Apr 172013
 

HODG 2012 5 300 332x500 Greta Hodgkinson answers the Gramilano Questionnaire… Dancers’ EditionQ&A

When did you start dan­cing?
At 4 years old.

Why did you start dan­cing?
As a child, I was always dan­cing around the house so it made sense.

What’s your favour­ite role?
Giselle.

What role have you never played but would like to?
I would love to dance the role of Bar­on­ess Mary Vet­sera in ’s

Who is your favour­ite cho­reo­grapher?
I could never pick a favourite!

Who is your favour­ite dir­ector?
I love Scorsese films.

Which is your favour­ite city?
The one where I live, Toronto.

What do you like most about your­self?
Loyalty.

When and where were you hap­pi­est?
Right now.

What or who is the greatest love of your life?
My family.

What is your greatest fear?
Being bur­ied alive.

If you could change one thing about your­self, what would it be?
To have more patience.

HODG 2012 3 300 332x500 Greta Hodgkinson answers the Gramilano Questionnaire… Dancers’ Edition

Greta Hodgkin­son: photo by Sian Richards

What do you con­sider your greatest achieve­ment?
Bal­an­cing a career and a family.

What is your most treas­ured pos­ses­sion?
My health.

On what occa­sion do you lie?
To avoid hurt­ing someone unnecessarily.

If you hadn’t been a dan­cer what would you have liked to do?
A chef or a musician.

What is your most marked char­ac­ter­istic?
Humour.

What qual­ity do you most value in a friend?
Loyalty.

What qual­ity do you most value in a col­league?
Integrity.

Which liv­ing per­son do you most admire?
My 98 year old grandmother.

What do you most dis­like?
Ignorance.

What tal­ent would you most like to have?
To be able to play the cello or piano.

How would you like to die?
I wouldn’t, but if I had to, pain­lessly in my sleep

What is your motto?
“This too shall pass.”

Greta Hodgkin­son — a biography

DSC4510 332x500 Greta Hodgkinson answers the Gramilano Questionnaire… Dancers’ Edition

Greta Hodgkin­son and Aleksandar Ant­on­ijevic in Romeo and Juliet — photo by Sian Richards

Born in Provid­ence, Rhode Island and trained at the Fest­ival Bal­let of Rhode Island and Canada’s National Bal­let School, Greta Hodgkin­son joined The National Bal­let of Canada in 1990 and has been a Prin­cipal Dan­cer since 1996.

Ms. Hodgkin­son has per­formed every lead­ing role in the clas­sical rep­er­toire to crit­ical acclaim and her tal­ents extend to the con­tem­por­ary rep­er­toire as well. She has had numer­ous roles cre­ated for her by world renowned cho­reo­graph­ers and has worked closely with Wil­liam For­sythe, Jiří Kylián, Glen Tet­ley, John Neumeier, James Kudelka, , , Wayne McGregor and Crys­tal Pite.

As a guest artist, Ms. Hodgkin­son has appeared with The Kirov Bal­let (Inter­na­tional Bal­let Fest­ival ), Teatro alla Scala, The Aus­tralian Bal­let, Stut­tgart Bal­let, Munich Bal­let, Teatro Comun­ale di Firenze, Open­ing Gala of the Royal Opera House, The State Krem­lin Palace, Gala des Étoiles and inter­na­tional bal­let galas in the USA, Canada, Rus­sia and Europe. Ms. Hodgkin­son was invited to tour Japan dan­cing Swan Lake with K-Ballet, partnered by Tet­suya Kumakawa and she also per­formed at The World Bal­let Fest­ival in Tokyo, Japan with fre­quent part­ner Roberto Bolle. Her part­ners have also included Car­los Acosta, Mar­celo Gomes, Massimo Murru, Laurent Hil­aire, Fed­erico Bon­elli, Robert Tews­ley, Jason Reilly, Evan McKie and Steven McRae.

In 2000, Ms. Hodgkin­son was nom­in­ated for the pres­ti­gi­ous Prix Benois de la Danse for her role as Odette/Odile in Swan Lake. In 2000 and 2001, Dance Europe voted her Best Per­form­ance by a Female Dan­cer for her inter­pret­a­tion of Odette/Odile in Swan Lake and for Sum­mer in The Four Sea­sons.

Her film cred­its include the title role in Rox­ana, based on the novel by Daniel Defoe, the title role in The Fire­bird, Sum­mer in The Four Sea­sonsA Dancer’s Story – 50 Years of The National Bal­let of Canada (dan­cing The Sleep­ing Beauty pas de deux) and a fea­tured role in The Rings of Sat­urn, dir­ec­ted by Moze Mossanen. In 2009, she appeared as Mar­got Fon­teyn in the Bravo! TV doc­u­drama, Nureyev and in 2010, made a guest appear­ance on the première of the Cana­dian com­edy tele­vi­sion series Bax­ter.

gretahodgkinson.com

Top photo: Greta Hodgkin­son by Sian Richards

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  • wp socializer sprite mask 16px Greta Hodgkinson answers the Gramilano Questionnaire… Dancers’ Edition
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  • wp socializer sprite mask 16px Greta Hodgkinson answers the Gramilano Questionnaire… Dancers’ Edition
  • wp socializer sprite mask 16px Greta Hodgkinson answers the Gramilano Questionnaire… Dancers’ Edition
  • wp socializer sprite mask 16px Greta Hodgkinson answers the Gramilano Questionnaire… Dancers’ Edition
  • wp socializer sprite mask 16px Greta Hodgkinson answers the Gramilano Questionnaire… Dancers’ Edition
  • wp socializer sprite mask 16px Greta Hodgkinson answers the Gramilano Questionnaire… Dancers’ Edition
  • wp socializer sprite mask 16px Greta Hodgkinson answers the Gramilano Questionnaire… Dancers’ Edition
Apr 172013
 

DSC4510 332x500 National Ballet of Canada brings Ratmansky’s Romeo and Juliet to LondonThe will per­form ’s new pro­duc­tion of Romeo and Juliet from tonight, 17 April, until 21 April at London’s Sadler’s Wells Theatre.

The bal­let has obvi­ously been an audi­ence favour­ite ever since it came to the National Bal­let in 1964, but the company’s new ver­sion, by Rus­sian cho­reo­grapher Alexei Rat­mansky, which premiered in 2011 to ecstatic acclaim, only enhances its pos­i­tion in the rep­er­toire. Ratmansky’s work is known for its mas­tery of the clas­sical vocab­u­lary, yet he is equally adept at employ­ing that vocab­u­lary for fresh, mod­ern effects.

The Globe and Mail said,

In terms of cho­reo­graphy, Ratmansky’s great­ness lies in his abil­ity to mir­ror music in dance. There is abso­lutely no mime. The emo­tional arc of the char­ac­ters is cun­ningly shown in move­ment.… [con­tinue reading]

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Mar 262013
 

Karen Kain 500x332 Karen Kain:  it’s my job to keep the National Ballet of Canada motivated as Nureyev didIn three weeks’ time the National Bal­let of Canada will arrive at London’s . After a 26 years away from the cap­ital The Times asked dir­ector Karen Kain why:

Until this sea­son we hadn’t been any­where. Basic­ally we didn’t have the rep­er­toire that was allow­ing us to get the invit­a­tions. I knew that part of what I needed to do to get the com­pany seen again, or even heard of again, was develop the kind of rep­er­toire that people wanted to see.

So what do people want to see? One of the hot­test cho­reo­graph­ers on the planet to be sure, so it will per­form ’s  which he cre­ated for the com­pany in 2011 to mark its 60th anniversary.… [con­tinue reading]

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Feb 092012
 

edward villella Edward Villellas forced retirement from Miami City Ballet leaves donors and dancers distressedMiami City Bal­let is being split by con­tro­versy over founder and artistic dir­ector ’s earlier-than-expected retire­ment, announced last Septem­ber in a way that shocked com­pany mem­bers and the dance world — says The Miami Her­ald. How­ever, some board mem­bers, major donors and dan­cers are ques­tion­ing the decision and con­tend he was forced out at the apex of his career.

He was forced to retire, and the real ques­tion is why. It’s enra­ging, and it’s wrong. He doesn’t want to retire, he’s at the top of his game.”

said Fran­cinelee Hand, a Vil­lella sup­porter and MCB board mem­ber since 1994.

The com­pany is truly enjoy­ing a golden moment with its sold-out, crit­ic­ally acclaimed sea­son in Paris last sum­mer, and the admired PBS broad­cast at the end of last year.

[con­tinue reading]

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Oct 182011
 

Diana Vishneva Vogue Russia Vogue features Diana Vishneva: she is like a rose, just as beautiful and just as complicatedThe Septem­ber issue of Vogue Rus­siacon­tained an inter­view with the prima baller­ina . She was about to dance Angelin Preljocaj’s Le Parc. When asked to describe Vish­neva he said that  “she is impossible to describe, like a rose: just as beau­ti­ful and just as complicated”.

One of her first part­ners was Farukh Ruzimatov

Farukh was my first love. He is a com­plex per­son and was always dis­sat­is­fied — with us, and with me. But there were also moments of hap­pi­ness that made all the suf­fer­ing worth it. When we danced in ’s “Car­men” it was some­thing unbe­liev­able, as if there was some­thing pro­pelling us ever upward. He is 13 years older than me, but on stage we must be equal… Life on stage gets so messed up when the off-stage rela­tion­ship is involved: there were moments when I thought “I hope I get through this alive!”

“We sep­ar­ated, then got back together again — but it was a pas­sion that could only end in tragedy.… [con­tinue reading]

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Aug 192011
 

anna karenina mariinsky 2011 vishneva smekalov Critics round up: Mariinsky at Covent Garden, Anna Karenina The fifth offer­ing from the Mari­in­sky divided the crit­ics. Most had reserves over ’s storytelling, but even Ken­neth MacMillan’s Manon received a ham­mer­ing on its first outing.

The gen­eral con­sensus seemed to be inter­est­ing but not great, with some won­der­ful interpretations.

The Tele­graph thought that Rat­mansky had set him­self an impossible task,

Nobody could accuse the cho­reo­grapher Alexei Rat­mansky of lack­ing ambi­tion. Not only does he decide to make Tolstoy’s gar­gan­tuan into a bal­let – he does so while opt­ing to wear a straitjacket.

Both arms are firmly tied behind his back by his chosen score, one writ­ten in 1972 by Rodion Shchedrin for a bal­let of the same name. It surges along, full of gen­er­al­ised mel­an­choly, and vaguely mod­ern­ist dis­cords, firmly under­lin­ing each moment of emotion.

[con­tinue reading]

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Jul 132011
 

Vishneva Karenina Ouch! The NY Times Alastair Macaulay strikes a blow at Ratmansky’s ‘Anna Karenina’

Accord­ing to the Wall Street Journal the New York audi­ence was on its feet to applaud the open­ing of with the . in The New York Times was not impressed.

As bad bal­lets go, Alexei Ratmansky’s two-act “Anna Karen­ina” is one of the best. It tells its pot­ted ver­sion of Tolstoy’s novel with a fair bit of nar­rat­ive clar­ity; it man­ages many com­plex changes of scene deftly; its décor and cos­tumes (by Mikael Melbye) are gen­er­ally eleg­ant; its extens­ive use of video pro­jec­tions (by Wend­all Har­ring­ton) is unusual and effect­ive; and most of its lead­ing char­ac­ters are imme­di­ately iden­ti­fi­able and dis­tinct. But these vir­tues don’t suf­fice. The bal­let is a com­plete waste of everybody’s time…

… Sev­eral of Mr.… [con­tinue reading]

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