» All Posts by Elana Altman

Memorable (Tour) Moments

Elana Altman — Mon, 26 Sep 2011 20:27:03 +0000

“I want to give you something to remember Paris by…” Those were the words of Helgi Tomasson right before he promoted me to soloist on the last day of our 2005 tour to Paris. He was right, I’ll never forget that moment or that tour.

While not every tour has affected me so significantly, each one has added enrichment to my career and my life. Imagine, in my first two years with the Company I traveled to Paris, three cities in Spain, and London. While adjusting to the rigors of dancing as a professional, I also got to experience fantastic places like a working local. I remember walking the alleys of Barcelona to and from the theater, passing the same adorable boutiques every day, and eventually giving in to the temptation of going inside. In Paris I had my corner café where I grabbed coffee every morning with the Parisians.

While touring in America doesn’t have the exoticism of Europe and Asia, there is still plenty of excitement and the added benefit of no language barriers! It’s wonderful to perform for other American audiences as the oldest American ballet company, and show our talents and diversity. Segerstrom Center for the Arts, in Orange County, actually brings in an enormous amount of ballet and is a well-educated audience. It’s a privilege to perform there with other world-class companies including the Bolshoi and Paris Opera Ballet. And for us it’s just an hour flight!

Myrtha Unveiled

Elana Altman — Tue, 01 Feb 2011 23:36:50 +0000

Elana Altman as Myrtha in Tomasson's Giselle ©Erik Tomasson

The role of Myrtha in Giselle is one of the most challenging and demanding roles that I have ever performed. Myrtha is the Queen of the Wilis (girls who have died of broken hearts). To attain Queen status, I wonder if Myrtha’s heart was broken the worst, or if she was the first, or if she was a Queen in her former life, or perhaps she was elected the Queen!

There are many interpretations of her story, as well as of her role in Act 2 of Giselle. I believe she is angry at her fate of having to roam the woods every night as a zombie. Her ingrained evil shines through in her delight of killing men. She shows wrath mixed with jealously when Albrecht’s devotion to Giselle brings him to the forest, and ultimately their love is stronger than her power and she cannot separate them. Myrtha’s display of bitter hatred is also a cover-up for her own broken heart.

Along with all of the character building, Myrtha is extremely demanding physically. Her power is conveyed in a solo full of jumping, so every movement must be strong. I really enjoyed coming back to this role this season. Since I have performed Myrtha in years past, this season provided a new perspective. I don’t have to think about the steps as much; there are the technical aspects that my body remembers after a few rehearsals. This year, I’m focused on blending the character deeper into the movement. Myrtha lives somewhere in me from those years past; I relish the opportunity to dig her out and in doing so, lose myself more fully within her. Every port-de-bras is how Myrtha does it, not Elana being Myrtha. It is only after the curtain comes down that I become myself again, and it feels like I’ve been on a long journey!

Aside from being the Snow Queen…

Elana Altman — Wed, 18 Nov 2009 19:39:56 +0000

The past few weeks I have been fortunate enough to work with Renato Zanella on his new piece for the 2010 Season. The first thing that struck me about him is that he came very prepared. More than just seeing the piece in his mind, he could show us the steps with his body, making it easier for me to learn what he wants and how to do it. Of course the steps morphed when Renato saw them on our bodies and with our pointe shoes. Some swivels that worked so well in his socks were not quite the same with our hard boxes and shanks! Since Renato was familiar with almost every step of his ballet when he arrived, the daunting task of creating an entire ballet in three weeks was accomplished. We had the first run-through tonight and it looks fantastic! I’m learning the Storyteller role–a somewhat dark, mysterious creature. It’s fabulous and I’m eager to see the ballet come to life on stage next spring.

In other hours of the day I’m rehearsing Forsythe’s in the middle, somewhat elevated, one of my all-time favorites. And then there’s Nutcracker right around the corner. One thing I love about this Company is that during one hour I’m doing crazy contemporary movement, throwing myself around to the extreme, and the next hour I’m in a tutu dancing Queen of the Snow. It is that variety and contrast on which I thrive.

Winding down…

Elana Altman — Tue, 28 Apr 2009 19:43:14 +0000

As the end of the season quickly approaches I am filled with two conflicting feelings. I am excited for a break–my body needs it–and I have a fantastic vacation planned to Belgium, The Netherlands, and Turkey; this hot weather is making the idea of summer break even more tempting. On the other hand, as we’re about to open the last program, so I’m sad to think about the end of the performing season. Performing is such a rush for me, and the summer months without shows are always arduous. So although vacation will be wonderful, I have to remember to not get ahead of myself and to savor these last few shows of the season.

In these last programs, I’m dancing two ballets that are not new for me. Double Evil was created only last season, but we’ve already danced it all over the country. And I’ve danced “Rubies” for two seasons now. I like roles that feel more comfortable and finding new things to focus on. It is fabulous that in this art form one never stops growing. So no matter how many times I’ve danced a part, there’s always something new to find in it. Yesterday in a Double Evil rehearsal, Jorma Elo told us to find one new place in the ballet to look at our partners. Pierre-Francois and I already have many moments of shared eye contact throughout the piece so this task will create new chemistry, and give this part that we know so well, some new meaning.