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Edward Villella
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- เผยแพร่เมื่อ 8 ก.ย. 2016
- In this milestone video, we feature dancer/choreographer Edward Villella, whose storied career started under the legendary George Balanchine as principal dancer for the New York Ballet. From 1968 to 1974, he served on the NEA’s National Council on the Arts, and became the founding artistic director of Miami City Ballet (a frequent NEA grantee) in 1985, serving until 2012. In 1997, he received the National Medal of Arts.
Produced for the National Endowment for the Arts 50th anniversary celebration. For more on the NEA's 50th, go to www.arts.gov/50th
I was so fortunate to see Edward Villella and Patricia McBride when my sister was studying ballet. They were truly spectacular artists.
Thank you NEA for all the years and for this beautifully made film...
God Bless this guy, got to meet him a couple of times and saw him dance in his prime, he talks frankly and friendly with you right from the start.
He was phenomenal, and McBride just shined the moment she made her entrance, gorgeous smile, musicality, just sheer pefection on the stage
I have just reread Villella's autobiography, a very moving book. What agony he went through at times, I feel it as though it were happening to me, but the book has a happy ending
He was a God up there, just that never-ending athleticism
He danced and leapt with a view of infinity, and he took us with him.
PM and EV are two incredible artists and people thanks for sharing! 💞
Villella was so handsome. In the 60s I was a little girl in the deep south and ballet wasn't even on the radar hardly. Villella would come on tv and my athlete father watched Villella with great surprise and sudden admiration thus bringing ballet to a level of respect in my father's eyes. I was so proud of that. Prior to that my father really couldn't relate to ballet at all. Villella was such an exciting dancer. He had a great unique thrust similar to Nureyev's. I was so grateful to Villella for impressing my father so much because that brought us closer. Suddenly my father saw the great athleticism of ballet. It was really a big event for my family.
A dance hero...pursuit of excellence personified...YESSSSS!
Bravo Mr. Villella. I had the great privilege of enjoying your great dancing many times. Such inspiration. Thanks.
Absolutely wonderful.
"tarentella villella!" lol
what an ACHIEVER!! guy has ALOT of character too.
Edward Villella and Patricia McBride Preformed for the student body of P.S.199 in New York City. I must have been eight or nine years old. Maybe 1963 or 1964. Talk about cultural enrichment...
no dancer including Misha has ever come close to his Tarentella
It is quite telling that Balanchine, in the end of his life, when he could not undertake new ballets anymore, gave all the major ballets created for Eduardo Villella to Baryshnikov. Rubies, Apollo, Prodigal Son, Tarantella, Harlequinade, ALL of them.
Thanks. I never thought of that but yes very telling.
I would love to see the whole Tarantella with Villella and McBride ! there is a video on TH-cam with McBride and Baryshnikov, very beautiful also, but Villella was awesome in all this Balanchine ballet.
If you can arrange it, the Library of the Performing Arts in NYC has Villella's Tarantella with MacBride. You can see it there. I had to request in advance the right to see it.
@@honeyjbc1 ok, thanks for your kind answer. I hope that I will be able to see it, I am French, living in Paris and sometimes it is a little difficult to access to all the public American sites, I will tell you
The whole idea is not to plateau. There's an infinity out there. You have to go, and go, and go, and go until you don't know how to go anymore.
Stanley!
I know he left the New York City Ballet to found the Miami City Ballet. He served as Artistic Director until he stepped down in 2012--got this intel from Wikipedia. Look, I gotta say... it's nice that he started the Miami Ballet. But reading his autobiography and looking back at his work, I remember wishing he had stayed at City Ballet and helped Peter Martins run the company and the school. Martins did a much better job than the haters gave him credit for. But I don't think he should have done it solo. I should be a "pas de deux". Just like Balanchine ran it with Lincoln Kristen, Martins should have had a partner. And I feel like it should have been Villella. Villella or Suzanne Farrell. Things would''ve been better...
Music at 7:40? I've been singing it for a long time but I just never figured out the title.
SerMillicent It’s Passepied by Claude Debussy.
it is coming just after Clair de Lune in the Suite Bergamasque from Claude Debussy, like Patricia Goodson said : Passepied, there are 4 movements in this Suite, all very beautiful, even if Clair de Lune (moonlight) is the more popular.
Are...Are we related?
About Rubies: it is not American and not jazz. Balanchine said it himself in his book I have. It was a tribute to native land of his parents, Georgia where rubies are national crown gems and it's choreography is based on national Georgian dances.
Hello, I believe that the anecdote is valid but Balanchine often suggested that the dancers bring more jazz into aspects of their dance for certain pieces. And Villella may be referencing that. There is definitely the athleticism and folk dance element and bravura that is very Georgian and Russian but Stravinsky's score itself is often described as jazz-inflected and other elements such as South American Tango and American Cakewalk are in there as well. As much as it may be an homage to his parents' native land, I think there's room for lots of other influences as well. I love your anecdote as I was unaware of the core influence, so I am more knowledgable of Balanchine and as a dance teacher I am grateful to you.
I love that you reminded me that Balanchine was Georgian as is my favorite dancer of all time (and yours as well, from some of your posts) the incomparable Nicolai Tsiskaridze!
Thank you, indeed :) And Chabukiani, Nikolai's first teacher. And Nina Ananiashvili and Boris Bregvadze....
I really worry about the dancers at Miami City Ballet now that he's not there anymore. I just wonder. He made that company an internationally recognized company. They expected to dance with THAT company. But the financial people have said that they didn't want to finance an "internationally recognized" company. They wanted less cost which meant less touring, fewer top choreographers, less money spent on getting the best dancers possible. They literally said that they wanted a more "local" ballet company. Not so big, not so much making its way to major company status.
I just wonder what their direction is now. And if they'll keep moving forward.
They were always trumpeting Edward Villella as "proof that real rugged masculine testosterone-loaded men do ballet". Edward hated this. He felt like a lot of "real men" did ballet. And he wanted to be seen as a dancer, not as a gimmick to draw more guys into ballet. They were always trying to say, "See? SEE?!? Manly men do this, too!" Still, I'm glad that "Eddie" (as he's known to his friends) really did help pave the way. Getting more males interested. Baryshnikov, Godunov, and Peter Martins are what grabbed my attention. But I say... Eddie should be this celebrated. For being a "danseur", not a "man's man" who put on those tights...
To The National Endowment for the Arts, thank you...
Praise GOD?
Ese es mi tio jaj ahre