Natalia Alonso | |
---|---|
Born | October 1 New York, NY |
Career | |
Current group | "Nikolai and the Others" |
Former groups | Complexions Contemporary Ballet; Ballet Hispanico |
Dances | Contemporary Ballet |
Website | www.nataliaalonso.com |
Natalia Alonso is an American professional dancer and actress, and is appearing as Maria Tallchief in the upcoming play Nikolai and the Others at Lincoln Center Theater. [1]
A native New Yorker of Spanish descent, Alonso began her formal dance studies with Kaleria Fedicheva of the Kirov Ballet at the age of 9. She continued her studies with Irina Lebedeva, as well as at the Boston Ballet and at the Alvin Ailey American Dance Center. After suffering a knee injury, Natalia took a step back from dance and pursued an economics degree from Wesleyan University. [2] [3]
After graduation, Alonso joined Ballet Hispanico, directed by Tina Ramirez, based in New York City. With the company, Alonso performed both internationally and domestically, and in such notable theatres as the Kennedy Center, Jazz at Lincoln Center, the Joyce Theatre, and New York City Center.
In 2004, Ramirez offered Alonso a solo, Llamada, choreographed by the Kansas City Ballet's artistic director, William Whitener. When Whitener declined to allow Alonso to perform in the piece because he did not know her, she flew at her own expense to St. Louis, where his company was performing, to rehearse with him. He gave her his approval after just one afternoon: "She is a gifted artist who is completely invested in the process," he said. "And like all the great ones," he adds, "her feet are firmly planted on the ground." [4]
In the piece Palladium Nights, Alonso was reviewed "as a flame on the dance floor; she also gives the most nuanced performance—wholeheartedly joyous when the music takes her, introspective when she dances alone onstage...." [5] She remained a principal dancer of the company until 2008, "maturing into a highly versatile dancer distinguished by her long, clean, polished line; hip-swiveling bravado; and stunning stage magnetism." [6]
In 2008, Alonso joined Complexions Contemporary Ballet, directed by Dwight Rhoden and Desmond Richardson. Natalia appeared the cover of the August 2008 edition of Dance Magazine, in which she explained her decision to transition from Ballet Hispanico to Complexions. [7] [8] On what caught her eye about Complexions, Alonso said "I was attracted to the style of repertory and its fusion of ballet with other types of contemporary dance styles and themes." [9] She said, while on tour with the company in Australia in 2009, "I am amazed by the calibre of each individual dancer and artist. The company has always been known for housing the world’s best dancers and the directors encourage excellence."
Because of her exposure to a number of different methods of dance, Alonso was able to quickly adapt to the physically demanding nature of Complexions' choreography. [10] A review of Mirror Me, a creation of Juan Rodriguez, a guest choreographer, described Alonso's performance as such: "Alonso’s plies are particularly slow and decadent, as though she were a spoon slicing into warm pumpkin pie." [11] However, Complexions has not always been reviewed favorably, at one time described "a man’s world. The women are instruments; the men play them."" [12] The review goes on to describe the choreography as "far more monocultural than it claims to be. Its women are by no means only passive, but most of the partnering is grossly manipulative." [13]
Alonso appeared on the Winter 2011 cover of Discount Dance Supply, [14] one of the largest distributed dance supply catalogs in the United States. Alonso also appears in a digital short for the company. [15] Discount Dance Supply conducted an interview with Alonso for the shoot, in which she describes how she became involved in dance, her favorite qualities, and the different styles each dancer brings to rehearsal. [16]
In February 2013, it was announced that Alonso was joining the cast of the play Nikolai and the Others. [17] Written by Richard Nelson (playwright) and directed by David Cromer, the play imagines the relationships between a close-knit group of Russian emigres, including choreographer George Balanchine (played by Michael Cerveris), composer Igor Stravinsky, and their "friends, lovers, wives and ex-wives, partners, supporters and dancer... at the time of their historic collaboration on the Orpheus." [18]
Alonso has worked with other choreographers such as Alonzo King, [19] Bradley Shelver, [20] and George Faison while on tour with Aretha Franklin. She also has been a Gyrotonic instructor since 2005 [21] and trains other dancers in strengthening techniques. She also appeared in Telemundo "Up Front" specials and in independent films. [22]
"Nikolai and the Others," [February 2013 - (present)]
Alonso teaches, or has taught, ballet and modern techniques at the following schools:
Contemporary ballet is a genre of dance that incorporates elements of classical ballet and modern dance. It employs classical ballet technique and in many cases classical pointe technique as well, but allows a greater range of movement of the upper body and is not constrained to the rigorously defined body lines and forms found in traditional, classical ballet. Many of its attributes come from the ideas and innovations of 20th-century modern dance, including floor work and turn-in of the legs. The style also contains many movements emphasizing the body's flexibility.
The Cuban National Ballet is a classical ballet company based at Great Theatre of Havana in Havana, Cuba, founded by the Cuban prima ballerina assoluta, Alicia Alonso in 1948. The official school of the company is the Cuban National Ballet School.
Mansur Kamaletdinov was a Soviet-born ballet dancer, teacher, ballet master and choreographer of classical ballet and classical character dance.
The Ballets Russes was an itinerant ballet company begun in Paris that performed between 1909 and 1929 throughout Europe and on tours to North and South America. The company never performed in Russia, where the Revolution disrupted society. After its initial Paris season, the company had no formal ties there.
Ernestina Ramirez was an American dancer and educator, best known as the founder and artistic director (1970–2009) of Ballet Hispanico, the premier Latino dance organization in the United States.
Susan Marshall is an American choreographer and the Artistic Director of Susan Marshall & Company. She has held the position of Director of the Program in Dance at Princeton University since 2009.
Cedar Lake Contemporary Ballet was a New York City-based contemporary ballet company.
Alberto Julio Rayneri Alonso was a Cuban dancer and choreographer, the brother of Fernando Alonso and brother-in-law of Alicia Alonso. He was influential in the development of the Cuban style of ballet, a combination of Russian and Western techniques with a Latin style.
Modern dance is a broad genre of western concert or theatrical dance which includes dance styles such as ballet, folk, ethnic, religious, and social dancing; and primarily arose out of Europe and the United States in the late 19th and early 20th centuries. It was considered to have been developed as a rejection of, or rebellion against, classical ballet, and also a way to express social concerns like socioeconomic and cultural factors.
Annabelle Lopez Ochoa is a Belgian-born international choreographer based out of Amsterdam, Netherlands.
Ballet Hispánico is an American dance company based in Manhattan, New York. It was founded by the Puerto Rican-Mexican-American dancer and choreographer Tina Ramirez in 1970 and presents dances reflecting the experience of Hispanic and Latino Americans.
Daniela Malusardi is an Italian choreographer, teacher and dancer.
Ann Marie DeAngelo is an American choreographer, director, producer, teacher, consultant and former dancer - an expert in all areas of dance. She was leading ballerina with the Joffrey Ballet, where early on she was pegged by Time magazine as "one of America's most outstanding ballerinas" and where she later served as associate director at the time of the company's move to Chicago in 1995.
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Elisa Monte is an American artistic director, choreographer, and dancer who founded Elisa Monte Dance in New York City. Monte's first choreographic work, Treading (1979), defined her as an important innovator and contributor to contemporary dance. Her signature style, recognized as "daring, intense, and passionate, is classical and highly athletic."
Natalia Matsak is a Ukrainian ballet dancer, prima ballerina in the National Opera House of Ukraine, and an Honored Artist of Ukraine.
Blakeley White-McGuire born in Baton Rouge, Louisiana, is a dancer, choreographer, répétiteur, and educator. She is a Principal Guest Artist and former Principal Dancer of Martha Graham Dance Company. Described by Gia Kourlas of the New York Times as having a "powerful technique and dramatic instinct with an appealing modern spunk", White-McGuire has received widespread critical acclaim as a Graham dancer.
Troy Powell also known as Troy O'Neil Powell is an American dancer, choreographer, educator, and director. He is a former principal dancer with the Alvin Ailey American Dance Theater and former artistic director of AAADT's second company, Ailey 2. Powell was fired in July 2020 after an independent investigation into allegations of sexual abuse at the Ailey School concluded that he had engaged in "inappropriate communications" with students who were interested in joining the Ailey 2.
Hope Boykin is an American dancer, choreographer, educator, director, writer, and speaker who is a former member of the Alvin Ailey American Dance Theater. Her mission is to create and share "within an environment of acceptance, brings new levels of awareness. Exploring, developing, and teaching a sound and healthy approach to movement and expression, promotes growth. Lifting and leading young and aspiring artists to a secure foundation and a concrete understanding evolves a confidence and an assurance which will be unmatched. There are no limits." She has inspired many with her journey to sharing her continued explorations with others on her path to search for hope. She continues to exhibit that her voice is indeed relevant and continues to remain significant within the dance community and world today.