Never in Spain a production of such category had been presented by an autochthonous company. The endeavour has been enormous and the result astonishing, surpassing the confidence everybody had put on the project.

You can see how The Bayadere by Corella Ballet Castilla Leon looks like here

Ángel Corella, alone, has got it!!! After 25 years asking for that to be a reality, and denouncing its lack of existence, Ángel Corella is today, the director of the best classical ballet company we have never had in Spain. And he has got it alone, getting together dozens of brilliant dancers eager to work.... and oddly enough, the latter, "brilliant dancers eager to work" is the only thing we have always had: the best companies of the world are full of them.

Merde to the Corella Ballet!!!

Thanks again for keeping us up to date. How exciting for Spain!

Corella Ballet Castilla y León, premiered in Peralada three new works.

The first one was Ángel Corella first choreography, String Sextet. The sole string sextet composed by Tchaikovsky is a score full of melodies, harmonies and charming rhythms, inspired by the beautiful city of Florence. Corella’s ballet is structured in four movements. I truly think he has a great future as choreographer. I loved it very much and find it very new and musical with very innovative Port de Bras and Portées. I liked the way the Corps was organized, the Pas de Deux he has created for his principal dancers, and of course his solo. Principal dancers were Kazuko Omori and Yevgen Uzlenkov (first pdd), Carmen Corella and Ian Mackay (second pdd) and Adyaris Almeida and Fernando Bufala (third pdd). It is about a ballet full of energy, with influences of Balanchine and with very beautiful dresses. I do not know who the designer is. It seemed to me that one could recognize different ballets on it but under a different approach. I specially loved Adiarys Almeida and Fernando Bufalá, part, he is so musical! They were both so great! And Ángel’s solo was amazing. Audience, even knowing him and his incredible way of dancing, got astonished. The pity is that I’m pretty sure they did not have enough time to rehearse because one noticed some mismatch at the Corps, very young dancers all of them, but with time it would be a very beautiful ballet.

I discovered Christopher Weeldon’s, VIII. This was my preferred piece of the night. So elegant, so real, Carmen Corella, was so moving. One felt her pain and despair when noticing his husband abandoning her by a charming Ana Bolena (Adiarys Almeida). Ian was a great and handsome Enrique VIII, he was on stage all the ballet long, with his so fine bearing, bringing to the role the emotions of that so well known king’s history. And what I liked it very much was the divertissement danced by the three amazing Fernando Bufala, Kirill Radev and Yevgen Uzlenkov, together with Kazuko Omori. They brought moments of fresh air on that daunting atmosphere. The Corps was here at their top. Perfect lighting, very beautiful dresses too and an imaginative staging.

And finally Jerome Robbins’ Fancy Free, I guess you all know this ballet (probably VIII too) but it was never staged in Spain. I think that Ángel got very famous when just arrived in NY dancing the role of one of the sailors, the one that in Peralda was danced by Herman Cornejo (uuauu, how good he is!). Ángel danced the second, the ingenuous one, and Ian Mackay (who danced the three ballets) was the last one. Girls were Adiarys Almeida, flirting and funny, Asley Ellis who brought her high class behaviour on stage and Carmen was the last one, the one who makes the three sailors leave the stage running after her.

After their Bayadère at the Liceu, with exquisite dancer Alina Cojocaru as guest star partnering Ángel Corella, Catalan audience could realize what they have lost. This company should be hosted in a community as Catalunya and in a city like Barcelona. They showed that they deserve this and Catalan ballet lovers too, as we are many. We still are dreaming that one day our politics will understand how much this company could bring in many aspects. I do not know if this could still be possible but I do not stop to dream about it and fight for it.

Interview with Angel Corella in Tme Out New York:

Time Out New York

In the Wall Street Journal, Apollinaire Scherr interviews Angel and Carmen Corella.

Wall Street Journal

Corella Ballet Castilla y Leon presented their new production “Swan Lake” in Sant Cugat (Barcelona) the first week-end of October.

This has been the first time that this ballet was staged by a Spanish Company with a completely new production created specially for them. Ángel Corella reviewed the choreography but was very respectful with Petipa/Ivanov’s work, he only shorted some parts, and introduced some video projections to strengthen the magic this ballet has to have. The sets and costumes were designed by Benjamin Tyrrell and settings were produced in the Sant Cugat Auditorium workshop.

The result has been a very beautiful staging with lovely costumes. The ballet has already been seen in Valladolid, Oviedo and Madrid but it premiered in Catalunya, were the company first was due to be. Three days seemed to be too much for Sant Cugat but all tickets sold out.

Even if it should have been the Liceu who programmed it, ballet lovers were happy as Sant Cugat always offers the possibility of some parallel activities to make more people able to know and enjoy ballet. On Saturday morning there was an open class for advanced ballet students given by Ángel Corella. Forty girls followed it and some spectators were attending too. It has been great to see this master class, we all enjoyed it very much and at the end with Corella conducting some wonderful port de bras at the front of all the forty students was really moving.

On the afternoon there was a rehearsal opened to everybody. The theatre was full of families, people who couldn't get a ticket and those ballet lovers that do not miss anything (as I am ). Once the rehearsal ended, there was possible to raise questions and Mr. Corella who had danced the day before at the premiere but didn’t seem to be tired, was patient enough to have time for everybody. They say that classical ballet does not interest Catalan audiences but last week-end in Sant Cugat it was demonstrated that this is not true at all.

Now let’s go to the performances. From my point of view Corella Ballet is now lacking of ballerinas. Ashley Ellis and Adiarys Almeida who were really great have left and no new ballerinas have joined. There still are some very nice ones but men win. CBCL is very strong in male dancers and now with the new joiners the level is really, really, high.

On Friday the principal roles were performed by Ángel Corella as Siegfried, Natalia Tapia as Odette/Odile, Fernando Bufala as Benno, with Maria José Sales and Cristina Casa at Pas de Trois of Act I, and Aaron Robinson as von Rotbhart. As usual, Ángel was the king of the night, people adore him and he gives all his best. If he always has been a great artist now that he is more mature, he gives a plus to the role with every single gesture that gets to really move the audience. Natalia is a good dancer, she has a very good technique, her balances and developes are amazing and also her piruettes at Act III were perfect but to be honest she is not a complete Odette/Odile, she lacks innocence and hope on ActII, she is not enough lyrical, she is much more better as Odile. Fernando Bufala is a danseur noble, elegant, who never disappoints. As Benno he was a pleasure to watch and the pas de trois looked very nice. The three dancers were great. But the discovery of the night was Aaron Robinson. This very young dancer, born in UK, but who grew up in Barcelona, started his training in Spain and finished at the Royal Ballet. He joined Corella Ballet a few months ago from Birmingham Ballet. He astonished audience by his ballon. He is very tall and very good looking and when he appears so magnificent even if one can not see him too much because of the low light and his dark dress, you see his jumps and elevations and you get really incredulous. All audience of course did. The two swans were nice and the four were delightful, so well coordinated! The corps did it very well, really good for such a new company.

Saturday was time for Carmen Corella as Odette/Odile, Dayron Vera as Sigfried, Aaron Robinson as Benno and Segey Diyachkov as von Rothbard. I could not attend but I would have liked it very much. Dayron and Carmen must have been a wonderful pair and Aaaron as Benno… oh my God!!

Sunday and new cast: Fernando Bufala as Sigfried, Kazuko Omori as Odette/Odile, Yevgen Uzlenkov as Benno, Ana Calderón and Carla López at the Pas de Trois and again Aaron Robinson as von Rothbard. I loved Fernando, as always, he was a truly prince, they say that he remembers Ángel and it is true. And I loved Kazuko very much too. She has not the perfect conditions for a ballet dancer, she is not the typical ballerina, but one notice her love for dance, that soul she puts at every single movement. Technically she is very good and she gave the role what it demands. I think this pair fitted very well. Yevgen is an amazing Benno, what a good dancer he is! and of course Aaron, again... What a pitty to have missed him as Benno the day before. Corps was also very well but unfortunately the four swans (second cast) didn’t get it.

It’s a joy to see this company and how they are creating a ballet audience. We only pray so that they get enough support and are able to keep on growing.

Here there is an article in Spanish with some photos in balletymas

Thanks for a lovely review!

The former Corella Ballet Castilla y León, moved to Barcelona and changed name being now Barcelona Ballet.

The Barcelona Ballet will be touring in the USA next month. Here it is an interview by Lola Ramírez published in English at Ballet y mas http://www.balletymas.com/balletymas/ba ... on=noticia where Angel Corella explains the reason of this move and what his expectations for the future are.

That is a much better name for a company. Any stated reason why they moved?

Because in Castilla León, they didn't get the support they needed and now the new Catalan government seems to be more willing to make this company Barcelona's image.

In addition, Corella has always had the support of the Mayor of Figueres, an important cultural city 150 km. north from Barcelona, who has given land for the school to be built.

And as you said Barcelona makes a much better name for a Company. I truly think that Corella and Barcelona can make a good deal

Do not miss "Barcelona Ballet" at City Center (NY), Purchase, Detroit, etc... during their USA tour next month!

BARCELONA BALLET
PRINCIPALS
Carmen Corella | Momoko Hirata| Ángel Corella | Aaron Robison | Dayron Vera
FIRST SOLOIST
Kazuko Omori | Fernando Bufalá | Alejandro Virelles
SOLOISTS
Ana Calderón | Cristina Casa | Yuka Iseda | Mª José Sales |Kirill Radev
Corps de Ballet
Ana Maria Arias | Helena Balla | Laura Busquets | Leire Cabrera | Yoko Callegari | Annélise Caro | Alba Cazorla | Claudia Faubel | Rachel Gil | Gwénaëlle Poline | Madeline Hollander | Tracy Jones | Carla López |Marta Ludevid | Almudena Maldonado | Isabelle Ménard | Laura Pérez | Julia Roca | Raquel Santamarta | Ana Cabral | Yvonne Slingerland
Ion Aguirretxe | Jaume Costa | Jonatan Diaz | Russell Ducker | Francisco Estevez | Oriol Figuerola | Michael Marinelli | Laurie McSherry-Gray | Miguel Adrian Rodriguez | Pedro Santos Philippe Solano | Carlos Taravillo | James Waddell

REPERTOIRE for the City Center Performances

Tuesday, April 17th from 7:30pm to 9:30pm
Wednesday, April 18th from 7:30pm to 9:30pm
Thursday, April 19th from 8:00pm to 10:00pm
Friday, April 20th from 8:00pm to 10:00pm

BRUCH VIOLIN CONCERTO Nº1
Choreography: Clark Tippet
Music: Max Bruch (Violin Concerto nº 1 Opus 26)
Costumes: Dain Marcus
Lighting: Jennifer Tipton
Choreography Preparation: David Richardson
Duration: 24’
Created for American Ballet Theatre, this neo-classic work combines sensitive drama, complex choreography and duets of spectacular athleticism, Created for seven Principal Dancers and a Corps of sixteen, the Bruch Violin Concerto No. 1, had its world premiere at the Orange County Performing Arts Center in Costa Mesa, California on December 1, 1987.
It was the second ballet Clark Tippet created for ABT, coming after Enough Said in January, 1987.

For 4.
Choreography by: © Christopher Wheeldon
Music: Franz Schubert Death and the Maiden
Costume Design: Jean-Marc Puissant
Duration: 20’

Christopher Wheeldon originally created the piece For 4 as part of the Kings of Dance repertoire that featured Angel Corella as one of the dancers.

Pálpito - World Premiere
Music composer & producer: Héctor González
Percussion: Pablo M. Jones
Cante: Montse Cortés & Diana Navarro
Guitar, Laud, Bouzouki: Amir John Haddad
Orquestra: (Eduardo Sanz, horn in F; Roqui Albero, trumpet; Santiago Cañada, trombone; José Luís Martín, tuba;
“Càmara Cuercus”: Thomas Potiron, violin I; Laura Salcedo, violin II; Humberto Armas, viola; Juan Pérez de Albéniz, cello; Miguel Rodrigáñez, Double Bass)
Additional recordings: Carlos Rodríguez & Corella Ballet, voice & dance effects; Miguel A. Rojas, palillos & abanico; "La Tacha", palmas). Recording & mix engineer: Andrés Vázquez Archdale (Arco del Valle Studios, Madrid)
Additional recording engineers: Hugo Westerdahl (Axis Studio, Madrid), Pablo M. Jones, Héctor González.
Lighting: Luis Perdiguero.
Costume design: Vicente Soler
Duration: 40’

“Pálpito” meaning hunch in Spanish is a classical ballet with a strong reminiscence of traditional Spanish dance, created by the choreographers Rojas and Rodríguez for the Barcelona Ballet. This new creation denotes the maturity of a generation of Spanish creators, and dancers.

This piece combines the style of diverse Spanish dances a choreographic language requested specifically by Angel Corella.
Choreographers Rojas and Rodríguez brought together an artistic team that is capable of giving the Spanish essence to this piece. They have also meticulously chosen the steps from different styles of Spanish dance to showcase the versatility and technical quality of the dancers of Barcelona Ballet.

This story of this new ballet is about the main character who is trying to free himself from the strings that have him bound to his former role of a dancer and that keep him from advancing into the mature role in his spirit with tranquility and peace, allowing his heart to beat with a new force and inspiration preparing him to discover new horizons.

The music is a new commission composed by Héctor Gonzalez who has created a score consisting of 6 movements including the participation of well known musicians and singers from both classical and flamenco backgrounds. The music takes the audience on a journey through the different rhythms and music from different regions of Spain illustrating the strength and richness of Iberian music.

Fashion designer Vicente Soler has specially created the costumes for use in dance incorporating elements like tights, tutus point shoes ect., while at the same time giving it a true Andalusia-Flamenco flare by adding characteristic frills, fringe and traditional fans, again reflecting the styles of various regions throughout Spain.

Boasting the virtues of Angel Corella while bringing him closer to his cultural roots, choreographers Rojas and Rodriguez hope to contribute to the repertoire of Barcelona Ballet by adding a new line and image to the original attraction of the Spanish force and passion.

Sad news

http://internationalversionballetymas.blogspot.com.es/

It's a shame what happens. Hope politicians will ammend this situation.

Dear Carolina

I just read the bad news about the financial difficulties of the Corella company in Spain. Are you able to update what the situation is now? Has the company closed? I looked on their website performance calendar but there are no performances listed after May 2012. I am in Spain at the moment and was hoping to see where they are performing now, but perhaps they are not performing at all now?

Such a shame. If they have closed do you know what has happened to the dancer Kiril Radeev? I know him from previous companies and would like to know his situation.

Thanks.