During the last two weeks the company has had the privilege to work with (the great) Elena Kunikova on Paquita.  Elena is the type of person that can tell you one thing about your dancing and make a world of difference.  She has a lot of energy in the studio and can still dance better than all of us (she’s amazing).  Elena’s coaching reflects her Vaganova ballet training, which gives the company an opportunity to learn a different way of using our bodies while dancing classical steps we are used to.

Marius Petipa’s first work staged in St. Petersburg, Russia, was Joseph Mazilier’s Paquita in 1847.  He added The Grande Divertissement, or Gande Pas, section of the ballet (what we know as Paquita now) to the two act ballet in 1881.  Elena first performed in Paquita at the Vaganova Ballet Academy in St. Petersburg, Russia.  Later, as a ballerina with the Maly Theater (now the Mikhailovskiy) she danced in two more versions of the Grande Pas.  Elena researched many different versions of Paquita to develop the current version she stages for companies around the world.  Her updated version not only preserves the Spanish flare of Paquita but also the style and sensitivity of the nineteenth century ballet.  Elena told me she wanted to pass on the charming and sometimes even humorous qualities of Paquita to us at Ballet West.

Elena Kunikova

Elena Kunikova is a graduate of Vaganova Ballet Academy, the Mariinksy (former Kirov) in St. Petersburg, Russia.  At Maly Theatre, where Elena started her career, she performed principal and soloist roles in classical and contemporary ballets including Swan Lake, Nutcracker, Giselle, Paquita, Serenade (Balanchine), Macbeth, Carmen, Esmeralda, Sleeping Beauty and many others.

In the U.S. Elena performed as a guest star.  She was well received by audiences and very favorably reviewed by the press (New York Times, Dance Magazine).  She was known as a “fascinating performer.”  Subsequently, Elena pursued teaching and choreography.

Elena Kunikova coaching Emily Adams

In NYC Elena taught ballet and repertoire at the School of American Ballet, Joffrey, The Juilliard, and Columbia University/Barnard College.  At Barnard Elena taught technique and academic courses in repertoire/history.  Other engagement included American and Japanese ballet companies, as well as art festivals.

In addition to master classes, Elena conducts Vaganova Technique seminars and coaches professional dancers.  Many of Elena’s students became well-known performers with top ballet companies around the world (NYC Ballet, ABT, Boston Ballet, Joffrey, Dutch National, Berlin Ballet, Kirov Ballet, and many others).  A large number of them were noted for their exceptional artistic achievements.

Elena Kunikova coaching Sayaka Ohtaki

Over many years, Elena has been active in staging of classical repertoire for American, European and Japanese ballet companies.  Among her productions are full-length Don Quixote, Giselle, Sleeping Beauty, as well as Les Sylphides, Grand Pas from Paquita, Little Humpback Horse, Esmeralda, Harlequinade, Grand Pas de Quatre, Pas des Odalisque, Esmeralda, Laurencia, and other gems of Russian classical ballet.  Her stagings had great success with the audiences and critics who unanimously noted their authenticity and respect for the material.  Many critics noticed her detailed coaching with “besotted attention to the particularities of ballet”, “real steps and proper style”, “wit and vivacity”.  Robert Gottlieb of New York Observer called her “one of our leading authorities on the Russian classical style”.

As some critics have put it, Elena’s involvement was instrumental and “invaluable” to the success of Les Ballet Trockadero, where she has staged a large portion of their current repertoire, helping them to win a prestigious “Best Classical Repertoire” award from London Critics’ Circle.

Interviews with Elena appeared in many professional publications, documentaries, and TV programs.  As a dance writer, she is contributing to Dance Magazine, Pointe and The Wall Street Journal Europe.

Elena’s most recent works include stagings for Staatsballet Berlin, Kansas City Ballet and Ballet West.

-Beau

Last week the company went back to work in the studios after our relaxing break.  We’re busy, as usual, rehearsing for the Emeralds spring program.  Ballet West 2 and Ballet West Academy students have also been busy everyday rehearsing for the upcoming The Little Mermaid.  Innovations choreographers will start getting time next week to work with the dancers on their new ballets for the Innovations program in May.  A lot of focus this last week went into Paquita, as Elena Kunikova is in Salt Lake city setting the choreography on the dancers.  I’ve had the privilege to dance in some rehearsals and sit in on others that Elena ran.  I love the detail oriented and positive way Elena works.  She’s really amazing to watch … more on her to come this week!

These pictures don’t get old …

Sayaka Ohtaki rehearsing PAQUITA

-Beau

So, the dancers have been on a break since Don Quixote, which was a big success.  The audience seemed to really love the show.  The feedback I received from patrons and commenters on the blog was extremely complimentary (thanks!).

Now that Don Q is behind us, we’re all looking forward to the next program.  At two different times during Don Quixote rehearsals, Sandra Jennings came to Salt Lake City to set most of the principal steps from Emeralds (George Balanchine) on the dancers.  She will be back this month to complete the work.  I may have mentioned in the past that we are typically never just working on one program.  We learn different ballets throughout the year based on the most convenient times choreographers or guests can come.

Sandra Jennings

Sandra Jennings was born in Boston and began her dance training with June Paxman of the Washington Ballet and later with E. Virginia Williams at Boston Ballet.  At the age of 13, she received a Ford Foundation scholarship to the School of American Ballet in New York.  At the age of 15, Jennings performed George Balanchine’s Tarantella at New York’s City Center.

Sandra Jennings working with Adrian Fry

In spring 1974, Jennings was asked by George Balanchine to join New York City Ballet where she worked with him for the next nine years.  During her tenure, she danced an enormous repertoire that included principal and soloist roles in many Balanchine and Jerome Robbins ballets.  In addition, Jennings danced works by John Taras, Jacques d’Amboise, Sir Fredrick Ashton, and Peter Martins.  She also performed in concerts with Jean Pierre Bonnefoux, Patricia McBride, Melissa Hayden, Helgi Tomasson, Violette Verdy, and Edward Villella.  She performed on television in Dance in America, Live from Lincoln Center, Live from Studio 8H, and Canadian Broadcast.

Sandra Jennings working with Emily Adams

Jennings has taught at schools and companies in the United States and abroad.  She was ballet mistress and company teacher for The Pennsylvania Ballet for nine years and San Francisco Ballet for four years.  Jennings is now a full time repetiteur for The George Balanchine Trust and also on staff as a teacher and repetiteur at Marin Ballet.

-Beau