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  1. American Ballet Theatre Curtain Calls

Roberto Bolle

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Roberto Bolle, Romeo and Juliet, July 11, 2009
<br><br>
Italian Roberto Bolle is one of ballet’s biggest stars. He has a huge international following as evidenced by his over 100,000 followers on 
<a href="https://twitter.com/RobertoBolle">Twitter</a>; photos on <a href="http://www.flickr.com/photos/robertobollefanclub/">his flickr fanclub</a> have attracted about 100,000 views. 
<br><br>
Bolle entered the La Scala Theatre Ballet School at age 11. According to <a href="http://www.robertobolle.com/ ">his website</a> Rudolf Nureyev noticed his talent and chose him to interpret a role in the ballet Death in Venice. He joined the Theatre Company in 1994 and was promoted to Principal in 1996 at age 20. 
<br><br>
Since then he has become an international superstar, having danced with the Royal ballet, American Ballet Theatre (ABT), the National Ballet of Canada, the Stuttgart Ballet, the Finnish National Ballet, the Staatballett Berlin, the Vienna Staatsoper Ballett, the Staatsoper in Dresden, the Munich Ballet,  and the Tokyo Ballet. He has starred in many contemporary and classical ballets such as Sleeping Beauty, Cinderella, Don Quixote, Swan Lake, The Nutcracker, La Bayadère, Giselle, La Sylphide, Manon, Romeo and Juliet, Onegin, and The Merry Widow. 
<br><br>
His notable performances include:
•	In 2000, he opened the season at Covent Garden Opera House in London.
•	In 2000, he was invited by the Bolshoi Ballet to celebrate Maya Plisetskaya’s 75th birthday in the presence of President Vladimir Putin.
•	In 2002, Bolle danced on the occasion of Queen Elizabeth’s Golden Jubilee at Buckingham Palace in the presence of the Queen. The event was broadcast live.
•	In 2004, he danced in front of Pope John Paul II in Saint Peter’s square to celebrate young people’s day.
•	In 2004, he danced with Alessandra Ferri to celebrate the re-opening of La Scala Theatre after its restoration.
•	In 2005 at Covent Garden Opera House in London, he danced in Sylvia. The BBC broadcast the performance on Christmas Day.
•	In 2006, Bolle danced at the opening ceremony of the 2006 Winter Olympic Games in Turin where he performed a solo created for him by Enzo Cosimi. 
•	In 2007 he performed for the first time with ABT as a guest artist, on the occasion of Alessandra Ferri’s farewell performance.
<br><br>
His numerous partners include Altynai Asylmuratova, Darcey Bussell, Lisa-Marie Cullum, Viviana Durante, Alessandra Ferri, Carla Fracci, Isabelle Guérin, Sylvie Guillem, Greta Hodgkinson, Margareth Illmann, Susan Jaffe, Lucia Lacarra, Agnès Letestu, Marianela Nuñez, Elena Pankova, Lisa Pavane, Darja Pavlenko, Laetitia Pujol, Tamara Rojo, Polina Semionova, Diana Vishneva, Zenaida Yanowsky, Svetlana Zakharova. 
<br><br>
For the 2009 Spring Season at the Metropolitan Opera House in New York, he performed as a Principal Dancer with the American Ballet Theatre. Since December 1998 he has been Resident Guest Artist at La Scala Theatre. During the 2003/2004 season he was promoted to Etoile at La Scala Theatre.
<br><br>
Since 1999 he has been a Goodwill Ambassador for UNICEF and in 2006 he visited Sudan on his first trip into the field.
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Roberto Bolle, Romeo and Juliet, July 11, 2009

Italian Roberto Bolle is one of ballet’s biggest stars. He has a huge international following as evidenced by his over 100,000 followers on Twitter; photos on his flickr fanclub have attracted about 100,000 views.

Bolle entered the La Scala Theatre Ballet School at age 11. According to his website Rudolf Nureyev noticed his talent and chose him to interpret a role in the ballet Death in Venice. He joined the Theatre Company in 1994 and was promoted to Principal in 1996 at age 20.

Since then he has become an international superstar, having danced with the Royal ballet, American Ballet Theatre (ABT), the National Ballet of Canada, the Stuttgart Ballet, the Finnish National Ballet, the Staatballett Berlin, the Vienna Staatsoper Ballett, the Staatsoper in Dresden, the Munich Ballet, and the Tokyo Ballet. He has starred in many contemporary and classical ballets such as Sleeping Beauty, Cinderella, Don Quixote, Swan Lake, The Nutcracker, La Bayadère, Giselle, La Sylphide, Manon, Romeo and Juliet, Onegin, and The Merry Widow.

His notable performances include: • In 2000, he opened the season at Covent Garden Opera House in London. • In 2000, he was invited by the Bolshoi Ballet to celebrate Maya Plisetskaya’s 75th birthday in the presence of President Vladimir Putin. • In 2002, Bolle danced on the occasion of Queen Elizabeth’s Golden Jubilee at Buckingham Palace in the presence of the Queen. The event was broadcast live. • In 2004, he danced in front of Pope John Paul II in Saint Peter’s square to celebrate young people’s day. • In 2004, he danced with Alessandra Ferri to celebrate the re-opening of La Scala Theatre after its restoration. • In 2005 at Covent Garden Opera House in London, he danced in Sylvia. The BBC broadcast the performance on Christmas Day. • In 2006, Bolle danced at the opening ceremony of the 2006 Winter Olympic Games in Turin where he performed a solo created for him by Enzo Cosimi. • In 2007 he performed for the first time with ABT as a guest artist, on the occasion of Alessandra Ferri’s farewell performance.

His numerous partners include Altynai Asylmuratova, Darcey Bussell, Lisa-Marie Cullum, Viviana Durante, Alessandra Ferri, Carla Fracci, Isabelle Guérin, Sylvie Guillem, Greta Hodgkinson, Margareth Illmann, Susan Jaffe, Lucia Lacarra, Agnès Letestu, Marianela Nuñez, Elena Pankova, Lisa Pavane, Darja Pavlenko, Laetitia Pujol, Tamara Rojo, Polina Semionova, Diana Vishneva, Zenaida Yanowsky, Svetlana Zakharova.

For the 2009 Spring Season at the Metropolitan Opera House in New York, he performed as a Principal Dancer with the American Ballet Theatre. Since December 1998 he has been Resident Guest Artist at La Scala Theatre. During the 2003/2004 season he was promoted to Etoile at La Scala Theatre.

Since 1999 he has been a Goodwill Ambassador for UNICEF and in 2006 he visited Sudan on his first trip into the field.

ABTAmericanBalletTheatrephotosKent Beckernot my day job photographyAmerican Ballet TheatreRoberto BolleRomeoRomeo and Juliet

  • Roberto Bolle, Romeo and Juliet, July 11, 2009
<br><br>
Italian Roberto Bolle is one of ballet’s biggest stars. He has a huge international following as evidenced by his over 100,000 followers on 
<a href="https://twitter.com/RobertoBolle">Twitter</a>; photos on <a href="http://www.flickr.com/photos/robertobollefanclub/">his flickr fanclub</a> have attracted about 100,000 views. 
<br><br>
Bolle entered the La Scala Theatre Ballet School at age 11. According to <a href="http://www.robertobolle.com/ ">his website</a> Rudolf Nureyev noticed his talent and chose him to interpret a role in the ballet Death in Venice. He joined the Theatre Company in 1994 and was promoted to Principal in 1996 at age 20. 
<br><br>
Since then he has become an international superstar, having danced with the Royal ballet, American Ballet Theatre (ABT), the National Ballet of Canada, the Stuttgart Ballet, the Finnish National Ballet, the Staatballett Berlin, the Vienna Staatsoper Ballett, the Staatsoper in Dresden, the Munich Ballet,  and the Tokyo Ballet. He has starred in many contemporary and classical ballets such as Sleeping Beauty, Cinderella, Don Quixote, Swan Lake, The Nutcracker, La Bayadère, Giselle, La Sylphide, Manon, Romeo and Juliet, Onegin, and The Merry Widow. 
<br><br>
His notable performances include:
•	In 2000, he opened the season at Covent Garden Opera House in London.
•	In 2000, he was invited by the Bolshoi Ballet to celebrate Maya Plisetskaya’s 75th birthday in the presence of President Vladimir Putin.
•	In 2002, Bolle danced on the occasion of Queen Elizabeth’s Golden Jubilee at Buckingham Palace in the presence of the Queen. The event was broadcast live.
•	In 2004, he danced in front of Pope John Paul II in Saint Peter’s square to celebrate young people’s day.
•	In 2004, he danced with Alessandra Ferri to celebrate the re-opening of La Scala Theatre after its restoration.
•	In 2005 at Covent Garden Opera House in London, he danced in Sylvia. The BBC broadcast the performance on Christmas Day.
•	In 2006, Bolle danced at the opening ceremony of the 2006 Winter Olympic Games in Turin where he performed a solo created for him by Enzo Cosimi. 
•	In 2007 he performed for the first time with ABT as a guest artist, on the occasion of Alessandra Ferri’s farewell performance.
<br><br>
His numerous partners include Altynai Asylmuratova, Darcey Bussell, Lisa-Marie Cullum, Viviana Durante, Alessandra Ferri, Carla Fracci, Isabelle Guérin, Sylvie Guillem, Greta Hodgkinson, Margareth Illmann, Susan Jaffe, Lucia Lacarra, Agnès Letestu, Marianela Nuñez, Elena Pankova, Lisa Pavane, Darja Pavlenko, Laetitia Pujol, Tamara Rojo, Polina Semionova, Diana Vishneva, Zenaida Yanowsky, Svetlana Zakharova. 
<br><br>
For the 2009 Spring Season at the Metropolitan Opera House in New York, he performed as a Principal Dancer with the American Ballet Theatre. Since December 1998 he has been Resident Guest Artist at La Scala Theatre. During the 2003/2004 season he was promoted to Etoile at La Scala Theatre.
<br><br>
Since 1999 he has been a Goodwill Ambassador for UNICEF and in 2006 he visited Sudan on his first trip into the field.
  • Polina Semionova and Roberto Bolle, Sylvia, June 28, 2013
<br><br>
Frederick Ashton of The Royal Ballet created the ballet in 1952 as a star vehicle for Margot Fonteyn and was performed until 1965. Léo Delibes' score is beautiful, a masterpiece of 19th-century ballet music. Tchaikovsky was so impressed with it that he once observed: "Had I known Sylvia existed, I would not have dared compose Swan Lake!" 
<br><br>
A problem arose when The Royal Ballet and ABT agreed to co-produce the revival of Sylvia: the choreography was never notated and the only record was a poorly lit black and white film. Christopher Newton, ballet master under Ashton who danced Sylvia during the 1950s kept handwritten notes of the choreography and reconstructed the some of the steps from memory. In addition, costume designs were found in The Royal Ballet’s archives in a mislabeled box along with paintings and photographic records of the original sets. The World Premier of the revival of Sylvia was given by The Royal Ballet in 2004 while ABT debuted its version in 2005. See the <a href="http://www.abt.org/sylvia/">ABT website</a> for more detail.
<br><br>
ABT’s star power was on full display in Friday night’s Sylvia with Polina Semionova and Roberto Bolle leading the cast. Semionova along with tennis star Novak Djokovic appear in <a href="http://www.fastretailing.com/eng/group/news/1303191700.html"> UNIQLO AIRism underwear</a> advertisements that appear in New York City subway trains (here is a  <a href="http://www.youtube.com/watch?v=A-wb1RpfUZg "> video advertisement</a> featuring Polina). Roberto is one of ballet’s biggest stars. He has a huge international following as evidenced by his over 100,000 followers on 
<a href="https://twitter.com/RobertoBolle">Twitter</a>. 
<br><br>
Polina was Sylvia, a very demanding role both dramatically and technically. She is onstage almost throughout the performance with several very tiring solos. Sylvia is difficult dramatically as she must run the gamut of roles: she is a powerful leader of an Amazonian tribe; a woman who morns the loss of Aminta after she shoots him with an arrow; a seductress of Orion in an effort to gain her freedom; and finally a woman who falls in lover with Aminta. Polina danced well, except for a diagonal jumping and pirouette section in Act I that seemed a bit off the music. Her solos were beautiful, taking full advantage of her long flowing arms. 
<br><br>
Bolle was the Aminta the shepherd, who is in love with Sylvia. Roberto was strong and steady throughout, his solos were rock solid without waiver. Technically, he had a nice saute de basque section and had a very nice triple pirouette which finished in releve, pausing a few seconds for effect. His partnering skills are remarkable, showering attention on his beloved Sylvia. Polina and Roberto connected well, particularly when he removes Sylvia’s veil, revealing his true love as he is overcome with emotion. Polina and Roberto make a nice pair, dancing in unison with a feeling. Several jumping fish dives were done well and drew applause.
<br><br>
I also noted the corps dancing in Act I of the woodland creatures, an Amazonian tribe dancing in celebration of their hunt. This is a dance of female empowerment with tribe members dancing with bows and arrows: “Don’t mess with us! We rule the forest!” The dancers were in synch in the fouetté section; not an easy task given they are performing the step with a bow in one hand. Also, the lighting in the first set is beautiful, simulating a blue moonlit night that provides illumination for the dancing.
<br><br>
Jared Matthews is Orion, the evil hunter. I have seen Jared perform several times this year and this performance continues his hot streak as he is having a very good season. His two pas de deux with Polina were appropriately awkward and tense as Sylvia is trying to escape.
  • Polina Semionova and Roberto Bolle, Sylvia, June 28, 2013
<br><br>
Frederick Ashton of The Royal Ballet created the ballet in 1952 as a star vehicle for Margot Fonteyn and was performed until 1965. Léo Delibes' score is beautiful, a masterpiece of 19th-century ballet music. Tchaikovsky was so impressed with it that he once observed: "Had I known Sylvia existed, I would not have dared compose Swan Lake!" 
<br><br>
A problem arose when The Royal Ballet and ABT agreed to co-produce the revival of Sylvia: the choreography was never notated and the only record was a poorly lit black and white film. Christopher Newton, ballet master under Ashton who danced Sylvia during the 1950s kept handwritten notes of the choreography and reconstructed the some of the steps from memory. In addition, costume designs were found in The Royal Ballet’s archives in a mislabeled box along with paintings and photographic records of the original sets. The World Premier of the revival of Sylvia was given by The Royal Ballet in 2004 while ABT debuted its version in 2005. See the <a href="http://www.abt.org/sylvia/">ABT website</a> for more detail.
<br><br>
ABT’s star power was on full display in Friday night’s Sylvia with Polina Semionova and Roberto Bolle leading the cast. Semionova along with tennis star Novak Djokovic appear in <a href="http://www.fastretailing.com/eng/group/news/1303191700.html"> UNIQLO AIRism underwear</a> advertisements that appear in New York City subway trains (here is a  <a href="http://www.youtube.com/watch?v=A-wb1RpfUZg "> video advertisement</a> featuring Polina). Roberto is one of ballet’s biggest stars. He has a huge international following as evidenced by his over 100,000 followers on 
<a href="https://twitter.com/RobertoBolle">Twitter</a>. 
<br><br>
Polina was Sylvia, a very demanding role both dramatically and technically. She is onstage almost throughout the performance with several very tiring solos. Sylvia is difficult dramatically as she must run the gamut of roles: she is a powerful leader of an Amazonian tribe; a woman who morns the loss of Aminta after she shoots him with an arrow; a seductress of Orion in an effort to gain her freedom; and finally a woman who falls in lover with Aminta. Polina danced well, except for a diagonal jumping and pirouette section in Act I that seemed a bit off the music. Her solos were beautiful, taking full advantage of her long flowing arms. 
<br><br>
Bolle was the Aminta the shepherd, who is in love with Sylvia. Roberto was strong and steady throughout, his solos were rock solid without waiver. Technically, he had a nice saute de basque section and had a very nice triple pirouette which finished in releve, pausing a few seconds for effect. His partnering skills are remarkable, showering attention on his beloved Sylvia. Polina and Roberto connected well, particularly when he removes Sylvia’s veil, revealing his true love as he is overcome with emotion. Polina and Roberto make a nice pair, dancing in unison with a feeling. Several jumping fish dives were done well and drew applause.
<br><br>
I also noted the corps dancing in Act I of the woodland creatures, an Amazonian tribe dancing in celebration of their hunt. This is a dance of female empowerment with tribe members dancing with bows and arrows: “Don’t mess with us! We rule the forest!” The dancers were in synch in the fouetté section; not an easy task given they are performing the step with a bow in one hand. Also, the lighting in the first set is beautiful, simulating a blue moonlit night that provides illumination for the dancing.
<br><br>
Jared Matthews is Orion, the evil hunter. I have seen Jared perform several times this year and this performance continues his hot streak as he is having a very good season. His two pas de deux with Polina were appropriately awkward and tense as Sylvia is trying to escape.
  • Polina Semionova and Roberto Bolle, Sylvia, June 28, 2013

Frederick Ashton of The Royal Ballet created the ballet in 1952 as a star vehicle for Margot Fonteyn and was performed until 1965. Léo Delibes' score is beautiful, a masterpiece of 19th-century ballet music. Tchaikovsky was so impressed with it that he once observed: "Had I known Sylvia existed, I would not have dared compose Swan Lake!" 

A problem arose when The Royal Ballet and ABT agreed to co-produce the revival of Sylvia: the choreography was never notated and the only record was a poorly lit black and white film. Christopher Newton, ballet master under Ashton who danced Sylvia during the 1950s kept handwritten notes of the choreography and reconstructed the some of the steps from memory. In addition, costume designs were found in The Royal Ballet’s archives in a mislabeled box along with paintings and photographic records of the original sets. The World Premier of the revival of Sylvia was given by The Royal Ballet in 2004 while ABT debuted its version in 2005. See the <a href="http://www.abt.org/sylvia/">ABT website</a> for more detail.

ABT’s star power was on full display in Friday night’s Sylvia with Polina Semionova and Roberto Bolle leading the cast. Semionova along with tennis star Novak Djokovic appear in <a href="http://www.fastretailing.com/eng/group/news/1303191700.html"> UNIQLO AIRism underwear</a> advertisements that appear in New York City subway trains (here is a  <a href="http://www.youtube.com/watch?v=A-wb1RpfUZg "> video advertisement</a> featuring Polina). Roberto is one of ballet’s biggest stars. He has a huge international following as evidenced by his over 100,000 followers on 
<a href="https://twitter.com/RobertoBolle">Twitter</a>. 

Polina was Sylvia, a very demanding role both dramatically and technically. She is onstage almost throughout the performance with several very tiring solos. Sylvia is difficult dramatically as she must run the gamut of roles: she is a powerful leader of an Amazonian tribe; a woman who morns the loss of Aminta after she shoots him with an arrow; a seductress of Orion in an effort to gain her freedom; and finally a woman who falls in lover with Aminta. Polina danced well, except for a diagonal jumping and pirouette section in Act I that seemed a bit off the music. Her solos were beautiful, taking full advantage of her long flowing arms. 

Bolle was the Aminta the shepherd, who is in love with Sylvia. Roberto was strong and steady throughout, his solos were rock solid without waiver. Technically, he had a nice saute de basque section and had a very nice triple pirouette which finished in releve, pausing a few seconds for effect. His partnering skills are remarkable, showering attention on his beloved Sylvia. Polina and Roberto connected well, particularly when he removes Sylvia’s veil, revealing his true love as he is overcome with emotion. Polina and Roberto make a nice pair, dancing in unison with feeling. Several jumping fish dives were done well and drew applause.

I also noted the corps dancing in Act I of the woodland creatures, an Amazonian tribe dancing in celebration of their hunt. This is a dance of female empowerment with tribe members dancing with bows and arrows: “Don’t mess with us! We rule the forest!” The dancers were in synch in the fouetté section; not an easy task given they are performing the step with a bow in one hand. Also, the lighting in the first set is beautiful, simulating a blue moonlit night that provides illumination for the dancing.

Jared Matthews is Orion, the evil hunter. I have seen Jared perform several times this year and this performance continues his hot streak as he is having a very good season. His two pas de deux with Polina were appropriately awkward and tense as Sylvia is trying to escape.
  • Roberto Bolle, Sylvia, June 28, 2013
<br><br>
Frederick Ashton of The Royal Ballet created the ballet in 1952 as a star vehicle for Margot Fonteyn and was performed until 1965. Léo Delibes' score is beautiful, a masterpiece of 19th-century ballet music. Tchaikovsky was so impressed with it that he once observed: "Had I known Sylvia existed, I would not have dared compose Swan Lake!" 
<br><br>
A problem arose when The Royal Ballet and ABT agreed to co-produce the revival of Sylvia: the choreography was never notated and the only record was a poorly lit black and white film. Christopher Newton, ballet master under Ashton who danced Sylvia during the 1950s kept handwritten notes of the choreography and reconstructed the some of the steps from memory. In addition, costume designs were found in The Royal Ballet’s archives in a mislabeled box along with paintings and photographic records of the original sets. The World Premier of the revival of Sylvia was given by The Royal Ballet in 2004 while ABT debuted its version in 2005. See the <a href="http://www.abt.org/sylvia/">ABT website</a> for more detail.
<br><br>
ABT’s star power was on full display in Friday night’s Sylvia with Polina Semionova and Roberto Bolle leading the cast. Semionova along with tennis star Novak Djokovic appear in <a href="http://www.fastretailing.com/eng/group/news/1303191700.html"> UNIQLO AIRism underwear</a> advertisements that appear in New York City subway trains (here is a  <a href="http://www.youtube.com/watch?v=A-wb1RpfUZg "> video advertisement</a> featuring Polina). Roberto is one of ballet’s biggest stars. He has a huge international following as evidenced by his over 100,000 followers on 
<a href="https://twitter.com/RobertoBolle">Twitter</a>. 
<br><br>
Polina was Sylvia, a very demanding role both dramatically and technically. She is onstage almost throughout the performance with several very tiring solos. Sylvia is difficult dramatically as she must run the gamut of roles: she is a powerful leader of an Amazonian tribe; a woman who morns the loss of Aminta after she shoots him with an arrow; a seductress of Orion in an effort to gain her freedom; and finally a woman who falls in lover with Aminta. Polina danced well, except for a diagonal jumping and pirouette section in Act I that seemed a bit off the music. Her solos were beautiful, taking full advantage of her long flowing arms. 
<br><br>
Bolle was the Aminta the shepherd, who is in love with Sylvia. Roberto was strong and steady throughout, his solos were rock solid without waiver. Technically, he had a nice saute de basque section and had a very nice triple pirouette which finished in releve, pausing a few seconds for effect. His partnering skills are remarkable, showering attention on his beloved Sylvia. Polina and Roberto connected well, particularly when he removes Sylvia’s veil, revealing his true love as he is overcome with emotion. Polina and Roberto make a nice pair, dancing in unison with a feeling. Several jumping fish dives were done well and drew applause.
<br><br>
I also noted the corps dancing in Act I of the woodland creatures, an Amazonian tribe dancing in celebration of their hunt. This is a dance of female empowerment with tribe members dancing with bows and arrows: “Don’t mess with us! We rule the forest!” The dancers were in synch in the fouetté section; not an easy task given they are performing the step with a bow in one hand. Also, the lighting in the first set is beautiful, simulating a blue moonlit night that provides illumination for the dancing.
<br><br>
Jared Matthews is Orion, the evil hunter. I have seen Jared perform several times this year and this performance continues his hot streak as he is having a very good season. His two pas de deux with Polina were appropriately awkward and tense as Sylvia is trying to escape.
  • Roberto Bolle, Sylvia, June 28, 2013<br />
<br />
Roberto autographs a book for for a fan<br />
<br />
I had extra time after the Friday performance and stopped by the door where the dancers exit in the underground parking lot at Lincoln Center. I heard that some fans linger for an opportunity to see their favorite dancers and wanted to see what it was all about. <br />
<br />
There were about 30-50 people milling about Friday evening. Polina came out about 20 minutes after the performance to a large ovation. She was very gracious and patient, posing with her fans and signing numerous autographs.<br />
<br />
Roberto came out about 10 minutes later and was particularly considerate and cordial. Some wanted an autograph, photo, or a brief chat-essentially an additional connection with him after a great performance. After satisfying all of the demands of his fans, he waved goodbye and slowly walked away into the Manhattan evening.
  • Roberto Bolle, Sylvia, June 28, 2013<br />
<br />
Roberto chats with a fan after the performance<br />
<br />
I had extra time after the Friday performance and stopped by the door where the dancers exit in the underground parking lot at Lincoln Center. I heard that some fans linger for an opportunity to see their favorite dancers and wanted to see what it was all about. <br />
<br />
There were about 30-50 people milling about Friday evening. Polina came out about 20 minutes after the performance to a large ovation. She was very gracious and patient, posing with her fans and signing numerous autographs.<br />
<br />
Roberto came out about 10 minutes later and was particularly considerate and cordial. Some wanted an autograph, photo, or a brief chat-essentially an additional connection with him after a great performance. After satisfying all of the demands of his fans, he waved goodbye and slowly walked away into the Manhattan evening.
  • Roberto Bolle, Prototype, September 17, 2013
<br><br>
I knew that the Roberto Bolle and Friends Gala Tuesday at New York’s City Center would be a popular event when I walked past the long line of people waiting in the ticket reserve line. Those waiting were not disappointed as the evening featured a diversity of dancing from Roberto and his friends, many from German ballet companies. The evening consisted of 11 unrelated pieces ranging from modern to classical, of which Roberto danced in four. 
<br><br>
The evening opened with a pas de deux from the full-length ballet Excelsior. I don’t know much about the ballet; it is a tribute to the scientific and industrial progress of the 19th century, from the electric light to the telegraph, steam engine, and Suez Canal, according to Wikipedia. Roberto was in skimpy attire (basically a decorated dance belt) while Alina Somova from the Mariinsky Theatre wore a more traditional white ballet dress. The partnering section was fairly short followed by solos featuring fine, controlled jetés, sauté de basques, and coupe jetés from Roberto. Somova ha  a turn section consisting of single and double fouettés and she made it through the section. Well danced but not my favorite performance of the evening. 
<br><br>
Excelsior was followed by the Act I Romeo and Juliet pas de deux with Alicia Amatriain and Jason Reilly of the Stuttgart Ballet. It was clear that they have partnered together as young, star-crossed lovers in this Cranko (Stuttgart Ballet) version. Filled with emotion and brimming with excitement, the two lovers proclaimed their everlasting love. 
<br><br>
I’ve always liked Luciana Paris at American Ballet Theatre (ABT) and would like to see her dance more; happy to see that she is one of Roberto’s friends, paired up with another favorite, Herman Cornejo in Twyla Tharp’s Sinatra Suite. She always excels in this role at ABT along with another Tharp piece “In the Upper Room.” Not sure why she does not get more exposure, but that is a topic for another day. Herman was dashing, debonair in a black tuxedo with Luciana in an elegant black gown as they danced to Sinatra favorites such as “Strangers in the Night” and “My Way.” In “Strangers in the Night,” Herman tossed off his jacket with a look of indifference and defiance. In another section, he pulled off seven jazz turns effortlessly. In my favorite part, he danced in an intoxicated manner as Sinatra sings “one more for the road.” Sinatra Suite was a great selection for the evening and the audience roared with approval.
<br><br>
Elisa Carrillo Cabrera and Mikhail Kaniskin of Staatsballet Berlin danced in Jeunehomme. This piece, choreographed by Uwe Scholz, was set to music by Mozart. This was a contemporary piece with the dancers are dressed in black. Cabrera and Kaniskin were precise in their intricate movements with Cabrera showing great extension. Their characters seemed frustrated as they were missing and longing for something. Near the end, he walked off the stage, and she was lost without him. He reappeared at the end and they embraced. I liked this piece with difficult partnering sequences, one of my favorites of the night. 
<br><br>
My least favorite was Le Grand Pas de Deux with Roberto and Alicia Amatriain of the Stuttgart Ballet. This was a silly, stupid, and a pointless comedy piece in which Amatriain walked down the aisle in the beginning on her way to the stage wearing glasses and toting a purse. Roberto was in a Nutcracker type costume. It was classical ballet interspersed with disco. In one section, Alicia completed a very good series of fouettés only to stagger around stage on the verge of vomiting while Roberto was working on a turn section in second position. Not sure why this was put in the program but some in the audience were amused.
<br><br>
Roberto and Erika Gaudenzi, listed in the program as a Young Italian Talent, Opera House, Rome, opened the second part of the evening with a dramatic pas de deux from L’Arlesienne. I am not familiar with the ballet so it was difficult to follow what was going on. He seemed disturbed about something and then removed his shirt. This was a recurring theme in the evening as the men more often than not were shirtless, showing off their toned bodies. Roberto danced a long introspective, wandering solo that was very well done. 
<br><br>
Kazimir’s Colours with Elisa Carrillo Cabrera and Mikhail Kaniskin were next, set to music by Shostakovich. The music was particularly memorable and dramatic, set to this contemporary piece, with the dancers wearing gym attire. 
<br><br>
When I arrived, I immediately focused in eager anticipation of the Tchaikovsky Pas de Deux by Balanchine with Herman Cornejo and Maria Kochetkova of the San Francisco Ballet. Maria danced with Herman in Swan Lake and Sleeping Beauty, filling in for the injured Alina Cojocaru in the ABT spring season. They make a nice pair, as she is shorter than Herman and light as a feather. Notable parts were Herman’s massive double cabriole derrière, high leaps, entrechat six, double assembles, and double tours to the knee. She was very fast in her spunky solo with a jumping arabesque on releve and very rapid turns and fouettés. She was a very proficient turner. 
<br><br>
Next was a very interesting modern piece, Mona Lisa with Alicia Amatriain and Jason Reilly opening with creaky doors and fog. (The last time I saw fog at City Center was for ABT’s In the Upper Room. That evening,  a zealous stagehand in charge of dry ice pumped massive amounts of fog onto the stage, obscuring all of the dancers. After about 10 minutes with screaming from the audience, the curtain closed and the ballet was restarted after the fog lifted.) Rather than me describing it, take a look at this <a href="http://www.youtube.com/watch?v=GlScLv2Tyz8">Youtube clip.</a> A very entertaining 8 minutes. 
<br><br>
What would a gala be like without the Dying Swan, choreographed by Fokine? Alina Somova was the unfortunate swan, dancing in beautiful Russian form.
<br><br>
Last was Prototype, a solo for Roberto by Massimiliano Volpini.  A large video screen lined the back of the stage with computer-related images of a human body (ultimately Roberto’s) and modern techno-type music. The screen then showed various high-tech images with Roberto interacting with the screen, dancing in unison with the images. At one point, the screen showed examples of ballet steps, which Roberto replicated. Off for a costume change into skin-colored trunks. The theme then turned to classical as he danced to Romeo and Juliet and Swan Lake. Off for another costume change into jeans and a jean jacket so he could dance with images of multiple Robertos on the screen. The interplay with Roberto and the images was unique, revealing his great technique and diversity.
<br><br>
Roberto was joined on stage by the dancers to a well-deserved rousing ovation by the appreciative, full-house crowd.
  • Roberto Bolle, Prototype, September 17, 2013
<br><br>
I knew that the Roberto Bolle and Friends Gala Tuesday at New York’s City Center would be a popular event when I walked past the long line of people waiting in the ticket reserve line. Those waiting were not disappointed as the evening featured a diversity of dancing from Roberto and his friends, many from German ballet companies. The evening consisted of 11 unrelated pieces ranging from modern to classical, of which Roberto danced in four. 
<br><br>
The evening opened with a pas de deux from the full-length ballet Excelsior. I don’t know much about the ballet; it is a tribute to the scientific and industrial progress of the 19th century, from the electric light to the telegraph, steam engine, and Suez Canal, according to Wikipedia. Roberto was in skimpy attire (basically a decorated dance belt) while Alina Somova from the Mariinsky Theatre wore a more traditional white ballet dress. The partnering section was fairly short followed by solos featuring fine, controlled jetés, sauté de basques, and coupe jetés from Roberto. Somova ha  a turn section consisting of single and double fouettés and she made it through the section. Well danced but not my favorite performance of the evening. 
<br><br>
Excelsior was followed by the Act I Romeo and Juliet pas de deux with Alicia Amatriain and Jason Reilly of the Stuttgart Ballet. It was clear that they have partnered together as young, star-crossed lovers in this Cranko (Stuttgart Ballet) version. Filled with emotion and brimming with excitement, the two lovers proclaimed their everlasting love. 
<br><br>
I’ve always liked Luciana Paris at American Ballet Theatre (ABT) and would like to see her dance more; happy to see that she is one of Roberto’s friends, paired up with another favorite, Herman Cornejo in Twyla Tharp’s Sinatra Suite. She always excels in this role at ABT along with another Tharp piece “In the Upper Room.” Not sure why she does not get more exposure, but that is a topic for another day. Herman was dashing, debonair in a black tuxedo with Luciana in an elegant black gown as they danced to Sinatra favorites such as “Strangers in the Night” and “My Way.” In “Strangers in the Night,” Herman tossed off his jacket with a look of indifference and defiance. In another section, he pulled off seven jazz turns effortlessly. In my favorite part, he danced in an intoxicated manner as Sinatra sings “one more for the road.” Sinatra Suite was a great selection for the evening and the audience roared with approval.
<br><br>
Elisa Carrillo Cabrera and Mikhail Kaniskin of Staatsballet Berlin danced in Jeunehomme. This piece, choreographed by Uwe Scholz, was set to music by Mozart. This was a contemporary piece with the dancers are dressed in black. Cabrera and Kaniskin were precise in their intricate movements with Cabrera showing great extension. Their characters seemed frustrated as they were missing and longing for something. Near the end, he walked off the stage, and she was lost without him. He reappeared at the end and they embraced. I liked this piece with difficult partnering sequences, one of my favorites of the night. 
<br><br>
My least favorite was Le Grand Pas de Deux with Roberto and Alicia Amatriain of the Stuttgart Ballet. This was a silly, stupid, and a pointless comedy piece in which Amatriain walked down the aisle in the beginning on her way to the stage wearing glasses and toting a purse. Roberto was in a Nutcracker type costume. It was classical ballet interspersed with disco. In one section, Alicia completed a very good series of fouettés only to stagger around stage on the verge of vomiting while Roberto was working on a turn section in second position. Not sure why this was put in the program but some in the audience were amused.
<br><br>
Roberto and Erika Gaudenzi, listed in the program as a Young Italian Talent, Opera House, Rome, opened the second part of the evening with a dramatic pas de deux from L’Arlesienne. I am not familiar with the ballet so it was difficult to follow what was going on. He seemed disturbed about something and then removed his shirt. This was a recurring theme in the evening as the men more often than not were shirtless, showing off their toned bodies. Roberto danced a long introspective, wandering solo that was very well done. 
<br><br>
Kazimir’s Colours with Elisa Carrillo Cabrera and Mikhail Kaniskin were next, set to music by Shostakovich. The music was particularly memorable and dramatic, set to this contemporary piece, with the dancers wearing gym attire. 
<br><br>
When I arrived, I immediately focused in eager anticipation of the Tchaikovsky Pas de Deux by Balanchine with Herman Cornejo and Maria Kochetkova of the San Francisco Ballet. Maria danced with Herman in Swan Lake and Sleeping Beauty, filling in for the injured Alina Cojocaru in the ABT spring season. They make a nice pair, as she is shorter than Herman and light as a feather. Notable parts were Herman’s massive double cabriole derrière, high leaps, entrechat six, double assembles, and double tours to the knee. She was very fast in her spunky solo with a jumping arabesque on releve and very rapid turns and fouettés. She was a very proficient turner. 
<br><br>
Next was a very interesting modern piece, Mona Lisa with Alicia Amatriain and Jason Reilly opening with creaky doors and fog. (The last time I saw fog at City Center was for ABT’s In the Upper Room. That evening,  a zealous stagehand in charge of dry ice pumped massive amounts of fog onto the stage, obscuring all of the dancers. After about 10 minutes with screaming from the audience, the curtain closed and the ballet was restarted after the fog lifted.) Rather than me describing it, take a look at this <a href="http://www.youtube.com/watch?v=GlScLv2Tyz8">Youtube clip.</a> A very entertaining 8 minutes. 
<br><br>
What would a gala be like without the Dying Swan, choreographed by Fokine? Alina Somova was the unfortunate swan, dancing in beautiful Russian form.
<br><br>
Last was Prototype, a solo for Roberto by Massimiliano Volpini.  A large video screen lined the back of the stage with computer-related images of a human body (ultimately Roberto’s) and modern techno-type music. The screen then showed various high-tech images with Roberto interacting with the screen, dancing in unison with the images. At one point, the screen showed examples of ballet steps, which Roberto replicated. Off for a costume change into skin-colored trunks. The theme then turned to classical as he danced to Romeo and Juliet and Swan Lake. Off for another costume change into jeans and a jean jacket so he could dance with images of multiple Robertos on the screen. The interplay with Roberto and the images was unique, revealing his great technique and diversity.
<br><br>
Roberto was joined on stage by the dancers to a well-deserved rousing ovation by the appreciative, full-house crowd.
  • Roberto Bolle, Prototype, September 17, 2013
<br><br>
I knew that the Roberto Bolle and Friends Gala Tuesday at New York’s City Center would be a popular event when I walked past the long line of people waiting in the ticket reserve line. Those waiting were not disappointed as the evening featured a diversity of dancing from Roberto and his friends, many from German ballet companies. The evening consisted of 11 unrelated pieces ranging from modern to classical, of which Roberto danced in four. 
<br><br>
The evening opened with a pas de deux from the full-length ballet Excelsior. I don’t know much about the ballet; it is a tribute to the scientific and industrial progress of the 19th century, from the electric light to the telegraph, steam engine, and Suez Canal, according to Wikipedia. Roberto was in skimpy attire (basically a decorated dance belt) while Alina Somova from the Mariinsky Theatre wore a more traditional white ballet dress. The partnering section was fairly short followed by solos featuring fine, controlled jetés, sauté de basques, and coupe jetés from Roberto. Somova ha  a turn section consisting of single and double fouettés and she made it through the section. Well danced but not my favorite performance of the evening. 
<br><br>
Excelsior was followed by the Act I Romeo and Juliet pas de deux with Alicia Amatriain and Jason Reilly of the Stuttgart Ballet. It was clear that they have partnered together as young, star-crossed lovers in this Cranko (Stuttgart Ballet) version. Filled with emotion and brimming with excitement, the two lovers proclaimed their everlasting love. 
<br><br>
I’ve always liked Luciana Paris at American Ballet Theatre (ABT) and would like to see her dance more; happy to see that she is one of Roberto’s friends, paired up with another favorite, Herman Cornejo in Twyla Tharp’s Sinatra Suite. She always excels in this role at ABT along with another Tharp piece “In the Upper Room.” Not sure why she does not get more exposure, but that is a topic for another day. Herman was dashing, debonair in a black tuxedo with Luciana in an elegant black gown as they danced to Sinatra favorites such as “Strangers in the Night” and “My Way.” In “Strangers in the Night,” Herman tossed off his jacket with a look of indifference and defiance. In another section, he pulled off seven jazz turns effortlessly. In my favorite part, he danced in an intoxicated manner as Sinatra sings “one more for the road.” Sinatra Suite was a great selection for the evening and the audience roared with approval.
<br><br>
Elisa Carrillo Cabrera and Mikhail Kaniskin of Staatsballet Berlin danced in Jeunehomme. This piece, choreographed by Uwe Scholz, was set to music by Mozart. This was a contemporary piece with the dancers are dressed in black. Cabrera and Kaniskin were precise in their intricate movements with Cabrera showing great extension. Their characters seemed frustrated as they were missing and longing for something. Near the end, he walked off the stage, and she was lost without him. He reappeared at the end and they embraced. I liked this piece with difficult partnering sequences, one of my favorites of the night. 
<br><br>
My least favorite was Le Grand Pas de Deux with Roberto and Alicia Amatriain of the Stuttgart Ballet. This was a silly, stupid, and a pointless comedy piece in which Amatriain walked down the aisle in the beginning on her way to the stage wearing glasses and toting a purse. Roberto was in a Nutcracker type costume. It was classical ballet interspersed with disco. In one section, Alicia completed a very good series of fouettés only to stagger around stage on the verge of vomiting while Roberto was working on a turn section in second position. Not sure why this was put in the program but some in the audience were amused.
<br><br>
Roberto and Erika Gaudenzi, listed in the program as a Young Italian Talent, Opera House, Rome, opened the second part of the evening with a dramatic pas de deux from L’Arlesienne. I am not familiar with the ballet so it was difficult to follow what was going on. He seemed disturbed about something and then removed his shirt. This was a recurring theme in the evening as the men more often than not were shirtless, showing off their toned bodies. Roberto danced a long introspective, wandering solo that was very well done. 
<br><br>
Kazimir’s Colours with Elisa Carrillo Cabrera and Mikhail Kaniskin were next, set to music by Shostakovich. The music was particularly memorable and dramatic, set to this contemporary piece, with the dancers wearing gym attire. 
<br><br>
When I arrived, I immediately focused in eager anticipation of the Tchaikovsky Pas de Deux by Balanchine with Herman Cornejo and Maria Kochetkova of the San Francisco Ballet. Maria danced with Herman in Swan Lake and Sleeping Beauty, filling in for the injured Alina Cojocaru in the ABT spring season. They make a nice pair, as she is shorter than Herman and light as a feather. Notable parts were Herman’s massive double cabriole derrière, high leaps, entrechat six, double assembles, and double tours to the knee. She was very fast in her spunky solo with a jumping arabesque on releve and very rapid turns and fouettés. She was a very proficient turner. 
<br><br>
Next was a very interesting modern piece, Mona Lisa with Alicia Amatriain and Jason Reilly opening with creaky doors and fog. (The last time I saw fog at City Center was for ABT’s In the Upper Room. That evening,  a zealous stagehand in charge of dry ice pumped massive amounts of fog onto the stage, obscuring all of the dancers. After about 10 minutes with screaming from the audience, the curtain closed and the ballet was restarted after the fog lifted.) Rather than me describing it, take a look at this <a href="http://www.youtube.com/watch?v=GlScLv2Tyz8">Youtube clip.</a> A very entertaining 8 minutes. 
<br><br>
What would a gala be like without the Dying Swan, choreographed by Fokine? Alina Somova was the unfortunate swan, dancing in beautiful Russian form.
<br><br>
Last was Prototype, a solo for Roberto by Massimiliano Volpini.  A large video screen lined the back of the stage with computer-related images of a human body (ultimately Roberto’s) and modern techno-type music. The screen then showed various high-tech images with Roberto interacting with the screen, dancing in unison with the images. At one point, the screen showed examples of ballet steps, which Roberto replicated. Off for a costume change into skin-colored trunks. The theme then turned to classical as he danced to Romeo and Juliet and Swan Lake. Off for another costume change into jeans and a jean jacket so he could dance with images of multiple Robertos on the screen. The interplay with Roberto and the images was unique, revealing his great technique and diversity.
<br><br>
Roberto was joined on stage by the dancers to a well-deserved rousing ovation by the appreciative, full-house crowd.
  • Roberto Bolle, Sylvia, June 28, 2013
<br><br>
Frederick Ashton of The Royal Ballet created the ballet in 1952 as a star vehicle for Margot Fonteyn and was performed until 1965. Léo Delibes' score is beautiful, a masterpiece of 19th-century ballet music. Tchaikovsky was so impressed with it that he once observed: "Had I known Sylvia existed, I would not have dared compose Swan Lake!" 
<br><br>
A problem arose when The Royal Ballet and ABT agreed to co-produce the revival of Sylvia: the choreography was never notated and the only record was a poorly lit black and white film. Christopher Newton, ballet master under Ashton who danced Sylvia during the 1950s kept handwritten notes of the choreography and reconstructed the some of the steps from memory. In addition, costume designs were found in The Royal Ballet’s archives in a mislabeled box along with paintings and photographic records of the original sets. The World Premier of the revival of Sylvia was given by The Royal Ballet in 2004 while ABT debuted its version in 2005. See the <a href="http://www.abt.org/sylvia/">ABT website</a> for more detail.
<br><br>
ABT’s star power was on full display in Friday night’s Sylvia with Polina Semionova and Roberto Bolle leading the cast. Semionova along with tennis star Novak Djokovic appear in <a href="http://www.fastretailing.com/eng/group/news/1303191700.html"> UNIQLO AIRism underwear</a> advertisements that appear in New York City subway trains (here is a  <a href="http://www.youtube.com/watch?v=A-wb1RpfUZg "> video advertisement</a> featuring Polina). Roberto is one of ballet’s biggest stars. He has a huge international following as evidenced by his over 100,000 followers on 
<a href="https://twitter.com/RobertoBolle">Twitter</a>. 
<br><br>
Polina was Sylvia, a very demanding role both dramatically and technically. She is onstage almost throughout the performance with several very tiring solos. Sylvia is difficult dramatically as she must run the gamut of roles: she is a powerful leader of an Amazonian tribe; a woman who morns the loss of Aminta after she shoots him with an arrow; a seductress of Orion in an effort to gain her freedom; and finally a woman who falls in lover with Aminta. Polina danced well, except for a diagonal jumping and pirouette section in Act I that seemed a bit off the music. Her solos were beautiful, taking full advantage of her long flowing arms. 
<br><br>
Bolle was the Aminta the shepherd, who is in love with Sylvia. Roberto was strong and steady throughout, his solos were rock solid without waiver. Technically, he had a nice saute de basque section and had a very nice triple pirouette which finished in releve, pausing a few seconds for effect. His partnering skills are remarkable, showering attention on his beloved Sylvia. Polina and Roberto connected well, particularly when he removes Sylvia’s veil, revealing his true love as he is overcome with emotion. Polina and Roberto make a nice pair, dancing in unison with a feeling. Several jumping fish dives were done well and drew applause.
<br><br>
I also noted the corps dancing in Act I of the woodland creatures, an Amazonian tribe dancing in celebration of their hunt. This is a dance of female empowerment with tribe members dancing with bows and arrows: “Don’t mess with us! We rule the forest!” The dancers were in synch in the fouetté section; not an easy task given they are performing the step with a bow in one hand. Also, the lighting in the first set is beautiful, simulating a blue moonlit night that provides illumination for the dancing.
<br><br>
Jared Matthews is Orion, the evil hunter. I have seen Jared perform several times this year and this performance continues his hot streak as he is having a very good season. His two pas de deux with Polina were appropriately awkward and tense as Sylvia is trying to escape.
  • Roberto Bolle, Sylvia, June 28, 2013
<br><br>
Frederick Ashton of The Royal Ballet created the ballet in 1952 as a star vehicle for Margot Fonteyn and was performed until 1965. Léo Delibes' score is beautiful, a masterpiece of 19th-century ballet music. Tchaikovsky was so impressed with it that he once observed: "Had I known Sylvia existed, I would not have dared compose Swan Lake!" 
<br><br>
A problem arose when The Royal Ballet and ABT agreed to co-produce the revival of Sylvia: the choreography was never notated and the only record was a poorly lit black and white film. Christopher Newton, ballet master under Ashton who danced Sylvia during the 1950s kept handwritten notes of the choreography and reconstructed the some of the steps from memory. In addition, costume designs were found in The Royal Ballet’s archives in a mislabeled box along with paintings and photographic records of the original sets. The World Premier of the revival of Sylvia was given by The Royal Ballet in 2004 while ABT debuted its version in 2005. See the <a href="http://www.abt.org/sylvia/">ABT website</a> for more detail.
<br><br>
ABT’s star power was on full display in Friday night’s Sylvia with Polina Semionova and Roberto Bolle leading the cast. Semionova along with tennis star Novak Djokovic appear in <a href="http://www.fastretailing.com/eng/group/news/1303191700.html"> UNIQLO AIRism underwear</a> advertisements that appear in New York City subway trains (here is a  <a href="http://www.youtube.com/watch?v=A-wb1RpfUZg "> video advertisement</a> featuring Polina). Roberto is one of ballet’s biggest stars. He has a huge international following as evidenced by his over 100,000 followers on 
<a href="https://twitter.com/RobertoBolle">Twitter</a>. 
<br><br>
Polina was Sylvia, a very demanding role both dramatically and technically. She is onstage almost throughout the performance with several very tiring solos. Sylvia is difficult dramatically as she must run the gamut of roles: she is a powerful leader of an Amazonian tribe; a woman who morns the loss of Aminta after she shoots him with an arrow; a seductress of Orion in an effort to gain her freedom; and finally a woman who falls in lover with Aminta. Polina danced well, except for a diagonal jumping and pirouette section in Act I that seemed a bit off the music. Her solos were beautiful, taking full advantage of her long flowing arms. 
<br><br>
Bolle was the Aminta the shepherd, who is in love with Sylvia. Roberto was strong and steady throughout, his solos were rock solid without waiver. Technically, he had a nice saute de basque section and had a very nice triple pirouette which finished in releve, pausing a few seconds for effect. His partnering skills are remarkable, showering attention on his beloved Sylvia. Polina and Roberto connected well, particularly when he removes Sylvia’s veil, revealing his true love as he is overcome with emotion. Polina and Roberto make a nice pair, dancing in unison with a feeling. Several jumping fish dives were done well and drew applause.
<br><br>
I also noted the corps dancing in Act I of the woodland creatures, an Amazonian tribe dancing in celebration of their hunt. This is a dance of female empowerment with tribe members dancing with bows and arrows: “Don’t mess with us! We rule the forest!” The dancers were in synch in the fouetté section; not an easy task given they are performing the step with a bow in one hand. Also, the lighting in the first set is beautiful, simulating a blue moonlit night that provides illumination for the dancing.
<br><br>
Jared Matthews is Orion, the evil hunter. I have seen Jared perform several times this year and this performance continues his hot streak as he is having a very good season. His two pas de deux with Polina were appropriately awkward and tense as Sylvia is trying to escape.
  • Polina Semionova and Roberto Bolle, Sylvia, June 28, 2013
<br><br>
Frederick Ashton of The Royal Ballet created the ballet in 1952 as a star vehicle for Margot Fonteyn and was performed until 1965. Léo Delibes' score is beautiful, a masterpiece of 19th-century ballet music. Tchaikovsky was so impressed with it that he once observed: "Had I known Sylvia existed, I would not have dared compose Swan Lake!" 
<br><br>
A problem arose when The Royal Ballet and ABT agreed to co-produce the revival of Sylvia: the choreography was never notated and the only record was a poorly lit black and white film. Christopher Newton, ballet master under Ashton who danced Sylvia during the 1950s kept handwritten notes of the choreography and reconstructed the some of the steps from memory. In addition, costume designs were found in The Royal Ballet’s archives in a mislabeled box along with paintings and photographic records of the original sets. The World Premier of the revival of Sylvia was given by The Royal Ballet in 2004 while ABT debuted its version in 2005. See the <a href="http://www.abt.org/sylvia/">ABT website</a> for more detail.
<br><br>
ABT’s star power was on full display in Friday night’s Sylvia with Polina Semionova and Roberto Bolle leading the cast. Semionova along with tennis star Novak Djokovic appear in <a href="http://www.fastretailing.com/eng/group/news/1303191700.html"> UNIQLO AIRism underwear</a> advertisements that appear in New York City subway trains (here is a  <a href="http://www.youtube.com/watch?v=A-wb1RpfUZg "> video advertisement</a> featuring Polina). Roberto is one of ballet’s biggest stars. He has a huge international following as evidenced by his over 100,000 followers on 
<a href="https://twitter.com/RobertoBolle">Twitter</a>. 
<br><br>
Polina was Sylvia, a very demanding role both dramatically and technically. She is onstage almost throughout the performance with several very tiring solos. Sylvia is difficult dramatically as she must run the gamut of roles: she is a powerful leader of an Amazonian tribe; a woman who morns the loss of Aminta after she shoots him with an arrow; a seductress of Orion in an effort to gain her freedom; and finally a woman who falls in lover with Aminta. Polina danced well, except for a diagonal jumping and pirouette section in Act I that seemed a bit off the music. Her solos were beautiful, taking full advantage of her long flowing arms. 
<br><br>
Bolle was the Aminta the shepherd, who is in love with Sylvia. Roberto was strong and steady throughout, his solos were rock solid without waiver. Technically, he had a nice saute de basque section and had a very nice triple pirouette which finished in releve, pausing a few seconds for effect. His partnering skills are remarkable, showering attention on his beloved Sylvia. Polina and Roberto connected well, particularly when he removes Sylvia’s veil, revealing his true love as he is overcome with emotion. Polina and Roberto make a nice pair, dancing in unison with a feeling. Several jumping fish dives were done well and drew applause.
<br><br>
I also noted the corps dancing in Act I of the woodland creatures, an Amazonian tribe dancing in celebration of their hunt. This is a dance of female empowerment with tribe members dancing with bows and arrows: “Don’t mess with us! We rule the forest!” The dancers were in synch in the fouetté section; not an easy task given they are performing the step with a bow in one hand. Also, the lighting in the first set is beautiful, simulating a blue moonlit night that provides illumination for the dancing.
<br><br>
Jared Matthews is Orion, the evil hunter. I have seen Jared perform several times this year and this performance continues his hot streak as he is having a very good season. His two pas de deux with Polina were appropriately awkward and tense as Sylvia is trying to escape.
  • Roberto Bolle, Romeo and Juliet, July 11, 2009
<br><br>
Italian Roberto Bolle is one of ballet’s biggest stars. He has a huge international following as evidenced by his over 90,000 followers on <a href="https://twitter.com/RobertoBolle">Twitter</a>; photos on <a href="http://www.flickr.com/photos/robertobollefanclub/">his flickr fanclub</a> have attracted about 100,000 views. 
<br><br>
Bolle entered the La Scala Theatre Ballet School at age 11. According to <a href="http://www.robertobolle.com/ ">his website.</a> Rudolf Nureyev noticed his talent and chose him to interpret a role in the ballet Death in Venice. He joined the Theatre Company in 1994 and was promoted to Principal in 1996 at age 20. 
<br><br>
Since then he has become an international superstar, having danced with the Royal ballet, American Ballet Theatre (ABT), the National Ballet of Canada, the Stuttgart Ballet, the Finnish National Ballet, the Staatballett Berlin, the Vienna Staatsoper Ballett, the Staatsoper in Dresden, the Munich Ballet,  and the Tokyo Ballet. He has starred in many contemporary and classical ballets such as Sleeping Beauty, Cinderella, Don Quixote, Swan Lake, The Nutcracker, La Bayadère, Giselle, La Sylphide, Manon, Romeo and Juliet, Onegin, and The Merry Widow. 
<br><br>
His notable performances include:
•	In 2000, he opened the season at Covent Garden Opera House in London.
•	In 2000, he was invited by the Bolshoi Ballet to celebrate Maya Plisetskaya’s 75th birthday in the presence of President Vladimir Putin.
•	In 2002, Bolle danced on the occasion of Queen Elizabeth’s Golden Jubilee at Buckingham Palace in the presence of the Queen. The event was broadcast live.
•	In 2004, he danced in front of Pope John Paul II in Saint Peter’s square to celebrate young people’s day.
•	In 2004, he danced with Alessandra Ferri to celebrate the re-opening of La Scala Theatre after its restoration.
•	In 2005 at Covent Garden Opera House in London, he danced in Sylvia. The BBC broadcast the performance on Christmas Day.
•	In 2006, Bolle danced at the opening ceremony of the 2006 Winter Olympic Games in Turin where he performed a solo created for him by Enzo Cosimi. 
•	In 2007 he performed for the first time with ABT as a guest artist, on the occasion of Alessandra Ferri’s farewell performance.
<br><br>
His numerous partners include Altynai Asylmuratova, Darcey Bussell, Lisa-Marie Cullum, Viviana Durante, Alessandra Ferri, Carla Fracci, Isabelle Guérin, Sylvie Guillem, Greta Hodgkinson, Margareth Illmann, Susan Jaffe, Lucia Lacarra, Agnès Letestu, Marianela Nuñez, Elena Pankova, Lisa Pavane, Darja Pavlenko, Laetitia Pujol, Tamara Rojo, Polina Semionova, Diana Vishneva, Zenaida Yanowsky, Svetlana Zakharova. 
<br><br>
For the 2009 Spring Season at the Metropolitan Opera House in New York, he performed as a Principal Dancer with the American Ballet Theatre. Since December 1998 he has been Resident Guest Artist at La Scala Theatre. During the 2003/2004 season he was promoted to Etoile at La Scala Theatre.
 <br><br>
Since 1999 he has been a Goodwill Ambassador for UNICEF and in 2006 he visited Sudan on his first trip into the field.
  • Irina Dvorovenko and Roberto Bolle, Romeo and Juliet, July 11, 2009
  • Roberto Bolle, Romeo and Juliet, July 11, 2009
<br><br>
Italian Roberto Bolle is one of ballet’s biggest stars. He has a huge international following as evidenced by his over 100,000 followers on 
<a href="https://twitter.com/RobertoBolle">Twitter</a>; photos on <a href="http://www.flickr.com/photos/robertobollefanclub/">his flickr fanclub</a> have attracted about 100,000 views. 
<br><br>
Bolle entered the La Scala Theatre Ballet School at age 11. According to <a href="http://www.robertobolle.com/ ">his website</a> Rudolf Nureyev noticed his talent and chose him to interpret a role in the ballet Death in Venice. He joined the Theatre Company in 1994 and was promoted to Principal in 1996 at age 20. 
<br><br>
Since then he has become an international superstar, having danced with the Royal ballet, American Ballet Theatre (ABT), the National Ballet of Canada, the Stuttgart Ballet, the Finnish National Ballet, the Staatballett Berlin, the Vienna Staatsoper Ballett, the Staatsoper in Dresden, the Munich Ballet,  and the Tokyo Ballet. He has starred in many contemporary and classical ballets such as Sleeping Beauty, Cinderella, Don Quixote, Swan Lake, The Nutcracker, La Bayadère, Giselle, La Sylphide, Manon, Romeo and Juliet, Onegin, and The Merry Widow. 
<br><br>
His notable performances include:
•	In 2000, he opened the season at Covent Garden Opera House in London.
•	In 2000, he was invited by the Bolshoi Ballet to celebrate Maya Plisetskaya’s 75th birthday in the presence of President Vladimir Putin.
•	In 2002, Bolle danced on the occasion of Queen Elizabeth’s Golden Jubilee at Buckingham Palace in the presence of the Queen. The event was broadcast live.
•	In 2004, he danced in front of Pope John Paul II in Saint Peter’s square to celebrate young people’s day.
•	In 2004, he danced with Alessandra Ferri to celebrate the re-opening of La Scala Theatre after its restoration.
•	In 2005 at Covent Garden Opera House in London, he danced in Sylvia. The BBC broadcast the performance on Christmas Day.
•	In 2006, Bolle danced at the opening ceremony of the 2006 Winter Olympic Games in Turin where he performed a solo created for him by Enzo Cosimi. 
•	In 2007 he performed for the first time with ABT as a guest artist, on the occasion of Alessandra Ferri’s farewell performance.
<br><br>
His numerous partners include Altynai Asylmuratova, Darcey Bussell, Lisa-Marie Cullum, Viviana Durante, Alessandra Ferri, Carla Fracci, Isabelle Guérin, Sylvie Guillem, Greta Hodgkinson, Margareth Illmann, Susan Jaffe, Lucia Lacarra, Agnès Letestu, Marianela Nuñez, Elena Pankova, Lisa Pavane, Darja Pavlenko, Laetitia Pujol, Tamara Rojo, Polina Semionova, Diana Vishneva, Zenaida Yanowsky, Svetlana Zakharova. 
<br><br>
For the 2009 Spring Season at the Metropolitan Opera House in New York, he performed as a Principal Dancer with the American Ballet Theatre. Since December 1998 he has been Resident Guest Artist at La Scala Theatre. During the 2003/2004 season he was promoted to Etoile at La Scala Theatre.
 <br><br>
Since 1999 he has been a Goodwill Ambassador for UNICEF and in 2006 he visited Sudan on his first trip into the field.
  • Roberto Bolle, Romeo and Juliet, July 11, 2009
<br><br>
Italian Roberto Bolle is one of ballet’s biggest stars. He has a huge international following as evidenced by his over 100,000 followers on 
<a href="https://twitter.com/RobertoBolle">Twitter</a>; photos on <a href="http://www.flickr.com/photos/robertobollefanclub/">his flickr fanclub</a> have attracted about 100,000 views. 
<br><br>
Bolle entered the La Scala Theatre Ballet School at age 11. According to <a href="http://www.robertobolle.com/ ">his website</a> Rudolf Nureyev noticed his talent and chose him to interpret a role in the ballet Death in Venice. He joined the Theatre Company in 1994 and was promoted to Principal in 1996 at age 20. 
<br><br>
Since then he has become an international superstar, having danced with the Royal ballet, American Ballet Theatre (ABT), the National Ballet of Canada, the Stuttgart Ballet, the Finnish National Ballet, the Staatballett Berlin, the Vienna Staatsoper Ballett, the Staatsoper in Dresden, the Munich Ballet,  and the Tokyo Ballet. He has starred in many contemporary and classical ballets such as Sleeping Beauty, Cinderella, Don Quixote, Swan Lake, The Nutcracker, La Bayadère, Giselle, La Sylphide, Manon, Romeo and Juliet, Onegin, and The Merry Widow. 
<br><br>
His notable performances include:
•	In 2000, he opened the season at Covent Garden Opera House in London.
•	In 2000, he was invited by the Bolshoi Ballet to celebrate Maya Plisetskaya’s 75th birthday in the presence of President Vladimir Putin.
•	In 2002, Bolle danced on the occasion of Queen Elizabeth’s Golden Jubilee at Buckingham Palace in the presence of the Queen. The event was broadcast live.
•	In 2004, he danced in front of Pope John Paul II in Saint Peter’s square to celebrate young people’s day.
•	In 2004, he danced with Alessandra Ferri to celebrate the re-opening of La Scala Theatre after its restoration.
•	In 2005 at Covent Garden Opera House in London, he danced in Sylvia. The BBC broadcast the performance on Christmas Day.
•	In 2006, Bolle danced at the opening ceremony of the 2006 Winter Olympic Games in Turin where he performed a solo created for him by Enzo Cosimi. 
•	In 2007 he performed for the first time with ABT as a guest artist, on the occasion of Alessandra Ferri’s farewell performance.
<br><br>
His numerous partners include Altynai Asylmuratova, Darcey Bussell, Lisa-Marie Cullum, Viviana Durante, Alessandra Ferri, Carla Fracci, Isabelle Guérin, Sylvie Guillem, Greta Hodgkinson, Margareth Illmann, Susan Jaffe, Lucia Lacarra, Agnès Letestu, Marianela Nuñez, Elena Pankova, Lisa Pavane, Darja Pavlenko, Laetitia Pujol, Tamara Rojo, Polina Semionova, Diana Vishneva, Zenaida Yanowsky, Svetlana Zakharova. 
<br><br>
For the 2009 Spring Season at the Metropolitan Opera House in New York, he performed as a Principal Dancer with the American Ballet Theatre. Since December 1998 he has been Resident Guest Artist at La Scala Theatre. During the 2003/2004 season he was promoted to Etoile at La Scala Theatre.
 <br><br>
Since 1999 he has been a Goodwill Ambassador for UNICEF and in 2006 he visited Sudan on his first trip into the field.
  • Roberto Bolle, Lady of the Camellias, June 5, 2010
<br><br>
Italian Roberto Bolle is one of ballet’s biggest stars. He has a huge international following as evidenced by his over 100,000 followers on 
<a href="https://twitter.com/RobertoBolle">Twitter</a>; photos on <a href="http://www.flickr.com/photos/robertobollefanclub/">his flickr fanclub</a> have attracted about 100,000 views. 
<br><br>
Bolle entered the La Scala Theatre Ballet School at age 11. According to <a href="http://www.robertobolle.com/ ">his website</a> Rudolf Nureyev noticed his talent and chose him to interpret a role in the ballet Death in Venice. He joined the Theatre Company in 1994 and was promoted to Principal in 1996 at age 20. 
<br><br>
Since then he has become an international superstar, having danced with the Royal ballet, American Ballet Theatre (ABT), the National Ballet of Canada, the Stuttgart Ballet, the Finnish National Ballet, the Staatballett Berlin, the Vienna Staatsoper Ballett, the Staatsoper in Dresden, the Munich Ballet,  and the Tokyo Ballet. He has starred in many contemporary and classical ballets such as Sleeping Beauty, Cinderella, Don Quixote, Swan Lake, The Nutcracker, La Bayadère, Giselle, La Sylphide, Manon, Romeo and Juliet, Onegin, and The Merry Widow. 
<br><br>
His notable performances include:
•	In 2000, he opened the season at Covent Garden Opera House in London.
•	In 2000, he was invited by the Bolshoi Ballet to celebrate Maya Plisetskaya’s 75th birthday in the presence of President Vladimir Putin.
•	In 2002, Bolle danced on the occasion of Queen Elizabeth’s Golden Jubilee at Buckingham Palace in the presence of the Queen. The event was broadcast live.
•	In 2004, he danced in front of Pope John Paul II in Saint Peter’s square to celebrate young people’s day.
•	In 2004, he danced with Alessandra Ferri to celebrate the re-opening of La Scala Theatre after its restoration.
•	In 2005 at Covent Garden Opera House in London, he danced in Sylvia. The BBC broadcast the performance on Christmas Day.
•	In 2006, Bolle danced at the opening ceremony of the 2006 Winter Olympic Games in Turin where he performed a solo created for him by Enzo Cosimi. 
•	In 2007 he performed for the first time with ABT as a guest artist, on the occasion of Alessandra Ferri’s farewell performance.
<br><br>
His numerous partners include Altynai Asylmuratova, Darcey Bussell, Lisa-Marie Cullum, Viviana Durante, Alessandra Ferri, Carla Fracci, Isabelle Guérin, Sylvie Guillem, Greta Hodgkinson, Margareth Illmann, Susan Jaffe, Lucia Lacarra, Agnès Letestu, Marianela Nuñez, Elena Pankova, Lisa Pavane, Darja Pavlenko, Laetitia Pujol, Tamara Rojo, Polina Semionova, Diana Vishneva, Zenaida Yanowsky, Svetlana Zakharova. 
<br><br>
For the 2009 Spring Season at the Metropolitan Opera House in New York, he performed as a Principal Dancer with the American Ballet Theatre. Since December 1998 he has been Resident Guest Artist at La Scala Theatre. During the 2003/2004 season he was promoted to Etoile at La Scala Theatre.
 <br><br>
Since 1999 he has been a Goodwill Ambassador for UNICEF and in 2006 he visited Sudan on his first trip into the field.
  • Roberto Bolle, Sylvia, June 28, 2013<br />
<br />
Roberto poses for a photo with a fan from New Haven, CT<br />
<br />
I had extra time after the Friday performance and stopped by the door where the dancers exit in the underground parking lot at Lincoln Center. I heard that some fans linger for an opportunity to see their favorite dancers and wanted to see what it was all about. <br />
<br />
There were about 30-50 people milling about Friday evening. Polina came out about 20 minutes after the performance to a large ovation. She was very gracious and patient, posing with her fans and signing numerous autographs.<br />
<br />
Roberto came out about 10 minutes later and was particularly considerate and cordial. Some wanted an autograph, photo, or a brief chat-essentially an additional connection with him after a great performance. After satisfying all of the demands of his fans, he waved goodbye and slowly walked away into the Manhattan evening.
  • Roberto Bolle and Alina, Somova, Excelsior, September 17, 2013
<br><br>
I knew that the Roberto Bolle and Friends Gala Tuesday at New York’s City Center would be a popular event when I walked past the long line of people waiting in the ticket reserve line. Those waiting were not disappointed as the evening featured a diversity of dancing from Roberto and his friends, many from German ballet companies. The evening consisted of 11 unrelated pieces ranging from modern to classical, of which Roberto danced in four. 
<br><br>
The evening opened with a pas de deux from the full-length ballet Excelsior. I don’t know much about the ballet; it is a tribute to the scientific and industrial progress of the 19th century, from the electric light to the telegraph, steam engine, and Suez Canal, according to Wikipedia. Roberto was in skimpy attire (basically a decorated dance belt) while Alina Somova from the Mariinsky Theatre wore a more traditional white ballet dress. The partnering section was fairly short followed by solos featuring fine, controlled jetés, sauté de basques, and coupe jetés from Roberto. Somova ha  a turn section consisting of single and double fouettés and she made it through the section. Well danced but not my favorite performance of the evening. 
<br><br>
Excelsior was followed by the Act I Romeo and Juliet pas de deux with Alicia Amatriain and Jason Reilly of the Stuttgart Ballet. It was clear that they have partnered together as young, star-crossed lovers in this Cranko (Stuttgart Ballet) version. Filled with emotion and brimming with excitement, the two lovers proclaimed their everlasting love. 
<br><br>
I’ve always liked Luciana Paris at American Ballet Theatre (ABT) and would like to see her dance more; happy to see that she is one of Roberto’s friends, paired up with another favorite, Herman Cornejo in Twyla Tharp’s Sinatra Suite. She always excels in this role at ABT along with another Tharp piece “In the Upper Room.” Not sure why she does not get more exposure, but that is a topic for another day. Herman was dashing, debonair in a black tuxedo with Luciana in an elegant black gown as they danced to Sinatra favorites such as “Strangers in the Night” and “My Way.” In “Strangers in the Night,” Herman tossed off his jacket with a look of indifference and defiance. In another section, he pulled off seven jazz turns effortlessly. In my favorite part, he danced in an intoxicated manner as Sinatra sings “one more for the road.” Sinatra Suite was a great selection for the evening and the audience roared with approval.
<br><br>
Elisa Carrillo Cabrera and Mikhail Kaniskin of Staatsballet Berlin danced in Jeunehomme. This piece, choreographed by Uwe Scholz, was set to music by Mozart. This was a contemporary piece with the dancers are dressed in black. Cabrera and Kaniskin were precise in their intricate movements with Cabrera showing great extension. Their characters seemed frustrated as they were missing and longing for something. Near the end, he walked off the stage, and she was lost without him. He reappeared at the end and they embraced. I liked this piece with difficult partnering sequences, one of my favorites of the night. 
<br><br>
My least favorite was Le Grand Pas de Deux with Roberto and Alicia Amatriain of the Stuttgart Ballet. This was a silly, stupid, and a pointless comedy piece in which Amatriain walked down the aisle in the beginning on her way to the stage wearing glasses and toting a purse. Roberto was in a Nutcracker type costume. It was classical ballet interspersed with disco. In one section, Alicia completed a very good series of fouettés only to stagger around stage on the verge of vomiting while Roberto was working on a turn section in second position. Not sure why this was put in the program but some in the audience were amused.
<br><br>
Roberto and Erika Gaudenzi, listed in the program as a Young Italian Talent, Opera House, Rome, opened the second part of the evening with a dramatic pas de deux from L’Arlesienne. I am not familiar with the ballet so it was difficult to follow what was going on. He seemed disturbed about something and then removed his shirt. This was a recurring theme in the evening as the men more often than not were shirtless, showing off their toned bodies. Roberto danced a long introspective, wandering solo that was very well done. 
<br><br>
Kazimir’s Colours with Elisa Carrillo Cabrera and Mikhail Kaniskin were next, set to music by Shostakovich. The music was particularly memorable and dramatic, set to this contemporary piece, with the dancers wearing gym attire. 
<br><br>
When I arrived, I immediately focused in eager anticipation of the Tchaikovsky Pas de Deux by Balanchine with Herman Cornejo and Maria Kochetkova of the San Francisco Ballet. Maria danced with Herman in Swan Lake and Sleeping Beauty, filling in for the injured Alina Cojocaru in the ABT spring season. They make a nice pair, as she is shorter than Herman and light as a feather. Notable parts were Herman’s massive double cabriole derrière, high leaps, entrechat six, double assembles, and double tours to the knee. She was very fast in her spunky solo with a jumping arabesque on releve and very rapid turns and fouettés. She was a very proficient turner. 
<br><br>
Next was a very interesting modern piece, Mona Lisa with Alicia Amatriain and Jason Reilly opening with creaky doors and fog. (The last time I saw fog at City Center was for ABT’s In the Upper Room. That evening,  a zealous stagehand in charge of dry ice pumped massive amounts of fog onto the stage, obscuring all of the dancers. After about 10 minutes with screaming from the audience, the curtain closed and the ballet was restarted after the fog lifted.) Rather than me describing it, take a look at this <a href="http://www.youtube.com/watch?v=GlScLv2Tyz8">Youtube clip.</a> A very entertaining 8 minutes. 
<br><br>
What would a gala be like without the Dying Swan, choreographed by Fokine? Alina Somova was the unfortunate swan, dancing in beautiful Russian form.
<br><br>
Last was Prototype, a solo for Roberto by Massimiliano Volpini.  A large video screen lined the back of the stage with computer-related images of a human body (ultimately Roberto’s) and modern techno-type music. The screen then showed various high-tech images with Roberto interacting with the screen, dancing in unison with the images. At one point, the screen showed examples of ballet steps, which Roberto replicated. Off for a costume change into skin-colored trunks. The theme then turned to classical as he danced to Romeo and Juliet and Swan Lake. Off for another costume change into jeans and a jean jacket so he could dance with images of multiple Robertos on the screen. The interplay with Roberto and the images was unique, revealing his great technique and diversity.
<br><br>
Roberto was joined on stage by the dancers to a well-deserved rousing ovation by the appreciative, full-house crowd.
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