One cannot encounter Angel Corella and remain unchanged. You can like him, or not, but I defy anyone to remain indifferent to his artistry, and pity anyone able to do so. He came to the United States virtually in exile, unable to stop dancing, yet unable to continue pursuing that dream in a Spain still recovering from a totalitarian mindset which seemed to have no room for classical ballet. Like a modern conquistador, he has returned from the New World with hard won riches, for during his years at American Ballet Theatre he honed not only his ballet skills, but also the subtleties of creating, promoting, and funding a performing arts organization. Skills much needed in his native Spain, where he is absolutely determined to give future generations of dancers every opportunity he was once denied.
The following interview took place in Spain, in November 2009. The conversation was entirely in Spanish, and I have tried to keep that flavor while translating – with much help from Carolina Masjuan, who conducted the interview. Any additions I have made for clarity are bracketed () and I want to note that the phrase “the company” refers to Corella Ballet Castile and Leon. Also, to American eyes, Catalonia is a province of Spain, but I assure you, to the Catalonians it is something much more than that, rather in the same way that Texas is part of the United States, but fiercely upholds its brief history as a sovereign republic. There is a subtle flavor of “we are among you, but not of you,” and Barcelona, for centuries a major seaport, certainly has a cultural history deeper and longer than that of landlocked Madrid. To have lost such a cultural prize as Corella Ballet to the province of Castile and Leon because of bureaucratic lethargy rankles just a bit – and rightly so.
Karen Over
Angel Corella awakens the passions wherever he appears. In the Liceu, the ten minute Dance of the Hours eclipsed the remainder of the four hour opera, La Gioconda. (This also occurred in New York City, at the Metropolitan Opera's production, which had different choreography.) And at the Palau de la Musica in Peralada, the Tívoli in Terrassa, in Manresa, Reus, Sant Feliu, wherever he goes, the shows are sold out, with very few exceptions. We speak with him.
Carolina Masjuan: Angel, how is it possible that the Corella Ballet, now Corella Ballet Castile and Leon, was not able to obtain the residency here, in Catalonia that you had hoped for? What were the real causes?
Angel Corella: Well, I really don't know. It’s a bit of a puzzle, because I, really all the Spanish people, we are constantly asking, “Why such a lack of support for classical dance?” In the case of Catalonia, we have always had the affection and the support of the public, so I can’t say why the plan never came together here.
CM: Now, when you have come, you have had sweeping successes, both popular and critical, so do you think there is still some possibility that the Corella Ballet might become the State Ballet of Catalonia?
AC: The company never closes its doors to any possibility, because the important thing is that the project moves ahead, financially and artistically, and we’ll make our decisions in accordance with those goals.
CM: What conditions would have to occur? (For the company to move to Catalonia.)
AC: A total support.
CM: You have accepted the presidency of the jury for the classical ballet competition in Reus. How did that opportunity arise?
AC: They got in touch with me for that purpose. I already knew about the competition and it seems to me a fantastic initiative. Everyone who struggles to promote classical dance deserves my humble respect and support.
CM: In any case, it seems things are on the move in the classical dance in Catalonia. Besides David Campos, who has survived after a struggle, there are new initiatives from Joan Boix and Roser Munoz, and Sitges has organized its first classical competition. Do you think it’s possible the people in charge of culture reflect on that?
AC: After so many years vindicating something that was very obvious, it’s good that, although it’s behind schedule, there is some type of reaction. We began with the Angel Corella Foundation in Barcelona eight years ago and since then steps have been taken – some of them baby steps, but steps all the same.
CM: I imagine there is never sufficient cash flow, but is the funding you receive enough to make you comfortable?
AC: No. A ballet company always has debts and if you do have extra money – which is impossible! – you normally invest it in the next production.
CM: Are there any prospects for obtaining more funding?
AC: One never knows, the company is always working so that economically a minimum of comfort can be had, normally the dancers work often in conditions not very favorable and without receiving what they really deserve, so being a dancer, I know how they feel, and try to avoid having them go through what I went through.
CM: And from Catalonia, you have some type of public or private support?
AC: At the moment we only have TOUS*, mainly Rosa Tous, as their family has always shown much affection for us. But so far, they are all.
*(family jewelers, established in Barcelona in 1920, now worldwide - I found three stores here in Texas.)
CM: The Liceu has initiated a study on the patronage law, since the present one is obviously insufficient and gives little incentive for companies or individuals to make contributions (to the arts). What do you think it would have to become to provide that incentive?
AC: It would have to change completely. In the United States, the patronage law is much more favorable for any person or organization who wants to contribute to or help a charitable foundation or performing arts organization. In Spain, the patrons who want to give have to do it in a completely altruistic way. (Contributions are not tax deductible, as they are in the US.)
CM: I believe that in the US you also have an office to obtain contributions. Is this so? How does it work?
AC: We have a Foundation that has not yet been fully established, something that will happen shortly, in order to obtain American patronage – or the patronage of Spaniards in America – because the contributions can then be deducted.
CM: The company is only a year old, and already you have a respectable repertoire. Anna Maleras, one of the people in Catalonia with much knowledge of dance, said that we are very grateful for the diversity of pieces we’ve been able to see for the first time. The grand classical and the neo-classical works, such as “In the Upper Room,” the masterpiece of Twyla Tharp, which have never before been seen in Catalonia, and which the whole world wishes to see. Is this going to become your signature program?
AC: Yes, I have had the great luck to work with the best choreographers, some still active, others who have already passed away; I have been able to enjoy many of the masterpieces, so the decisions for shaping the repertoire are always based on those masterpieces that have not been seen in our country, and which have a great diversity among them.
CM: I believe the next great production will be “Swan Lake.” Is that so?
AC: Yes, it will be a new production with new scenery and costumes, although the choreography, though I will review it, will be the original of Petipa and Ivanov.
CM: When and where will it be premiered?
AC: In Valladolid, at the Calderon Theater, at the beginning of January.
CM: Will there be other performances?
AC: Yes, between three different theaters already confirmed, but we haven’t signed contracts yet, so I’m going to be discreet.
CM: Thanks to you we could see, at the Liceu, the ballerina Alina Cojocaru as Nikiya. Will there also be a great star invited for the role of Odette/Odile?
AC: If it is necessary, we will engage a guest artist, but at this moment we have great dancers like Natalia Tapia, Adiarys Almeida, Carmen Corella, Ashley Ellis, and others. I believe the public will get used to enjoying these dancers, because they dazzle every night in their performances.
CM: Do you foresee being able to bring it to Catalonia soon?
AC: At the moment, no, but we hope that, after the success of “La Bayadere”, the Liceu will be interested.
CM: And you, are you already thinking about some new choreography?
AC: Myself, personally? No.
CM: In March you will premiere in the United States, and at City Center, no less. So young, and already booked at this great venue! (Angel has just turned 34.) How do you feel about that?
AC: Very proud, that in so short a time the company has acquired such popularity, and generated such anticipation everywhere in the world. I know the excitement and the effort that the dancers are putting into it, and certainly it’s going to be the first of a great international success.
CM: The works of Santa Cecilia have not yet begun. How is that subject? What do you foresee?
AC: The renovation works, due to the economic crisis, have slowed down, but we hope that shortly they will be able to continue the project of creating an international school so that all the children who want to dedicate themselves to the world of dance will have the possibility and the means to do so. At the moment, the project of the school is located here, in La Granja de San Ildefonso, and, unless the sufficient support did not exist, that project would remain here. (Even if the company moves elsewhere.)
CM: How does it seem to you that now, when your company is already formed and has demonstrated its great quality and public worth all over Spain, the government finally considers creating a national ballet company?
AC: At the moment I have not heard anything. I believe that the government feels the responsibility to form a national company; in any case, in all the countries three, four, and up to five companies of classical dance exist. The good thing is to have variety and quality.
CM: What do you think with respect to the appointment of Victor Ullate to direct it?
AC: I will answer with a question: Is Victor Ullate a director of Classical Dance?
CM: How has American Ballet Theatre taken to the fact that they cannot count on you as much as before? And not only you, but also your sister Carmen and brother-in-law Herman Cornejo, though he is a guest artist with your company.
AC: ABT is accustomed to inviting dancers as guest artists, such as Julio Bocca, Alessandra Ferri, Nina Ananiashvili, Vladimir Malakov, many dancers. So for them, on the one hand there is pride that one of their dancers is fighting for the promotion of classical dance in his own country, and on the other, they can continue having him as a guest artist.
CM: You’ve just received another very prestigious prize, the Prize Galileo 2000, for the exceptional nature of your talent, which was presented in Florence, the city that has inspired your choreography, which premiered this summer in Peralada. Do you feel more valued outside than within your own country?
AC: After a while, when you are fighting for a project, one which means a great deal to you personally and gives you great joy, it gives you still more joy when others value the reason why you are striving. So, although this prize is a recognition of my career and comes from outside (Spain,) I feel a bit sad, if you can understand that, because this does not recognize the work of the company, which deserves to be recognized.
CM: You’ve had few vacations these last few years. Are you able to get away?
AC: No, I’m not able.
(The struggle of an artist in transition, as his career takes off in directions once only dreamed of, can be a very vulnerable time of life. I am grateful to Angel Corella for taking the time to speak about it, and to Carolina Masjuan and the editors at Lo Inestable for allowing me to translate and share this interview.)
(photo credits: Jesus Robisco, Gran Angular, Jesus Vallinas, Rosalie O'Connor, EFE/Archives)