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Round 1 Session 1, June 16

{23rd June 2002} Look what I found! This was never completed during Round One, so I will summarize with the juror’s decisions.

Valentin Yelizariev

The Jury is comprised of: Valentin Yelizariev, Belarus; Zhao Ruhen, China; Loipa Araujo, Cuba: Jana Kurova, Czech Republic; Frank Andersen, Denmark (who arrived after the opening ceremonies); Galina Samsova, England; Doris Laine, Finland; Dietmar Seyffert, Germany; Kenji Usui, Japan; Denise Schulize Godfrey, South Africa; Hae Shik Kim, South Korea; Nina Novak, Venezuela, Bruce Marks, Jury Chair, U.S.A.

Robert Barnett and Anna-Marie Holmes are the Master and Mistress of Ceremonies and Dwight Oltman is serving as Conductor, for the Opening and the Gala performances.

The two sessions of Round One` Sunday, June 16, and thus far the quality is uneven. Without a qualm each dancer has a quality, something they do not only correctly, but also with distinction. Some have blended it, some still in process. Dennis Nahat, who with Lupe Serrano and Marcello Angelini, chose the 118 competitors from over 200 applicants, made the comment to me this morning at breakfast that it is fascinating to see the progression since the initial viewing of the audition tapes. In choosing, he remarked, “You have to gauge what the possible change will be from the time you see them on tape to the time they arrive here. I know all their faces by now, but I’m still not able to remember their names.”

Thirteen competitors appeared in Session One. Eve Andre and Sergei Upkin from Estonia danced The Bournonville pas de deux from Flower Festival of Genzano. Eve Andre is small, and fleet is an accurate description of her ballon and lightness in grands jetes. Upkin’s partnering was courteous, gently playful and attentive. One could believe theirs was a civilized romance.

The remaining eleven dancers were required to perform two classical variations. The IBC listed different variations for juniors and seniors, which becomes obvious by repetition. The attempt at variety was admirable, if we did wind up with a succession of male variations from Don Quixote, Act IV!

One of the challenges in classical rounds is the ability to maintain coherence using taped music. I look for ease in transitions as much as precision in definite steps, for the coherence in a variation is one key to interesting dancing. You can be on the beat or slightly en retard, but if there is no sense of content in transition the result belongs to the “run and take a pose” school.

The juniors numbers 1 through 5 were Staisha Grosch, U.S.A.; Yudai Fukuoka, Japan; Amanda De Vito, Junior; Eun Ji Ha, South Korea; Saya Kaneko, Japan. We got two Flames of Paris; One Diana and Acteon; two different variations from Paquita.

Staisha Grosch’s Flames of Paris was danced with non-competing partner Oliver Holkowich. Her deportment could not be faulted, but her interpretation came across as bland, and, for this number, there were moments, which informed us her pointe work, needed more strength. She will not dance in Round Two.

Fukuoka’s Flames of Paris demonstrated his lightness and very clean jumps. A slightly built dancer, his was a nice presentation to the audience. Yudai Fukuoka gave us more of his clear, high qualities in his Paquita variation, and he will be seen again in Round two.

Amanda de Vito’s two variations showed a strong technique, sur la place, but a sluggish quality in transition. The handsome-faced 17-year old U.S.A. competitor gave us Diana and Acteon and a Paquita variation. She was not selected for Round Two.

Eun Ji Ha of South Korea danced a Paquita variation in an elegant white and blue tutu with nascent authority and a gentle charm to augment an ever so slightly static quality. Her Coppelia variation reminded us how well prepared the Asian competitors are. You may see a slight diffidence in manner clueing one about nervousness, but their traditions and personal deportment still make a distinction between that which is outwardly social and collective and that which is personal. I am here to tell you it comes through very nicely in classical work as a framework, a structure. Some American dancers could benefit from such exposure.

Down from the soapbox, Eun Ji Ha’s high arabesque and distinctly stretching jetes were accompanied by her charm and a gracious air. She was the first dancer I felt would go on to Round Two, and she has, along with the two other juniors from Korea.

Saya Kaneko, 16, Japan, appeared in a different Paquita variation. She is the possessor of a high arabesque, slow balances, a phenomenal control and a charm in her presentation. Her Coppelia, dressed in white and dotted liberally with rose accents, even had a white choker, don’t ask me why. She was not chosen to progress to Round Two.

Excluding the two Estonians previously mentioned, the seniors for Session One included: Isa Mori, Japan; Sarah Lamb, U.S.A.; Sofia Winquist, Finland; Marina Roselino Ricci, Brazil; Max Aroven, Sweden; Vittorio Galloro, Italy. They provided us with two female and two male variations from Act III of Swan Lake, a Lilac Fairy and Giselle Act I before intermission.

Isa Mori, 24, Japan, chose the Grigorovich version of Odile’s variation in Swan Lake. Olga Smoak remarked that it was originally created for Bessmertnova. Mori’s attack is good. Her Act I, Giselle variation displayed a fullness of gesture, but her pointe work indicated a possible pronation of the ankle. She will not progress to Round Two.

Sara Lamb, 21, U.S.A., dances with Boston Ballet. Her more traditional Odile variation gave us a wily Odile, a Dragon Lady with menacing allure. Her attack was deliberate, with a distinct reference to birds of prey in her port de bras. Her Giselle, Act I variation lacked context, but possessed charm and accuracy. She will dance in Round Two.

Sofia Winquist, 20, Finland, danced a correct Lilac Fairy but left us with an inclusive finish to that lovely variation. She returned with the Don Quixote variation, which was more consistent, livelier and connected more with her audience. She will not appear in Round Two.

Marina Roselino Ricci, 21, in her Act I Giselle variation gave us a sense of her dancing for the Duke of Courland and to her mother. Her conveyed the impression of being simple, but scarcely fragile. Dancing the Esmeralda variation in a kelly-green velvet tutu, she was on the beat with the tambourine but fell from her attitude turns. She will not continue to Round Two.

Max Aroven’s initial presentation was a nice one. He is a distinct brunette for all his dancing under the Swedish banner. His torso wobbled during his beats. He set the practice of either Siegfried’s variation from Swan Lake, Act III or Don Quixote, Act IV. There are just so many variations available in the classical repertoire. Oh, for the elevation to classic something more recent!

Vittorio Golloro, 22, Italy and a member of Ballet Classico Reggio-Emilia, gave us an understated, elegant image but fell from his jetes en tournant in Don Quixote. He also danced Siegfried’s variation from Act III Swan Lake. Despite some silken phrasing, Gallero’s name was not on the Round Two list of competitors.

This piece is part of Ballet.co's overall Jackson Competition coverage. The competition runs from the 15th to the 30th June 2002 and we plan daily reports to keep you in touch:
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