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Review: “Gennadi’s Choice” by Atlanta Ballet

March 18, 2017 by Rachel Hellwig

Atlanta Ballet in Gemma Bond’s
“Denouement.” Photo by Kim Kenney. Courtesy of Atlanta Ballet.

by Rachel Hellwig

Gennadi’s Choice marks a new chapter for Atlanta Ballet as the company is shaped by the new artistic direction of Gennadi Nedvigin. The first mixed bill of his inaugural season, the program  provides a glimpse of his commitment to classical ballet and contemporary works with a strong classical basis. It features excerpts of Paquita, Denouement by Gemma Bond, and Vespertine by Liam Scarlett.

Paquita’s sunny foray into classicism showcases Christian Clark’s calm strength and finesse and Rachel Van Buskirk’s precision, musicality, and creativity. Variations also highlight Ashley Wegmann’s long lines, serenity, and sumptuous phrasing, Monika Haczkiewicz’s elastic jumps and balance, and Jackie Nash’s projection and pointe work.

In Denouement, a premiere by Gemma Bond, the company evinces its continuing strength in one-act, abstract, contemporary works. With themes of time and choice as inspiration, Bond constructs a detailed work that casts a quiet, increasing tight spell. Imagery recalling Swan Lake surfaces at times, including frequent, wing-like motions of the arms and bourrées conveying a struggle for freedom. James Whiteside’s costumes also contribute to these echoes as strips of pale fabric forming skirts sometimes appear to be feathers fluttering in the wind. Predominantly cold, blue lighting by Joseph R. Walls coupled with scrims to suggest doorways and distance adds dimensions to the drama.

Vespertine, the North American premiere of a work Scarlett created on the Norwegian National Ballet in 2013, likewise highlights Atlanta Ballet’s adeptness in one-act, contemporary works. In Vespertine, Scarlett is at his most poignant when melding contrasting movement elements—grounded, historically-inspired and naturalistic steps with the abandon, force, and freedom of contemporary ballet. Adding to this is his gift of charging small gestures with intensity and layers of meaning. As in Denouement, the lighting design—here by Michael Hulls– has a leading role in the drama: clusters of lights hovering above stage, most evocative when dimly glowing, represent both chandeliers and a canopy of magnified stars.


Gennadi’s Choice repeats on March 18 at 8 p.m. and March 19 at 2 p.m.


Disclosure: Atlanta Ballet Dancer Alessa Rogers is a contributing writer at 4dancers.

Filed Under: 4dancers, Reviews Tagged With: atlanta ballet, dance review, Denouement, Gemma Bond, Gennadi Nedvigin, Gennadi’s Choice, Liam Scarlett, Paquita, Vespertine

3 Lessons From A Liam Scarlett Rehearsal

March 9, 2017 by Rachel Hellwig

by Rachel Hellwig

Alessa Rogers and Christian Clark in Liam Scarlett's rehearsal of "Vesperine." Photo courtesy of Atlanta Ballet.
Liam Scarlett (right) rehearses Alessa Rogers and Christian Clark’s pas de deux in “Vesperine.” Photo by Charlie McCullers. Courtesy of Atlanta Ballet.

A popular meme in the dance community online depicts the diagram of an iceberg—the 20% above the water labeled “The Show,” the 80% below marked “The Rehearsal.” Humor aside, the rehearsal process yields depths of learning and insight.

Liam Scarlett, Artist in Residence at The Royal Ballet, was at Atlanta Ballet last October setting his work Vespertine on the company. The piece, originally created on the Norwegian National Ballet in 2013, will appear on the program Gennadi’s Choice from March 17-19.

Scarlett is articulate, thoughtful, and detailed in his discussion of dance and choreography, smoothly navigating the always stormy waters of translating the language of movement into the language of words.

Here are some ideas gleaned from his rehearsal that can be applied to any dance rehearsal…

Create Safety to Experiment

Scarlett says that a rehearsal should be a place to make mistakes, not be afraid of looking silly, and that when laughter arises in the process, the artists are “laughing with each other, not at one another.”

Filter Movement Through Emotion

Though Scarlett’s Vespertine is abstract, it’s all about feelings, specifically those reflecting the definition of “vespertine”– an “active, flowering, or flourishing in the evening.” (Merriam-Webster Dictionary)

Scarlett believes that, in dance, a glance can be more powerful than a virtuosic display like 32 fouettés.

That said, he doesn’t get unrealistically carried away with this idea. After giving a correction that emphasized the importance of a particular glance between two dancers, he added–with good humor–“Don’t get so lost in each others’ eyes that you get behind the music.”

Remember That Choreography Lives Through Performers

As a choreographer, Scarlett admits that he is sad when the creation process is over. Yet, he points out that finishing a dance work is “not like finishing a painting.” Choreography goes on living. Performers bring it to life again and again. He says, “It’s different every night, different for every interpreter.”

Beyond Rehearsal…

Scarlett sees dance as a magnification of the universal language of body language; the age-old reflex of expressing feelings in movement.

As he told The New York Times in March, “The body has automatic reactions […] We cry, laugh, our heart quickens, we hold our breath. Everyone speaks with their hands. Dance is just an amplified version of this.”


“Gennadi’s Choice” will be presented from March 17-19, 2017 at the Cobb Energy Performing Arts Centre. The program will feature Scarlett’s “Vespertine,” selections from “Paquita,” and a world premiere by Gemma Bond. $25. Purchase here.


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Filed Under: 4dancers Tagged With: atlanta ballet, Ballet Rehearsal, Dance Rehearsal, Gennadi’s Choice, Liam Scarlett, Rehearsal, Rehearsal Advice, Rehearsal Tips, The New York Times, the royal ballet, Vespertine

Atlanta Ballet Welcomes Gennadi Nedvigin, Announces 2016-2017 Season

April 21, 2016 by Rachel Hellwig

Yuan Yuan Tan in Yuri Possokhov’s "Firebird". Photo by Erik Tomasson, courtesy of San Francisco Ballet.
Yuan Yuan Tan in Yuri Possokhov’s “Firebird”. Photo by Erik Tomasson, courtesy of San Francisco Ballet.

By Rachel Hellwig

“I’ve wondered…what I will do after I stop dancing? Be a florist?” joked San Francisco Ballet principal dancer Gennadi Nedvigin in a media Q&A on Wednesday. “I could have performed for two or three more years,” said the soon-to-retire 39-year-old who will become Atlanta Ballet’s next artistic director in August. “But being offered this position took priority. I wanted to focus on one thing.”

“My aesthetic has been formed by the diverse range of choreographers and dancers I’ve worked with and by the diverse range of pieces I’ve performed in my career. Different styles of dance and choreography are like different languages,” he said. “The more languages you know, the better.” Drawing further upon the language parallel, the Bolshoi-trained Nedvigin related that he’s experienced the challenge of being immersed in new language environments before—first when he moved from his native Russia to dance with Le Jeune Ballet de France in France, and then again when he came to the United States to join San Francisco Ballet in 1997. “It’s like being dipped in water and forced to swim—twice,” he said.

Nedvigin will be “dipped in water” again as he transitions from dancer to director. Though this will be his debut in such a role, he has worked with Atlanta Ballet before when he staged Yuri Possokhov’s Classical Symphony on the company in 2014. “I was drawn to the sense of community among Atlanta Ballet’s dancers,” he said. “And I was proud of their performance.”

Gennadi Nedvigin (center). "Classical Symphony" rehearsal with Atlanta Ballet. Photo courtesy of Atlanta Ballet.
Gennadi Nedvigin (center). “Classical Symphony” rehearsal with Atlanta Ballet. Photo courtesy of Atlanta Ballet.

Nedvigin announced that Atlanta Ballet’s 2016-2017 season will include works the company has performed before, such as John McFall’s Nutcracker, David Bintley’s Carmina Burana, and Helen Pickett’s Camino Real, as well as mixed repertory performances he personally selected. “I’ve carefully chosen these programs. They will hint at the direction I will take the company,” he said. He also emphasized that the company will perform “classical, neoclassical, and contemporary works”– bringing to mind the “many languages” analogy again.

Among the mixed repertory programs, Gennadi’s Choice will feature his staging of selections from Paquita, the Atlanta premiere of Liam Scarlett’s Vespertine, and a world premiere by Gemma Bond. Firebird will include Yuri Possokhov’s Firebird, George Balanchine’s Allegro Brillante, and Jiří Kylián’s Petite Mort.

What other changes might Nedvigin bring to Atlanta Ballet? He indicated that he’s open to the idea of a ranking system for the currently unranked company. “Ranking exists whether it’s announced or not,” he said. “Ranking helps give dancers recognition and it doesn’t prevent lower-ranked dancers from performing lead roles.” Another possibility he’s looking into is touring. However, he acknowledges that changes will take time and that it will be at least a few years before he begins to attain his vision for the company. One thing that won’t significantly change for the present is the roster of Atlanta Ballet’s dancers. All had their contracts renewed, though some have opted not to return in the fall.

Nedvigin will conclude his 19-year performing career with San Francisco Ballet in May as Lensky in John Cranko’s Onegin. He will succeed John McFall who retires in June after 23 years as artistic director of Atlanta Ballet. Nedvigin will be just the fourth artistic director in the history of the 87-year-old company. “It’s an honor to be joining Atlanta Ballet,” he said. “These are exciting times.”

Atlanta Ballet in Helen Pickett's "Camino Real". Photo by Charlie McCullers.
Atlanta Ballet in Helen Pickett’s “Camino Real”. Photo by Charlie McCullers.

Atlanta Ballet’s 2016-2017 Season

 

ATLANTA BALLET’S NUTCRACKER

December 9 – 24, 2016 | The Fox Theatre

Live with the Atlanta Ballet Orchestra

 

Encore Presentation of David Bintley’s CARMINA BURANA

February 3 – 11, 2017 | Cobb Energy Performing Arts Centre

Live with the Atlanta Ballet Orchestra

 

One Hour Family Ballet – TITLE TO BE ANNOUNCED

February 11 & 12, 2017 | Cobb Energy Performing Arts Centre

Recommended for families and younger audiences.

 

GENNADI’s CHOICE (Mixed Repertory)

March 17 – 19, 2017 | Cobb Energy Performing Arts Centre

Selections from Paquita choreographed by Marius Petipa and staged by Gennadi Nedvigin, the Atlanta premiere of Vespertine by Liam Scarlett, and a world premiere by Gemma Bond.

 

FIREBIRD (Mixed Repertory)

April 14 – 16, 2017 | Cobb Energy Performing Arts Centre

Firebird by Yuri Possokhov, Allegro Brillante by George Balanchine, and Petite Mort by Jiří Kylián.

 

Encore Presentation of Helen Pickett’s Tennessee Williams-Inspired CAMINO REAL

May 12 – 14, 2017 | Cobb Energy Performing Arts Centre

Choreography by Helen Pickett

Music & Sound Design by Peter Salem

Live with the Atlanta Ballet Orchestra

Filed Under: 4dancers Tagged With: 2016-2017 Season, Allegro Brillante, atlanta ballet, Camino Real, Carmina Burana, firebird, Gemma Bond, Gennadi Nedvigin, Gennadi’s Choice, george balanchine, helen pickett, Jiří Kylián, john mcfall, Liam Scarlett, nutcracker, Paquita, petite mort, Vespertine, yuri possokhov

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