Home Dance Holding Out for a Hero? Ballet Theater Has It Covered.

Holding Out for a Hero? Ballet Theater Has It Covered.

by Jersey Lady

As soon as possible Daniel Camargo His dancing was immediately understandable when he mentioned his early love for the ballet video Born to Be Wild: The Leading Men of American Ballet Theater.

Originally from Brazil, Camargo, who joined the American Ballet Theater as a guest artist last season, is unlike any male dancer of his generation, including Angel Corella, Jose Manuel Carreño, Vladimir Malahoff and Ethan Stiefel. Performance: “Dance in America” ​​I have a different sensibility, but I was also a stage animal.

Now, we have Camargo, who was named Principal last week. In the same week, he did his three shows of Kenneth Macmillan’s version of “Romeo and Juliet.” This was a new work for him. His first Romeo, like many of his dances this season, the 30-year-old’s repertoire featured act 3 of “Don Quixote,” “Swan Lake,” and “Love and Fury.” rice field. By the time he gets to the balcony scene? He was so dashing and so warm. Yes, Camargo is a blast from the past.

Hee Seo, who played his Juliet role on two of those nights, didn’t have much time to rehearse, but as she puts it, “We literally shook hands.” glad. “I think when we don’t have time to rehearse and we can’t feel each other, we’re letting each other dance and giving each other leeway,” she said. “He was great at that. He gives you room to be part of the ballet. It’s not my way, it’s not his way. our How. “

For Camargo, he said their performance was “so normal, so human”. “I wasn’t wearing anything.”

Before the pandemic, Camargo, a former principal of the Stuttgart Ballet and Dutch National Ballet, worked as a freelance dancer. He resumed that route after restrictions eased, but began to crave more consistency.At the same time, the ballet theater was dealing with several injuries. The residence, Alexei Ratmansky, got in touch with Camargo, who had worked with him at the Dutch National Ballet.

“They knew I was interested and the opportunity opened up,” Camargo said. That was the beginning.”

Camargo, however, was scheduled to attend the Jacqueline Kennedy Onassis School of Ballet Theater around the age of 12 after competing in the Youth America Grand Prix competition. “I actually got his ABT scholarship,” he said. “It was basically a situation where I had a suitcase ready to come to New York.”

The night before his flight, his teachers learned that the people who were supposed to care for him during the school’s summer course decided they couldn’t. I’m back for the Youth America Grand Prix of 2018 and I’m going to Stuttgart,” Camargo said. “So everything about New York was put on hold. I had a whole other journey before I got here.”

Now he is ready to settle down. But first he has to find an apartment. During the season he was too busy to watch and the day after the season ended he flew to Italy to work with Brazilian choreographer Giuliano Nunez. Where will he end up in New York? “I don’t know,” he said with a sigh. “It’s still a big question mark.”

Recently, Camargo spoke about his early years, his rise at the ballet theatre, and where he spent his closure. After that, I always wake up early.”

Below is an edited excerpt from that conversation.

You’ve danced far more this season than was originally planned. Did you feel the pressure?

It’s been a very interesting few months. Everything went very quickly and somehow I felt comfortable. Somehow I felt ready to do it. My partners and everyone in the company were so supportive that I could feel the good energy before going on stage.

Alexei Ratmansky is one of the reasons you are here. how long have you worked with him

I worked with him several times at the Dutch National Theatre. [Trilogy]” and his “Don Quixote”. He knows how to get out of the dancer what he can’t even see or think of inside him.

What made you start ballet in the first place?

Basically, it was for my sister. I have two sisters of hers and they are also dancers. So when he found out I had a younger brother, he said, ‘Let’s try it and see if you like it,’ because it’s not very common for men to dance in Brazil. I was hooked.

why? And how old were you?

I was between 9 and 10 years old. I think it was physicality — just trying things out and somehow trying to do it the way they wanted me to do it. And after watching some videos and contests, it basically started to ignite it, so I thought, OK, this could really be something.

At the John Cranko School in Stuttgart, one of the teachers was Peter Pestov, who trained many male dancers at the Bolshoi Ballet Academy. How important was he to you?

He really was a turning point in my research. I started working with him the last two years I was in school. It was a very demanding training, we do three hour classes. You can’t drink water. Sometimes it was a two hour jump.favorite Radical training. But he was very nice when we were out of the studio. But once we started working there were no jokes.

What did he emphasize in class? Very technical, what else?

Musicality was one of his most important points. Musicality, soft landing. Every time you finish what you are doing, you really finish the position. how to use the floor How to proceed from one step to another. I remember my legs were on fire when I finished class.

You were a freelancer when the pandemic hit. where did you go

I went to Portugal. I was in the Algarve in the south because you could be a little more outside in nature. Portugal was a very important time for me to learn more about myself. What do you like to do? What conversations do other people have? I wanted to meet new people to find out more about myself. What am I like when I am not surrounded by dancers? It was so refreshing.

What have you learned about yourself?

I really enjoy being in nature and connecting with people. See everything with different eyes. I think I bring my experiences outside to the stage. And then I found out that I love surfing.

Did it feel different dancing and living in New York than abroad?

Yes – especially at the Met. You can really feel that everyone is coming together and everyone is looking in the same direction and wanting to put on a good show. But this is the energy I want to be around.

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