Alexandra Ansanelli HARLEQINADE Pas de deux

One of the greatest post Balanchine era ballerinas has got to be Alexandra Ansanelli (here dancing the second act Pas de Deux and solo with Benjamin Millepied from Balanchine's HARLEQUINADE). I danced this ballet many times with Patricia McBride (the original ballerina), and Gelsey Kirkland, so I am very familiar with how Balanchine wanted this ballet done. Ms. Ansanelli is perfection in what is a very tricky Pas and solo...especially that solo. It takes so much control, but one can't see the difficulty because of Ansanelli's artistry. Like McBride, she makes everything look easy and simple. Absolutely no phony effects. It's the simplicity which is the true genius of Balanchine, and of a great dancer, like she so obviously is. It's a sign of weakness when an artistic director cannot hold on to his most talented dancers (no matter how "temperamental" or "difficult" they may be). As I've said in an earlier post, "temperament" goes hand-in-hand with great artistry. Deal with it. Others who left NYCB too soon (or were driven out because of the toxic atmosphere reported during the Martins era), were Margaret Tracey, Monique Meunier, Sofiane Sylve, Jeff Edwards, Afshin Mofid, and others. These were some of the most talented and artistically interesting dancers I saw after Balanchine's death, and proved without a shadow of a doubt his ballets could be newly interpreted w/o losing any of their integrity. Of course in a company as large as the NYC Ballet, there were many other talented dancers to fill the ranks, but Ansanelli is that rare bird that could have inspired generations, like McBride, Farrell, Kent, Verdy, and others, did before her. I had my own "problem" dancers in my company, but onstage they were fantastic, so I took my lead from how Balanchine handled these people. He was a master psychologist at times, knowing just when to be tough, or kind, or when to look the other way. Sometimes dancers just need to get it out of their systems. As I've noted, most great artists are insecure underneath, and there is a lot of pressure on them the more famous they become. Anyway, enjoy Ansanelli and Millepied (who does a very nice variation too).

[@carolinekahn3359]

Her solo was transcendent! Such fluidity and musicality.

[@susanbartlett-ye6476]

Beautiful! She retired from dancing so early in her career... I am glad there are films of her dancing

[@scottparris7238]

Matchless insights

[@insaelliott1318]

Thank you for sharing! I so wish there were more videos of her. It is a tribute equally to the dancer, and to the choreographer that you watch this and you do not see the steps. Everything seems like a natural phenomenon, like watching a butterfly spin from flower to flower. It is so pure and sublime at the same time

[@genlyai5055]

And let's not forget, in the list of GREAT dancers driven out by Martins (SPIT) : Maria Calegari; Ethan Stiefel; Samantha Allen; Kelly Cass....

[@JM-sx2gc]

She is exquisite. She literally takes my breath away. Thank you so much for sharing.

[@monongahelacats]

Magical!

[@user-mv9tt4st9k]

Gorgeous.

[@bluepool210]

oh she just flows! it's beautiful.

[@michaelbrodsky1221]

Many thanks yet again. And thanks, too, for your commentary.

[@candidacarino669]

'Ansanelli's' Balanchine Act 2 for Columbine's dance is beautiful and the music is a sweet lullaby. Millepied's jumps and turns are wonderful. Thank you for sharing.

[@marymohagheghi4875]

Those beats, that arabesque ❤❤❤

[@GariGold]

Thank you. Delightful.

[@Marta44339]

This is great. Thank you. I always liked Ansanelli. The only point of reference I have is the wonderful but oh so fuzzy Baryshnikov-McBride video.

[@ngananh9728]

this is absolutely fire 🔥🔥🔥

[@marymohagheghi4875]

She is stunning❤❤❤

[@hermajesty52]

Wowie.

[@hermajesty52]

What is the composers name?

[@jcliff26]

Riccardo Drigo

[@allisondrozdzewski8903]

She is sooooo thin 😳