Diana Vishneva Leaves ABT
On Friday, June 23rd, I had the pleasure of watching Diana Vishneva’s final performance with American Ballet Theatre. It was a beautiful and emotional goodbye and the New York audience showed up in droves to applaud her.
This is not a review of the performance, but here are some good ones if you’re interested:
From Wendy Perron of Dance Magazine: Vishneva’s Farewell: A Great Ballerina Leaves
Haglund’s Heel Blog: Onegin: Passion Perfect
And this New York Times’ article, Flowers, Flowers, and More Flowers, has gorgeous photographs.
I love watching Vishneva dance; she embodies the qualities I work on with my dancers every day: fearlessness, confidence, and artistry.
Diana Vishneva is fearless. I still remember vividly watching her descend the staircase in Romeo and Juliet, at the start of the balcony scene. She didn’t walk or even run down the stairs – she flew. Her feet touched every other stair and then every three or four stairs as she picked up speed. The audience gasped audibly. I remember raising my hands to my eyes, fearing she was going to fall before reaching her Romeo.
But she didn’t. Instead, she flew off the steps with a leap and ran across the stage, like a young girl in love: impetuous, free, and unthinking.
In a performance of Swan Lake with David Hallberg, her Odile piqued into an arabesque and tipped into the supported lean as her Seigfried was still crossing the stage. Again, audible gasps from the audience. But Hallberg made it, as she knew he would. And if he didn’t, her attitude seemed to suggest, she’d be just fine.
Vishneva is not afraid to take risks onstage and that makes for very exciting ballet. I have to imagine that fearlessness comes from her immense trust and confidence in her dancing body, as well as not getting stuck in her technique.
As a former dancer and an avid watcher now, one thing that bugs me in professional dancers is a lack of confidence on their faces. You’ve seen it: that sudden drop of the performance smile when something technically difficult arises as if to announce, “I’m not sure I can do this!” Even at a company like ABT this happens.
But not with Diana Vishneva. Regardless of what she’s feeling inside, her facial expressions always register complete confidence. She is completely in her body when she performs, embodying the “flow” or being in “the zone” that strong mental fitness skills can deliver.
Vishneva has lovely technique, but it is not the first thing I noticed about her and it’s not front and center when she performs. It’s there like a skeleton or a scaffolding: without it, there wouldn’t be anything to “hang” her performance on, but it’s not what I pay attention to when watching her. Her body executes the technique, but it’s like speaking a language: I’m interested in what she’s saying, not so much how she’s saying it.
Vishneva is an actress; she inhabits the characters she dances, body and soul. And that is part of what makes her so much fun to watch.
I remember watching company class onstage one Saturday and looking for her. I could not find her, although I was pretty sure she was there. Eventually, in the back, in a corner, I spotted her during adagio. I kept my eyes on her and was surprised at how tiny she looked. No matter where she is on the Met stage, my eye is always drawn to her, even when she’s not dancing much. But during class, she was just another body in motion up there.
I realized that when she performs, she PERFORMS: she’s an artist. Class is just that: class, a warmup, a way to get ready for the moment when it counts.
When it comes to my work, I want my dancers to watch people like Diana, who dance beyond their technique and who focus on the message of their dancing as well as the medium. That takes work and it takes trust. At some point, dancers need to trust in their training and let themselves go. And that takes a lot of confidence in one’s self and in the process of learning to dance and performing. That sequence of events – work, trust, confidence – is one that takes a career to master. But it is so worth every minute of work for it. Because the outcome is sublime. It’s a performance like Vishneva’s last at ABT: one that lingers in the mind’s eye for days and weeks later.