Valentina Pereyaslavec, Ukrainian Primadonna, Marks Triple Anniversary (12/26/76)

Valentina Pereyaslavec, Ukrainian Primadonna, Marks Triple Anniversary

Mme. Pereyaslavec Celebrates 25 Years at ABT School

Students, Dancers Around the World Hail Mme. Pereyaslavec

(Valentina Pereyaslavec, internationally renowned Ukrainian primadonna and teacher of ballet, is observing three significant milestones in her illustrious career this year: she is nearing her 70th birthday, though one could not tell it by the zest and ebullience with which she conducts her classes; she is in her 50th year of dancing and teaching; and she marks her 25th anniversary with the American Ballet Theatre. In conjunction with these events the "Dance News", a prestigious journal of ballet, brought out three articles, including one by Mme. Pereyaslavec herself, in its December 1976 edition on the occasion of her involvement with the American Ballet Theatre. Below, we are reprinting the articles as a tribute to Mme. Pereyaslavec former danceuse par excellence and now a teacher of great esteem).

Mme. Pereyaslavec Celebrates 25 Years at ABT School

by Nancy Goldner

Some of the best choreography I've seen recently was at Valentina Pereyaslavec's co-ed advanced class at the American Ballet Theatre school. Every combination, whether at the barre or in the center, had lilt as well as pedagogical purpose. Every combination had a variety of dynamics and a slight catch or two to keep the students on the alert; even basic battements tendu at the barre were designed into a simple dance. For adagio exercise in the center Madame asked the pianist to play some music first, and then, off the cuff it seemed, the combinations flowed out of her. (After class, Madame confirmed that, indeed, she was an improviser, able to permutate the zillions of combinations lodged in her muscles). Molding her wonderful imagination is a very orderly sense of progression, from small to big, slow to fast, flat foot to demi pointe, from exercises that stretch to ones that tighten. She can be quite persnickety about maintaining progression. At the barre, for example, she criticized a student for lifting her leg too high in degage. "Now, in first time we do this, must be low - later, higher."

Same thing for balances. First the students must rise on demi pointe with one hand on the barre, not till the long adagios will Pereyaslavec permit both arms to rise off the barre, and at that point the balances must be held and held - and held.

Pereyaslavec is the kind of teacher who lets the steps do the teaching. She does little correcting and no analyzing, but the voice and body are in constant action as suppliers of energy and concentration to all the students all the time. The voice ranges from slightly hoarse barks to a quite beautiful contralto song. Barks are for brushes, kicks and moments of accented movement, while the singing commands are for plies, high develops and moments when movement winds down into a stop. The stops and finishes must be resolute, clear, and as attended to as the dancing. Her body is a constant model of epaulement and carriage; one can see the dancer through baggy pants, blouse and sweater. As the students tackle her combinations, Pereyaslavec seems to be willing them into dancers through her own neck and head, which are always held proudly, and arms and shoulders, which are in constant play. No wonder this small, squat lady is an exhilarating conductor, and no wonder that even the least promising of the 48 students in class come out of it with happy faces.

Fifty Years of Dancing and Teaching

When I arrived in America, I spent an entire year looking for a job. Finally I was invited to teach at a ballet studio at Carnegie Hall. Very good dancers immediately began attending my classes who turned out to be members of Ballet Theatre. Among them were Nora Kay, Scott Douglas, Jenny Wurkman, Norma Vance, John Kriza, Paula Lloyd, Barbara Lloyd, Eric Braun and Ruth Ann Koesun. Brian Shau of the Royal Ballet also came to class during that period.

On Sept. 17, 1951, a ballet school was opened behind Carnegie Hall on 56th St. Its director, Lucia Chase, invited me to teach there in December 1951. That was the happiest day I had ever known and from that day I began my life in the United States.

At the school I had the good fortune of making the acquaintance of the famous choreographer and pedagogue William Dollar and, equally famous, the dynamic Edward Caton. To this day we are great friends. My first class began at 11:30 and I have taught that class for 25 years. All the dancers of Ballet Theatre began attending including Alicia Alonso, Michael Kidd, Fernand Nault, Michael Liand, Mary Ellen Moylan and Ray Barra. When the school moved to 316 West 57th St., Sonia Arova, Melissa Hayden, Maria and Majorie Tallchief, Violette Verdy, Lupe Serrano, Oleg Briansky, Svetlana Beriosova, Tatiana Grantzeva, Royes Fernandez, Rosella Hightower, Erik Bruhn, Carla Fracci, Eleanor D'Antuono, Ivan Nagy, William Carter and even Anton Dolin as well as Broadway dancers, and nightclub dancers Augie and Margo all attended my 11:30 class. From Paris came Pierre Lacotte and Colene Marchand. I worked for 15 years with Istvan Rabovskv and Nora Kovach, preparing their repertory.

One day, 14 years ago, a young man with a marvelously expressive face, unlike others in every way, came to take my class. I couldn't take my eyes off him. He possessed tremendous control and concentration. Later I learned he was Rudolf Nureyev. He is now my dear Rudi and he still comes to my 11:30 class whenever he is in New York.

And always now, whenever the Royal Ballet or other foreign companies are here on tour, to my class come Merle Park, Lynn Sermour, Margot and Rudolf. This past fall, Margot stayed for the entire class every day. What stamina this fantastic woman has!

The accompanist for my very first class was Valentina Vishnevskaya. I noticed that her playing differed from that of other pianists. She inspired me and helped me, for her repertory was built on works of truly good composers. My Valia has been playing for me for 25 years. When Dame Marie Rambert came to observe class, she remarked: "You and Valia work in such unison. It is a true symphony. How she understands you and senses your every requirement." Yes, it is very important that the music helps and complements what the teacher brings to the class. It is very important for the musical development of the student and their development of taste for future work in the theatre. It is important that they understand music, its rhythms and that they learn to count. How many dancers do not know how to begin with the music, or count the accents in a polonaise on one instead of three. How many dancers accent the three in a mazurka and not the two. It is a small tragedy and I therefore urge all teachers to teach children to count correctly, on the beat and off the beat when necessary.

In my opinion, as of today, American Ballet Theatre is the best company in the world. No other company has such a varied repertory, thanks to Lucia Chase who devoted her entire life to the company. Her altruism and patience have helped raise American Ballet Theatre to such heights. She has performed a great service and I am happy to have worked with her for 25 years and have given with great love and pleasure all my experience and knowledge to several generations at the school.

During this 25-year period, I have been invited twice to London to teach the Royal Ballet, as well as Vienna during the shooting of the Swan Lake film with Rudolf Nureyev and Margot Fonteyn. I have also been invited to the Copenhagen Ballet Seminar and the Cologne Dance Festival, as well as to Cannes by Rosella Hightower.

Yes! I almost forgot. Besides my teaching for 25 years at American Ballet Theatre School, 1976 is the 50th anniversary of my dancing-teaching career. I danced as a prima ballerina for 22 years and from the very first year, I taught children in school and principals and soloists in the company class.

Students, Dancers Around the World Hail Mme. Pereyaslavec

I traveled extensively during my dancing career, but when I was in New York I always attended Mme. Pereyaslavec's classes at the American Ballet Theatre School in its former studios on West 57th St.

I appreciated her demanding and exacting teaching method. She missed nothing; she was an always-vigilant observer and a relentless corrector. Her classes were invariably both rigorous and stimulating.

She has been an inspiration to dancers from all over the world, and she has been instrumental in keeping the American Ballet Theatre School in the forefront of professional dance institutions.

It is a pleasure to honor Mme. Pereyaslavec on her 25th anniversary with the American Ballet Theatre School for her valuable contributions to the development of ballet.

Oleg Briansky

Many congratulations on your 25th anniversary at ABT. I remember and treasure always the countless hours of your classes, over the 25 years I have had the privilege to know you as a teacher. Always pushing or sustaining your standards and ours, keeping the discipline unusually high, forever an inspiration to so many of us in the dance world. I am happy too, to know the warm-hearted human being you have shown me on so many occasions as a private person.

My very best wishes to you for many more years to come.

Erik Bruhn

Each day Mme. Pereyaslavec enters the studio like a shaft of sunlight. With her simple greeting, her walk, her stance - even the warm, intelligent look in her eye - she fills the room with a feeling indescribably hopeful. In a unspoken sort of way she says to each of us "It is a new day, full of promise. Let us make the most of this moment which will never be again." She brings to each class the excitement of that first class - that joy of discovering something for the first time, the richness of that discovery. From her unending reservoir of talent, energy and imagination she makes each class fresh, vital and unforgettable.

Her entire life has been devoted to the ballet - as a student, a performing artist, a choreographer, a coach and of course as a teacher. Her commitment is total. No compromises; no restraints. It is a commitment no one could fake. It would be impossible to be that dedicated and that devoted and not have it show. I can not leave her class without feeling a renewed sense of affirmation and courage.

She understands her world completely. Her awareness of the struggle involved, the dedication, even the sheer superhuman effort it requires to become a dancer is genuine. She has experienced it all. And she lets you know that she is aware of the constant struggle. I think she understands that once you become a dancer, and then after you have been dancing 10,15 or 20 years, it becomes terribly hard to want to do the first plie each day. She has to be so positive, so vibrant in each class because she understands how difficult it is. Her approach to teaching is so honest. She has been a towering influence to all of us whom she has touched.

It is a special privilege to know and to study with her. The admiration, respect and love I feel for this wonderful woman and great teacher is extremely hard to express.

Thank you Mme. Pereyaslavec, from the bottom of my heart.

William Carter

I am most happy to add a few words to this most worthy tribute to Madam Pereyaslavec's twenty-fifth anniversary of teaching for the American Ballet Theatre in N.Y. She brought to this great city, not only her great and unique method of imparting her enormous knowledge of the ballet language, but an enthusiasm and exuberant personality, that expressed in no uncertain terms her criticism of her many distinguished pupils. I am proud and happy to have been one of them.

My love and congratulations to you dear Valentina.

Anton Dolin

At the time Mme. Pereyaslavec joined American Ballet Theatre School, I was performing with the ABT Company and delighted to have this superb teacher for classes. After 25 years, I still see her as a ball of fire - demanding, inspiring, correct and with 'beaucoup d'esprit'. Over and above her impeccable technical direction, it is the spirit she gives that brings life to the art of ballet and those who are fortunate enough to study with her. Bravo, Mme. P!

I am so happy to contribute to Mme. Pereyaslavec's 25th anniversary tribute. I can hear again the music beginning for plies at the 11:30 class and it is a joy to think back on those days.

Mary Ellen Moylan Hanks

It is a great pleasure for me to honor Mme. Valentina Pereyaslavec on her twenty-fifth anniversary. She is a unique teacher with unique qualities. I took her classes for many years while I was in the American Ballet Theatre and her knowledge of the classical dance helped me immeasurably. I am most grateful for her driving force that inspired me to work as hard as I could to please her. She was an inspiration to me at all times, and I can only wish her and her future students at least 25 more years.

Nora Kaye

Every best wish and congratulation is sent with love to Mme. Pereyaslavec for her silver anniversary. Every class I took is relished in my heart with sentimental and fond memories. During ABT's rehearsal and performance seasons in New York, it was Mme. "P" who lifted me up and corrected me and gave me new perspective for the performance that night. A grueling class at 11:30 a.m. after a day of rehearsals and performance - yes! But do you remember how we had our own secret smile, Mme. "P"? I write this with that same smile, love and heartfelt good wishes for this very special occasion.

Ruth Ann Koesun

Valentina Pereyaslavec is a great teacher.

I was lucky to fall into her hands when I came from Russia where things were slightly disorganized. The discipline in her class helps to focus on one's work. Her classes give fantastic strength. My work with her helps me to maintain myself so well.

I brought Margot to her class. She was apprehensive. Nevertheless, since the first lesson, she never misses the opportunity to take her class. Often, Margot makes a special stopover in New York on her way to Australia or Panama in order to take Mme. Pereyaslavec's class. Margot says that if you survive Madame's barre, you can survive anything.

Although she is stern and demanding, after class she turns into the softest person, like a mother. In class she is possessed by the muse, a priestess of dance.

Congratulations on your 25th anniversary and many more to come.

Rudolf Nureyv

I am very pleased to have the opportunity publicly to state my admiration for Mme. Valentina Pereyaslavec.

I once heard it said that if asked "How many friends have you?" I replied by holding up my hand with fingers and thumb spread, indicating that my answer was "Five", I would be either a fool or a liar. If was asked "How many Great Teachers of Ballet are there in the Western World today?", and I answered in the same way, I would be equally foolish or untruthful. Of one thing, however, I am certain - among those very few "Greats" there must be included Mme. Valentina Pereyaslavec to whom I and countless other dancers will always be grateful.

Merle Park

Valentina Pereyaslavec is for me one of the most wonderful teachers in the western world. Whenever in New York during my dancing years, I never failed to go to her for class which was, and indeed still is, a wonderful experience. To me she is a treasure of correctness, personality and the classical style, all enhanced by the fine musicianship of her pianist Valechka. Mme. Pereyaslavec has all my admiration and love.

Brian Shaw

The power Mme. Pereyaslavec exercises over the students: an intense stoic discipline, rewarded by exploding into a vibrant sense of rhythm, creating an almost heroic exaltation.

In other words putting you through extremes of repressing and expressing maximum effort (in the form of rhythm) giving you already a taste of the great stage dancing, in its utmost power and intensity.

A remarkable woman, totally possessed by her love and devotion to dance.

Violette Verdy

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