The Terpsichore Titles: Outstanding Female Dancer of 2016

I have seen some great ballerinas this year as I mentioned in The Year of the Swans: My Review of 2016 27 Dec 2016.  Two great stars of the Bolshoi for a start:  Anna Nikulina in Swan Lake and Ekaterina Krysanova in The Taming of the Shrew. Amber Scott of the Australian Ballet in Cinderella (see Ratmansky's Razzmatazz 24 July 2016) and Robyn Hendricks as Odette in Graeme Murphy's Swan Lake (see The Australian Ballet's Swan Lake - Murphy won me over 17 July 2016). But there were three performances that stick in my memory and I will take them all in chronological order.

First, there was Anna Tsygankova in Ted Brandsen's Mata Hari (see Brandsen's Masterpiece 14 Feb 2016 and Anna Tsygankova as Mata Hari 21 Feb 2016). I wrote:

"As Anna Tsygankova stood alone on stage for her curtain call after last night's performance of Ted Brandsen's Mata Hari every single person in the Amsterdam Music Theatre or Stopera rose as one. She would have got a similar standing ovation anywhere - even snooty old London - for her portrayal of the life of the tragic adventurer and dancer (Margaretha Geertruida "Margreet" MacLeod) was compelling It is not often that one sees theatre like that in any medium and I think the sounds and images of that performance will remain with me for the rest of my life."

It is not often that one sees a performance like that.

But on the 2 April 2016 I saw Lauren Cuthbertson in Giselle.  That ballet had always been a problem for me as I explained in Cuthbertson's Giselle 3 April 2016:

"In an interview with the journalist Mark Moynihan which is transcribed in the Royal Ballet's programme notes for this season's Giselle, Sir Peter Wright said:

'When I first saw Giselle way back in the early 1940s I used to think: 'That's silly. That doesn't make sense. So when John [Cranko] asked me to do Giselle my first reaction was, 'Oh no, I couldn't do that - that poor young girl going mad'. The ballet always seemed rather inconsistent to me and sometimes downright stupid.'

Until last night that had been my reaction too. I had always been troubled by the libretto (possibly for the same reason as Wright for he had been brought up as a Quaker and I have become one) as the second act is very dark, superstitious, even a little satanic, or so it had appeared to me for many years. My coping mechanism until last night had been to put the story out of my mind and concentrate on the dancing as though it were an abstract work like Jewels or Les Sylphides."

However, Sir Peter changed his mind on Giselle. He saw Galina Ulanova dance Giselle when the Bolshoi first came to London and realized what an extraordinary work it could be. I explained that that is because the libretto is coded or perhaps or rather subsists on more than level. I added: "Sir Peter needed Ulanova to unlock the work for him and it was Lauren Cuthbertson last night who did the same for me."

The third especially memorable performance was Bethany Kingsley-Garner's as Odette in David Dawson's Swan Lake in Liverpool on 3 June 2016 (see Empire Blanche: Dawson's Swan Lake 4 June 2016). I wrote:

"The star of Swan Lake is, of course, Odette-Odile. It is a role that not every ballerina can dance convincingly because it requires the projection of two personalities from the same body. I may be wrong but I should imagine the easier part is probably the seductress Odile despite all those fouettés because she is manifestly human. It must be far more difficult to become a swan. Bethany Kingsley-Garner, who has recently been elevated to principal, was perfect in both. She first came to my notice as Cinderella in Edinburgh (see Scottish Ballet's Cinderella 20 Dec 2015) and she has already entered my canon of all time greatest ballerinas. The only other Scottish dancer in that rare company is Elaine McDonand (see Elaine McDonald in her own Words 11 March 2014)."

So how do I choose between those three?  In my review of Giselle,  I asked myself what was so special about Cuthbertson's performance. I could not put my finger on it but, as I noted at the time, "I saw not a ballerina dancing Giselle but Giselle herself and for the first time I really understood the ballet." Eight months on, I would qualify that remark by saying that I am beginning to understand and appreciate that ballet but I owe my understanding and appreciation to Lauren Cuthbertson.

For that reason, Cuthbertson has to be my ballerina of 2016.

The Terpsichore Titles: Outstanding Young Choreographer

Cristiano Principato

Photo Robin dePuy
(c) 2914 Dutch National Ballet: all rights reserved
Reproduced with kind permission of the company

There is a lot of great, young choreographic talent here and overseas. For the last two years Northern Ballet has been showcasing some of it at its Tell Tale Steps choreographic workshops in Leeds (see My Thoughts on Saturday Afternoon's Panel Discussion at Northern Ballet 21 June 2015 and Tell Tale Steps 2 17 June 2016). One of the participants in last year's lab was Charlotte Edmonds who had created Fuse for Ballet Bubbles at the Meervvart.

I described Edmonds's work as the most polished and dramatic which was not surprising given her talent and experience. Having also been impressed with Fuse, I thought she would be a shoe-in for my outstanding young choreographer title.

But then I went to Italy and saw Palladio.

Palladio was one of several works created for the Gala for Alessia at Trecate by Cristiano Principato who is one of the Dutch National Ballet's most talented young dancers.  This is what I wrote about his ballet in From Italy with Love on 1 July 2016:

"In the video about the ballet Cristiano explains that it is about a young girl who breaks her heart but recovers and moves on. It explores her sadness but then her strength as she creates new relationships. Cristiano cast all the Amsterdam dancers in this piece including himself. This is a very sophisticated work and quite a remarkable piece for one so young. Though completely original I could see the influence of Meisner - but not just Meisner for I was also reminded of Jerome Robbins. Balanchine and Jose Limon's The Moor's Pavane. Most choreographers' early works are quickly forgotten but I don't think this will be one of them. I think it will be performed time and again, I might add that I think it will be popular in England as Cristiano's choreography is well suited for dancers trained in the English style."

Cristiano created that work before his 21st birthday which makes it all the more impressive.

Given a fair wind this talented young gentleman can look forward to great things. He is, of course, a fine dancer but he can also direct and manage. At Trecate he acted as artistic director, choreographer, principal dancer, lighting engineer - you name it he did it. Don't be surprised if he ends up running one of the world's great ballet companies or opera houses one of these days.

There was one other new work that I saw just before I went to Italy which I really should mention. That was Small Steps created by Cara O'Shea who is one of my teachers at the Northern Ballet Academy. Small Steps is about the Kindertransport which rescued large numbers of Jewish children from Nazi Germany.  I saw it at the Leeds CAT end of term show and wrote in Small Steps and other Pieces - Leeds CAT End of Term Show 2 July 2016:

"Small Steps was a very beautiful work and I was profoundly moved by it for two reasons. The first is that the dancers were about the same age as the children who were sent abroad. They looked so bonny but also so lost and vulnerable. The second is that Cara chose very appropriate music - Arvo Pärt's Für Alina and Spiegel im Spiegel, Lee Holdridge's Into the Arms of Strangers, the intermezzo from Pietro Mascagni's Cavalleria Rusticana and Paul de Senneville's Marriage d'Amour. The ballet explored the conflict in the parents' minds and the pain of separation. Although she challenged her dancers her choreography was restrained and sombre - and as I have said before profoundly beautiful."

Cara is a fine teacher who is loved and respected by each and every one of her pupils - none more than me - but she is also a talented dance maker. I hope we shall see more from her.