USA IBC, June 15, 2014 – Round I, Sessions I and II

6 Jul

Notes abbreviated, rather than full sentences; transcribed from scribbles.

Round I, Session I

1) Julliane Franzoi, Jr., Brasil – Bluebird – Princess Florine – correct, but does not know she is learning to fly from a prince enchanted as a Bluebird –

2) Rieko Hatato, Jr., Japan – with 89, Ilya Artamonov, Sr., Russia – Flames of Paris; she perky, correct, he possessed nice turning jumps

3) Fuki Takahashi, Jr., Japan – Flames of Paris – gentle and precise

4) Katherine Berkman, Jr., U.S.A., Coppelia, music excessively slow; managed to be correct, steady.

5) Janis Liu, Jr., PRC, Flames of Paris, blue skirt, some red, cut length of body line, accenting less than perfect proportion, but rendition sprightly.

51) Manu Navarro, Sr., Panama, Gian Carlo Perez Alvarez, 74, Sr., Cuba – pas de deux, Esmeralda.
Dark green tutu, coronet of brilliants. Perez white romantic shirt, dark tights. Fine partner, arms slightly curved; overall impression straight as arrow; clear, free jumps,he flubbed slightly at end of first variation, appreciably at coda. Navarro did not touch working leg opening – only in variation.

52) Hitomi Nakamura, Sr., Japan, variation from Esmeralda, nailed it correctly, extended a la seconde to the side, also developpe en avant; needs more torso fluidity.

56) Jenny Winton, Sr, USA, Giselle’s variation in Act I – strange shoulders, effective use of eyes; did not seem to dance for Albrecht as much as village.


Up the stairs to the lobby to stand behind the Video Masters table, watching competitors, students cluster around two small DVD players or watch light imprint on the wall of one entry complete with music. By evening, space will reflected one of the Round One, Session One Presentations.

Returning, four juniors, 1,3,4,5 with least two, possibly three variations from Paquita, ranging from lyric, swaying to the harp, to one requiring paragon of balance, sweeping fouettes with the working leg a la seconde. Notes state Janis Liu’s selection particularly spirited.

Hitomi Nakamura, #52, Sr., Japan, provided one of best renditions thus far of Giselle’s Act I variation; correct, played to the invisible Albrecht, one believed she overflowed with emotion, so lost in love awakening was fatal.

Ariana Martin, #54, Sr., Cuba, and Nayon Rangel Iovino, #70, Sr., Brazil, supplied extended pas de deux, Act II, Giselle. Musical version very labored; wonder if anyone dancing in danger of transforming into pillar of salt. Clearly Martin strongly influenced by Alicia Alonso, an Alonso some years post-American Ballet Theatre.

Gantsooj Otgonbyama, #55, Sr., Mongolia, essayed the Don Quixote Grand pas de deux with non-competing partner, Ganchimeg Choijil Suren. Otgonbyamba clearly a courtier, a princely partner in demeanor. Post performance I learned he danced with an upper thigh muscle problem undoubtedly contributed to impression of lacking fluid transitions. Technical demands more than adequate but where music merges with performance skills transitions were flat.

Jenny Winton’s variation from the multi-worked over choreography for Esmeralda; more convincing than Giselle. Still troubled by shoulder use.

Session II

Paula Alves, #5, Jr., Brazil, selected Coppelia’s wedding pas de deux; non-competing partner Fellipe Camarotto. Most sur la place pas de deuxselection in competition and classical repertoire. Rendition sparked audience response.

Kennedy Brown, #7, Jr., U.S.A., danced Paquita variation; supplied accurate reading of lilting, bending style.

Matthew Griffin,#8, Jr.,U.S.A., elected male variation of Flames of Paris, with much energy. Announcer mistitled as Paquita.

Blake Kessler, #9, Jr., U.S.A.,supplied Paquita male variation with energy, nascent style, stage presence.

Taiyu He, #10, Jr. China, astonished; six pirouettes, a crisp competence in the Flames of Paris male variation.

Anisa Sinteral-Scott, #57, Sr., U.S.A. Act I Giselle for first classical variation. Unusually tall, danced small, perhaps compensating for height; seemed more concerned about size than possible nuance.

Yui Sugawara, #58, Sr., Japan, reverted to war horse pleaser, Esmeralda, hitting working leg vigorously en avant with tambourine, also knee and elbow. En arriere attitude also hit, all glitter, blue sequins.

Andile Ndlova, #60, Sr.,South Africa, next happy surprise; male variation from Coppelia pas de deux, Act III; wonderful ballon, clean, simple, spot on of man happy to get married.

Steven Loch, #61, Sr., U.S.A., chose same variation, also with wonderful ballon, dances in looser style.


Kennedy Brown, #7, Jr., Coppelia for second variation. Arms lack fluidity, phrasing overall legato. Torso, port de bras need work.

Matthew Griffin, #8, Jr., Paquita’s male variation. Confident, rushed the beat.

Blake Kessler, #9, Jr. good jumps for Coppelia, pointe shoes too hard for best effect.

Continuing preference for Coppelia , Taiyu He, #10, Jr. sported yellow knickers, happy demeanor; polished male variation, a six pirouette man.

Anisa Sinteral-Scott, #57, Sr., went for Esmeralda, chose gypsy attire, tambourine in frequent use.

Yui Sugiwara, #58, Sr., in red and black, female Don Quixote variation; appropriate flash with fan. Lorena Feijoo still sets the standard.

Emily Speed, #59, Sr., Esmeralda full out with non-competing partner Kevin Wilson.

Two senior males, Andile Ndlovu, #60, and Steven Loch #61, closed Session II; Loch, male solo from Giselle, Act II, Ndlovu, stylish Don Quixote variation, well phrased.

Unlike Don Quixote, Giselle male solo truncated without Giselle; Loch conveyed Albrecht’s increasing exhaustion; selection markedly different joy of Coppelia, good choice to show range of characterization, attack.

As a whole, found rubato missing; it occurs when the dancer can phrase en retard, a hallmark of control and interpretive capacities.



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