward Villella and '50s mambo king Pedro ("Cuban Pete") Aguilar...
Much younger than Feld or Villella, Webre is more directly in touch with the sensibilities of the Gen-X audiences he longs to attract, yet his newly galvanized dancers look as good in Tudor's piercingly nostalgic The Leaves Are Fading as in his own up-to-the-second pieces. This is no coincidence. "I cherish the ballet vocabulary," he says. "Its formalism is a vehicle to achieve the divine within us. But I'm also an American pop-culture person--I grew up watching Charlie's Angels reruns and going to rave nightclubs five nights a week...