It was announced today by Monica Mason at a press conference that Alexandra Ansanelli would retire from the Royal Ballet, and from dancing, in June.
She will perform throughout the season and at the Kennedy Center as previously announced.
Full Version: Ansanelli to retire from dancing.
That's shocking and very unfortunate. I believe she is relatively young, although I don't know her age. I also know that she has suffered some serious injuries over the years. She has accomplished so much. I'm sure she had to work very hard to become a principal at the Royal after leaving City Ballet. I always enjoyed her performances at City Ballet.
Her June 24th performance as Natasha in A Month in the Country, at the Kennedy Center, will now be extra-special. This will probably be her last performance in ballet, anywhere. There should be "busloads" of admirers and friends from NYC and beyond. It will not be an ordinary, run-of-the-mill curtain call!
Sorry to hear this. I wish her well, and as the title of one of my favorite novels had it, "A Long and Happy Life."
The Royal Ballet has further tours to Barcelona and Cuba. Is she not going on them per Mason?
This is shocking. Was any reason given for her retirement?
I feel like someone's punched me in the stomach. It's probably too much to hope that after a year or so away from dancing, she'll change her mind and find a hospitable performing situation.
The news of her growth since joining RB have been so heartening. I'm sorry I never got to see her after she left NYCB. She has rare intelligence and imagination.
The news of her growth since joining RB have been so heartening. I'm sorry I never got to see her after she left NYCB. She has rare intelligence and imagination.
We're waiting for either a press release or reports from the press conference.
Right now, all I can find are the press releases about next season's ballet and opera, and Domingo singing Simon Boccanegra.
Right now, all I can find are the press releases about next season's ballet and opera, and Domingo singing Simon Boccanegra.
QUOTE (Helene @ Apr 22 2009, 04:35 PM) 
Right now, all I can find are the press releases about next season's ballet and opera, and Domingo singing Simon Boccanegra.
I know this may be off topic, but Domingo will also be singing Simon Boccanegra for the first time at the Met next season. We got a little preview of him in this role at a big gala a few weeks ago, where he sang an aria from that opera. He was wonderful. Can't wait to see him in the full opera next year.
I'm going to take my prerogative as Editorial Advisor here. Alexandra and I are friends and we discussed this prior to the announcement. The decision was not due to working conditions at the Royal Ballet or to physical injury. It was her decision solely.
QUOTE (abatt @ Apr 22 2009, 09:29 PM)
That's shocking and very unfortunate. I believe she is relatively young, although I don't know her age.
Her biography on the ROH web site says that she was born in 1980, so she's only 28 or 29. What a young age for retirement ! I regret never having had any opportunity to see her :-(
QUOTE (carbro @ Apr 22 2009, 03:31 PM)
It's probably too much to hope that after a year or so away from dancing, she'll change her mind and find a hospitable performing situation.
You never know.
Barbara Bears returned to Houston Ballet after "retiring." Perhaps the management at Royal Ballet could be so kind as to make some sort of "if you ever decide to dance again, you still have a place here with us" arrangement.
QUOTE (Old Fashioned @ Apr 22 2009, 06:41 PM)
QUOTE (carbro @ Apr 22 2009, 03:31 PM)
It's probably too much to hope that after a year or so away from dancing, she'll change her mind and find a hospitable performing situation.
You never know.
Barbara Bears returned to Houston Ballet after "retiring." Perhaps the management at Royal Ballet could be so kind as to make some sort of "if you ever decide to dance again, you still have a place here with us" arrangement.I'm old enough to remember Cynthia Gregory's retirement and come back. Cynthia had just had it with being a dancer for a lot of reasons. After a time away she came back and was great.
I'd be sorry to not see Ansanelli dance again. Interesting to note she started late and ended early!!
This makes me very, very sad. Seeing her with NYCB I found her to be a really remarkable dancer and was delighted to read about her rise to principal at the Royal Ballet. I actually saw her twice with the Royal -- as the first of the gift bearing fairies in the prologue to Sleeping Beauty and as a lovely though not yet fully realized Lilac Fairy in the same production. In the first fairy solo I found her simply gorgeous--almost hauntingly so. I wish her the very best.
I'm sure she has her reasons - but this is very sad news. I found her to be a wonderful dancer with NYCB - one of my favorites. I only saw her in her first season with the RB, when she was still adjusting to their style. It was great to hear of the progress she made there and it makes me very sad to think that I'll never see her dance again. She's still so young, hopefully at some point she will change her mind...
QUOTE (Leigh Witchel @ Apr 22 2009, 02:15 PM)
It was announced today by Monica Mason at a press conference that Alexandra Ansanelli would retire from the Royal Ballet, and from dancing, in June.
She will perform throughout the season and at the Kennedy Center as previously announced.
She will perform throughout the season and at the Kennedy Center as previously announced.
When Miss Ansanelli left NYCB this is what she said in an interview with Gia Kourlas. see http://www.nytimes.com/2005/07/30/arts/dan...0ansa.html?_r=1
Like many I am rather shocked at this sudden news, as Miss Ansanelli has worked very hard to become a fully fledged Principal dancer with the Royal Ballet where she had gained a number of successes since she joined the company in January 2006 as First soloist. Her roles have include Terpsichore in Apollo, Tchaikovsky pas de deux, 2nd aria couple in Stravinsky Violin Concerto, Coppelia, Sugar Plum Fairy, Gamzatti, Red Queen in Checkmate, Afternoon of a Faun, Aurora, Lilac Fairy as well as other roles.
Senior London critic John Percival in The Stage wrote, “His Tchaikovsky Pas de Deux introduces a new star, Alexandra Ansanelli, transferring from NYCB to the Royal. Her swift, light exactness and convincing musicianship in this voluptuously virtuosic duet promise a fine future....."
Roslyn Sulcas (see: http://www.nytimes.com/2006/12/17/arts/dan...sulc.html?_r=1)
who made the trip to London to see Ansanelli make her debut as Aurora
Noted, “The famously tart British critics agreed. “When I saw that Alexandra Ansanelli was down to dance Aurora at Covent Garden, I wondered if she’d be up to it,” Luke Jennings wrote in a review in The Observer. “If there are doubters, she wins us over.” The venerable Clement Crisp, who remembers Fonteyn in the role, was even more effusive. “She brought a radiant assurance to the role,” he wrote in The Financial Times.”
Ahead, Miss Ansanelli has performances of “Ondine” to look forward to and will end her career with the Royal in London in a series of performances in Jewels.
Miss Ansanelli has had success with two of the world's major ballet companies a dream few dancers can realise. I wish good fortune in what ever path Miss Ansanelli decides to take.
I had the good fortune to attend a performance of NYCB's Nutcracker in 1996 or 1997 (not sure...) with Alexandra Ansanelli as Dewdrop. She lit up the stage - so completely alive and captivating. I didn't know much about ballet then, but as just an ordinary audience member, she left me with an indelible impression of joyful artistry and delight. I wonder if any of her perfomances are available on dvds/videotape? thanks and best wishes to Alexandra!
Although I've only seen her on the Bringing Back Balanchine DVD, I was particularly impressed by her mature response to the Serenade incident. She seems like an uncommonly intelligent and thoughtful young woman. My best wishes to her.
I'm pretty sure tha tAlexandra played one of the child Ponchinelles (I'm sure I botched that spelling) in the NYCB version of Nutcracker (yes, the one with MacCauley Kulkin).
QUOTE (PeggyR @ Apr 23 2009, 10:01 AM)
Although I've only seen her on the Bringing Back Balanchine DVD, I was particularly impressed by her mature response to the Serenade incident. She seems like an uncommonly intelligent and thoughtful young woman.
There's a related comment in the Sulcas article linked by leonid. Antoinette Sibley (who coached Ansanellli's Aurora) is quoted as saying::
QUOTE
We also discussed interpretation; she likes to talk about things and examine them, and I think it shows onstage.”
I really admire thoughtful dancers. Of course, they need more than just analysis. Jonathan Cope refers to "than Ansanelli fire" in the same article:
QUOTE
She has such a natural theatricality; she really lives the performance. Of course, she is also just a little mad, which every great performer has to be.
QUOTE (abatt @ Apr 23 2009, 10:15 AM)
I'm pretty sure tha tAlexandra played one of the child Ponchinelles (I'm sure I botched that spelling) in the NYCB version of Nutcracker (yes, the one with MacCauley Kulkin).
According to the credits Alexandra danced a Candy Cane.
I enjoyed reading about her rise at the Royal Ballet and wish her the best.
All of this reminds me of Maria Almeida, ca 1989/90, another lovely RB principal who similarly decided to give-it-all-up while in her 20s.
Before she goes, Ansanelli creates a new role in Alastair Marriott's ballet Sensorium, which has its premiere on Monday. (Music by Debussy, not much else known about it yet.)
There is an article in today's NY Times regarding Ansanelli's retirement. She says she is leaving ballet because it no longer completes her as a person. She is quoted as saying that she was crying every day, which led her to realize that she had to make a change. It sounds like this has been a very difficult decision for her.
http://www.nytimes.com/2009/05/06/arts/dan...6ansa.html?_r=2
http://www.nytimes.com/2009/05/06/arts/dan...6ansa.html?_r=2
Whatever way she choose, may she find the peace. She is a lovely dancer and seems to be a very special person.
I was disheartened reading that article. I hope she finds something to do that will make her happier. 
Ansanelli was a favorite of mine at NYCB, and I was very disappointed when she left. I admire her courage in going to the Royal, where she would have to assimilate a very different style, and take a soloist contract, having been a principal at NYCB, so I was delighted when she was promoted to principal.
I too hope she will return to dancing after a break, but whatever her future holds, I wish her happiness.
I too hope she will return to dancing after a break, but whatever her future holds, I wish her happiness.
QUOTE (LiLing @ May 6 2009, 11:19 PM)
Ansanelli was a favorite of mine at NYCB, and I was very disappointed when she left. I admire her courage in going to the Royal, where she would have to assimilate a very different style, and take a soloist contract, having been a principal at NYCB, so I was delighted when she was promoted to principal.
I too hope she will return to dancing after a break, but whatever her future holds, I wish her happiness.
I too hope she will return to dancing after a break, but whatever her future holds, I wish her happiness.
I wish the same. Cynthia Gregory retired for a time (I believe she felt burnt out) and then returned to ABT. Perhaps Ansanelli will do the same. Whatever happens I wish her well. I loved her at NYCB>.
That NYT article has been on my mind all day. The part where she says that dance felt like failure... I hope some day she realizes that for many of us of her generation, she's been positively inspirational.
Ansanelli issued a release through Pointe Magazine (which sent it out as a preview to their new issue with AA on the cover):
QUOTE
A Statement from Alexandra Ansanelli
Alexandra Ansanelli, our June/July cover model, recently announced that she will retire from ballet at the end of this season. A principal with New York City Ballet, and now The Royal Ballet, she has asked Pointe to share the following statement.
Since age 11, I have been devoted in all aspects of my life to the art of ballet. Many sacrifices have been made in order to achieve the highest level of excellence of my capability. To me ballet is a religion, a devotion, a marriage. It demands that the mind, the body, and the spirit be present at all times.
At 15, my intense professional life began and "life" had an entirely new meaning. It has been very hard to accept for myself that my desires have changed. Yes, dancing the great neo-classical works as well as the classic ballerina roles has been very rewarding as an artist--but something inside is calling me in a new direction. I cannot deny that inner voice. It is what led me on this amazing journey. What is the voice calling me to now? I do not know yet. But time is passing by and I must make this next step in order to create more balance in my life.
There have been so many rewards working with geniuses of the entertainment world, as well as with two premiere companies, each striving to maintain the art in a different vein, located in different parts of the world. I shall be finishing the season at the Royal Ballet/Opera House on June 19th with the ballet Jewels, dancing "Rubies," a piece that I love--jazzy and pure Americana! We shall then tour to Washington, DC's Kennedy Center. On June 24th I will dance Natalia Petrovna in Ashton's dramatic masterpiece A Month in the Country. The final performance will be in Cuba a few weeks later.
Most importantly I shall miss the amazing artists, teachers and directors that I have worked with in the ballet world. They have enabled me to make the most of each role with their knowledge and collaborative efforts. I would like to thank directors Peter Martins and Monica Mason for enabling me to grow and experience ballet to its fullest. My friends and fans have been so understanding and supportive during all moments of this ride. Most of all, I thank my family, especially my mom and dad. Anyone who has been a part of my career knows how unbelievable they have been. No child could ask or wish for anyone more loving, sincere and, most importantly, brutally honest. I love you both so deeply and thank you for always believing in me.
I have never taken the gift that God has given me lightly. That is why this has been such a tormenting decision that has been in my mind for many years. But I know that this creative energy will always need to be expressed during my life. Hopefully I will be able to share it in many mediums in the future. I cannot live without expression!
To my beautiful first love of my life I say...Goodnight sweet love, goodnight.
With love and deepest thanks,
Alexandra Ansanelli
Alexandra Ansanelli, our June/July cover model, recently announced that she will retire from ballet at the end of this season. A principal with New York City Ballet, and now The Royal Ballet, she has asked Pointe to share the following statement.
Since age 11, I have been devoted in all aspects of my life to the art of ballet. Many sacrifices have been made in order to achieve the highest level of excellence of my capability. To me ballet is a religion, a devotion, a marriage. It demands that the mind, the body, and the spirit be present at all times.
At 15, my intense professional life began and "life" had an entirely new meaning. It has been very hard to accept for myself that my desires have changed. Yes, dancing the great neo-classical works as well as the classic ballerina roles has been very rewarding as an artist--but something inside is calling me in a new direction. I cannot deny that inner voice. It is what led me on this amazing journey. What is the voice calling me to now? I do not know yet. But time is passing by and I must make this next step in order to create more balance in my life.
There have been so many rewards working with geniuses of the entertainment world, as well as with two premiere companies, each striving to maintain the art in a different vein, located in different parts of the world. I shall be finishing the season at the Royal Ballet/Opera House on June 19th with the ballet Jewels, dancing "Rubies," a piece that I love--jazzy and pure Americana! We shall then tour to Washington, DC's Kennedy Center. On June 24th I will dance Natalia Petrovna in Ashton's dramatic masterpiece A Month in the Country. The final performance will be in Cuba a few weeks later.
Most importantly I shall miss the amazing artists, teachers and directors that I have worked with in the ballet world. They have enabled me to make the most of each role with their knowledge and collaborative efforts. I would like to thank directors Peter Martins and Monica Mason for enabling me to grow and experience ballet to its fullest. My friends and fans have been so understanding and supportive during all moments of this ride. Most of all, I thank my family, especially my mom and dad. Anyone who has been a part of my career knows how unbelievable they have been. No child could ask or wish for anyone more loving, sincere and, most importantly, brutally honest. I love you both so deeply and thank you for always believing in me.
I have never taken the gift that God has given me lightly. That is why this has been such a tormenting decision that has been in my mind for many years. But I know that this creative energy will always need to be expressed during my life. Hopefully I will be able to share it in many mediums in the future. I cannot live without expression!
To my beautiful first love of my life I say...Goodnight sweet love, goodnight.
With love and deepest thanks,
Alexandra Ansanelli
I was hoping someone would comment on her Ondine (she replaced Cojocaru in the performance I attended). I had not seen her perform it before and found her charming and spirited in the role, her long arms and expressive face used effectively.
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