At seventeen years old, Maria Calegari, the international ballet master instructor and former principal dancer with New York City Ballet, was chosen by George Balanchine to join his company. She then worked with Balanchine and Jerome Robbins for twenty years, creating more than forty soloist roles. In her career, she has restaged ballets—often with her husband, Bart Cook, also a former NYCB principal—for such companies as the Royal Ballet, San Francisco Ballet and American Ballet Theatre. She will visit the Westport Center for Senior Activities (friendsoftheseniorcenter.org) on April 10 at 1:30 p.m. As a preview, here are excerpts from an interview conducted at Sacred Heart University by John Brandt, vice president of the Connecticut Dance School.
Q: Maria, Bay Side, Queens, and Forest Hills, New York, are not the places one thinks of as the hot bed for fledging New York City Ballet principals. How did it happen for you?
A: Living in Bayside ended up being very advantageous for me. My parents began taking me into Lincoln Center at the age of five to see the New York City Ballet’s production of the Nutcracker and other works in the repertoire. My first memories are of Melissa Hayden in Firebird and Patricia McBride as Sugar Plum, true role models, which is so important. Also, I attended a progressive nursery school run by Jerry Robbins sister! Things happen for a reason. My parents were both musically and artistically inclined, so this gave me a great start.
Q: To whom do you attribute your love of dance?
A: I would have to say that all my early teachers and then the beautiful ballets of Mr. Balanchine and Mr. Robbins have contributed to my love of dance. For most ballerinas, it is an innate love of this art form that takes hold at an early age. As many people know, to do well, we must be ready to begin our careers at about age seventeen.
Q: Working with Mr. Balanchine and Mr. Robbins had to be extraordinary experiences. How were they different and what traits did they share?
A: Mr. Balanchine and Mr. Robbins worked completely differently, which was very good for us. It rounded out our approach to dance and performance. Jerry was very much a theater person, with all his work done on Broadway. He had a specific idea and energy he wanted to see on the stage. His style was very spontaneous, but relaxed. Mr. B also had his idea about energy and performance and always looked at the whole ballet. His vision was about the effect of the entire work. They both nurtured me as an artist and provided some difficult challenges that allowed me to grow as a dancer and performer.
Q: Of all the principal roles you originated and danced during your career, what are some of your favorites and why?
A: I am often asked that question and it is impossible to choose! I loved the classics like Swan Lake, but Mr. Balanchine's repertory was so vast and I danced almost all of it. I was so lucky! Some of my favorite ballets were, "Emeralds"/Jewels, Mozartiana, Midsummer Night's Dream/Titania, Agon, Union Jack, and so many more. For Jerry, I also danced many ballets and originated roles in Glass Pieces and Antique Epigraphs. Having a role created on you is a very special process.
Q: The New Arts Paradigm is a subject near and dear to you. Tell me how the arts move us and function as the motivation for a life well lived.
A: I feel the arts express beauty and soul energies we so badly need in our world today. Working as an artist in any art form is definitely a spiritual practice, much like meditation. It takes discipline, focus, sacrifice and hard work. Bringing beauty and harmony into humanity through the arts is way to bridge conflicts and create healing. I find that it is a noble and worthy life to live.