Victoria Simon
- The Making of Apollo Musagète at the Bolshoi
- The Revival of a Choreographic Gem
- The Dancers' Challenge
- The Preparations
- The Relevance of Apollo Musagète
- Balanchine's Legacy
- Balanchine's Technique
- Personal Memories of Balanchine
- Balanchine's Unconventional Approach
- The Challenge for Bolshoi Dancers
The Making of Apollo Musagète at the Bolshoi
Victoria Simon, ballet mistress of the George Balanchine Foundation, shares her insights on how Bolshoi Theatre's dancers interpret Balanchine's masterpiece, "Apollo Musagète."
The Revival of a Choreographic Gem
On October 4, the Bolshoi Theatre's repertoire will expand to include Igor Stravinsky and George Balanchine's "Apollo Musagète." This rare work was entrusted to the Russian artists by Simon, a leading expert on Balanchine's legacy.
The Dancers' Challenge
Despite the critical reception of the recent "Jewels" premiere, Simon believes that the Bolshoi's dancers possess the necessary skills and training to excel in Balanchine's intricate choreography. "They understand the text perfectly," she says, although comprehending the ballet's musicality and characterization proved more challenging.
The Preparations
Despite the brief two-week rehearsal period, Simon is optimistic about the dancers' progress. Three casts have been prepared, each offering distinct interpretations due to the artists' differing experiences and physical abilities.
The Relevance of Apollo Musagète
"Apollo" continues to inspire choreographers and audiences worldwide, as evidenced by recent productions in Slovenia and Oklahoma. "It's not going to lose its allure," Simon asserts.
Balanchine's Legacy
Contrary to common belief, Balanchine did not condemn the survival of his ballets beyond his lifetime. "People who worked with him are making sure that doesn't happen," says Simon. His works are now highly sought after, with major companies vying to stage them.
Balanchine's Technique
While a strong classical ballet foundation is essential, Balanchine's technique demands additional elements, particularly rapid footwork. "This is something that not only Moscow struggles with, but many ballet schools worldwide," Simon notes.
Personal Memories of Balanchine
Simon recalls her childhood encounter with Balanchine, dancing as a Sugar Plum Fairy in "The Nutcracker." She later worked as a member of his company and attended his daily classes. "It was a beautiful experience," she says. "I idolized him."
Balanchine's Unconventional Approach
Known for his metaphorical language, Balanchine compared dancers' speed to a running cheetah. "He would say, 'Imagine there's an ice cream waiting for you at the end of the stage,'" Simon recalls.
The Challenge for Bolshoi Dancers
Simon highlights the challenge of executing Balanchine's jumps with the lightness and precision required. "Our dancers are not quite there yet," she admits. "I hope by the premiere, they will have it."
