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The Independent
a day ago
- Entertainment
- The Independent
Misty Copeland broke barriers in ballet. Now she's retiring and moving to ‘the next stage'
Ten years ago this month, Misty Copeland sat in front of a hastily arranged news conference at American Ballet Theatre, fighting back tears of pride over her new role: principal dancer. 'This is it,' she said, with emotion. 'This has been my dream since I was 13.' The occasion was highly unusual — normally, when a dancer is promoted, a brief press release is issued. But this was Copeland, a crossover star with fame far beyond the insular world of ballet. And now she was becoming the first Black female principal in the company's 75-year history — just days after her New York debut as the lead in 'Swan Lake' brought a refreshingly diverse, packed audience to the Metropolitan Opera House. Now, a decade and many accomplishments later, Copeland is retiring from the company she joined as a teenager. 'It's been 25 years at ABT, and I think it's time,' Copeland, 42, told the Associated Press last week ahead of Monday's official announcement of her move. 'It's time for me to move to the next stage.' The company is planning a splashy farewell on Oct. 22, featuring performances by Copeland — for the first time in five years — and other dancers. There will be speeches and film clips. And Copeland, who's been heavily involved in the planning, will get a chance to venture one more time onto that balcony in Verona; she'll dance again in the beautiful 'Romeo and Juliet' pas de deux. Honorary chairs for the evening will be Caroline Kennedy and Oprah Winfrey. A lot has happened in a quarter-century. Copeland, whose success brought new energy to an art form that has always been overwhelmingly white, has authored a number of books, including a memoir and and several works for young people. The second installment of 'Bunheads' arrives in September, and more are already planned in a series she calls 'a reflection of my journey, showing the range of cultures and types of people that can be a part of the ballet world.' Copeland has also made a short film with her production company. And her philanthropic organization, The Misty Copeland Foundation, works on increasing diversity in the dance world and giving more kids who grew up economically disadvantaged, like she did, the chance to dance. 'It was so important for children growing up and seeing somebody like Misty and saying, 'Oh my gosh, she looks like I do,'' says Susan Jaffe, ABT's artistic director, who is overseeing the farewell performance. 'Through her books, through her lectures, even her endorsements, she has really been a trailblazer." Still, progress moves slowly. When Copeland exits ABT, there will no longer be a Black female principal dancer at the company — nor at many ballet companies around the globe. Copeland discussed that continued challenge in the dance world, among other topics, in the AP interview last week. Remarks have been edited for clarity and brevity. AP: What does this moment mean? Is ballet a chapter that's now ending for you? COPELAND: You know, I've become the person that I am today, and have all the opportunities I have today, because of ballet, (and) because of American Ballet Theatre. I feel like this is me saying thank you to the company. So it's a farewell. (But) it won't be the end of me dancing. … Never say never. AP: You've told your story over the years, in multiple ways, of how you rose from difficult circumstances to this unique position in dance. What impact have you seen? COPELAND: I've noticed that the conversation is not something we shy away from anymore in terms of the lack of equity, the lack of diversity in this (dance) world. That's one of the biggest shifts I've seen … a lot of young people that just can imagine being part of it in some way. They can imagine stepping into Lincoln Center and being at the Metropolitan Opera House. AP: You became the first Black female principal at ABT in 2015. But there haven't been any more named since then. Does it concern you that progress has maybe been slow in that area? COPELAND: It's definitely concerning, and I think I've just gotten to a place in my career where there's only so much I can do on a stage. There's only so much that visual representation like that can do. I feel like it's the perfect timing for me to be stepping into a new role, and hopefully still shaping and shifting the ballet world and culture. AP: Who are some of the partners you've most enjoyed working with? COPELAND: I think about my partnership with (former ABT principal) Roberto Bolle and him giving me so many opportunities to travel the world with him … (Former ABT principal) Marcelo Gomes, he's been such a such a big part of my journey, and of course Herman Cornejo. We've had a beautiful partnership throughout my career and I'm excited to dance with him again (at the October farewell,) AP: Three years ago you became a parent (to son Jackson). How has that changed your perspective? COPELAND: It's made me even more patient. I just have a lighter and brighter outlook on life because it's just such an incredible thing to experience and witness... I think ballet has prepared me for being a mother in so many ways. I think it's ... prepared me for life and being resilient and patient and sensitive and empathetic and strong, and all of these things. AP: Does your son know who you are? COPELAND: He doesn't understand at all! (laughs) He's seen very little of me dancing. … But he's very drawn to it. He is a mover. He's very athletic. He is so drawn to music. He started violin on Monday. We live in the museums. He really is drawn to art. I think he's definitely on the artist's track. AP: So you've got the foundation, you've got the writing career, the production company. Which of those areas do you think you'll be focusing most on? COPELAND: It's been pretty evenly split between all of then. I think it just depends on what's at the forefront and what needs my focus. ... But it's exciting to be able to utilize dance in so many different mediums, and to me, that's how you get true diversity — by giving people different entry points into learning about dance and feeling like they can be a part of it, which has been my goal. How do I bring dance to as many people as possible in a way that really works for them? AP: You've always not only spoken about, but acted on the importance of diversity, equity and inclusion, and initiatives that promote that. Are you concerned that this is getting more difficult? COPELAND: It's a difficult time. And I think all we can really do is keep our heads down and keep doing the work. … we're fortunate in that way that we've built great relationships and can continue to do the work right now through my foundation. There's no way to stop the people that feel passionate about this work. We will continue doing it. It is so necessary for the well-being of our societies and communities. I think there are times to speak out and yell from the rooftops. And for me, I feel like this is a time to keep my head down and really stay focused and do the work.
Associated Press
a day ago
- Entertainment
- Associated Press
Misty Copeland broke barriers in ballet. Now she's retiring and moving to ‘the next stage'
NEW YORK (AP) — Ten years ago this month, Misty Copeland sat in front of a hastily arranged news conference at American Ballet Theatre, fighting back tears of pride over her new role: principal dancer. 'This is it,' she said, with emotion. 'This has been my dream since I was 13.' The occasion was highly unusual — normally, when a dancer is promoted, a brief press release is issued. But this was Copeland, a crossover star with fame far beyond the insular world of ballet. And now she was becoming the first Black female principal in the company's 75-year history — just days after her New York debut as the lead in 'Swan Lake' brought a refreshingly diverse, packed audience to the Metropolitan Opera House. Now, a decade and many accomplishments later, Copeland is retiring from the company she joined as a teenager. 'It's been 25 years at ABT, and I think it's time,' Copeland, 42, told the Associated Press last week ahead of Monday's official announcement of her move. 'It's time for me to move to the next stage.' The company is planning a splashy farewell on Oct. 22, featuring performances by Copeland — for the first time in five years — and other dancers. There will be speeches and film clips. And Copeland, who's been heavily involved in the planning, will get a chance to venture one more time onto that balcony in Verona; she'll dance again in the beautiful 'Romeo and Juliet' pas de deux. Honorary chairs for the evening will be Caroline Kennedy and Oprah Winfrey. A lot has happened in a quarter-century. Copeland, whose success brought new energy to an art form that has always been overwhelmingly white, has authored a number of books, including a memoir and and several works for young people. The second installment of 'Bunheads' arrives in September, and more are already planned in a series she calls 'a reflection of my journey, showing the range of cultures and types of people that can be a part of the ballet world.' Copeland has also made a short film with her production company. And her philanthropic organization, The Misty Copeland Foundation, works on increasing diversity in the dance world and giving more kids who grew up economically disadvantaged, like she did, the chance to dance. 'It was so important for children growing up and seeing somebody like Misty and saying, 'Oh my gosh, she looks like I do,'' says Susan Jaffe, ABT's artistic director, who is overseeing the farewell performance. 'Through her books, through her lectures, even her endorsements, she has really been a trailblazer.' Still, progress moves slowly. When Copeland exits ABT, there will no longer be a Black female principal dancer at the company — nor at many ballet companies around the globe. Copeland discussed that continued challenge in the dance world, among other topics, in the AP interview last week. Remarks have been edited for clarity and brevity. AP: What does this moment mean? Is ballet a chapter that's now ending for you? COPELAND: You know, I've become the person that I am today, and have all the opportunities I have today, because of ballet, (and) because of American Ballet Theatre. I feel like this is me saying thank you to the company. So it's a farewell. (But) it won't be the end of me dancing. … Never say never. AP: You've told your story over the years, in multiple ways, of how you rose from difficult circumstances to this unique position in dance. What impact have you seen? COPELAND: I've noticed that the conversation is not something we shy away from anymore in terms of the lack of equity, the lack of diversity in this (dance) world. That's one of the biggest shifts I've seen … a lot of young people that just can imagine being part of it in some way. They can imagine stepping into Lincoln Center and being at the Metropolitan Opera House. AP: You became the first Black female principal at ABT in 2015. But there haven't been any more named since then. Does it concern you that progress has maybe been slow in that area? COPELAND: It's definitely concerning, and I think I've just gotten to a place in my career where there's only so much I can do on a stage. There's only so much that visual representation like that can do. I feel like it's the perfect timing for me to be stepping into a new role, and hopefully still shaping and shifting the ballet world and culture. AP: Who are some of the partners you've most enjoyed working with? COPELAND: I think about my partnership with (former ABT principal) Roberto Bolle and him giving me so many opportunities to travel the world with him … (Former ABT principal) Marcelo Gomes, he's been such a such a big part of my journey, and of course Herman Cornejo. We've had a beautiful partnership throughout my career and I'm excited to dance with him again (at the October farewell,) AP: Three years ago you became a parent (to son Jackson). How has that changed your perspective? COPELAND: It's made me even more patient. I just have a lighter and brighter outlook on life because it's just such an incredible thing to experience and witness... I think ballet has prepared me for being a mother in so many ways. I think it's ... prepared me for life and being resilient and patient and sensitive and empathetic and strong, and all of these things. AP: Does your son know who you are? COPELAND: He doesn't understand at all! (laughs) He's seen very little of me dancing. … But he's very drawn to it. He is a mover. He's very athletic. He is so drawn to music. He started violin on Monday. We live in the museums. He really is drawn to art. I think he's definitely on the artist's track. AP: So you've got the foundation, you've got the writing career, the production company. Which of those areas do you think you'll be focusing most on? COPELAND: It's been pretty evenly split between all of then. I think it just depends on what's at the forefront and what needs my focus. ... But it's exciting to be able to utilize dance in so many different mediums, and to me, that's how you get true diversity — by giving people different entry points into learning about dance and feeling like they can be a part of it, which has been my goal. How do I bring dance to as many people as possible in a way that really works for them? AP: You've always not only spoken about, but acted on the importance of diversity, equity and inclusion, and initiatives that promote that. Are you concerned that this is getting more difficult? COPELAND: It's a difficult time. And I think all we can really do is keep our heads down and keep doing the work. … we're fortunate in that way that we've built great relationships and can continue to do the work right now through my foundation. There's no way to stop the people that feel passionate about this work. We will continue doing it. It is so necessary for the well-being of our societies and communities. I think there are times to speak out and yell from the rooftops. And for me, I feel like this is a time to keep my head down and really stay focused and do the work.
New York Times
3 days ago
- Entertainment
- New York Times
Misty Copeland Broke a Ballet Barrier and Became a Star
Ten years ago, Misty Copeland was named the first Black female principal dancer at American Ballet Theater. She was 32, which, for a ballet dancer, isn't exactly young. But she took the flame, and she ran with it. Like it was a sprint. Soon, she'll come to a stop. Copeland has announced in an interview with The New York Times Magazine that she is retiring from Ballet Theater after a final performance in the fall. She waited a long time for her chance to make history. But once she claimed the mantle, she didn't waste any time — not just as a dancer but also as an ambassador for diversity in dance and the advancement of Black performers in ballet. She was someone who was admired from afar (the fandom went deep) but also listened to. She had a cause and a platform. And it was immediately apparent that she had a gift for speaking about serious subjects to the general public. She had pull. Devotees attended her performances in droves. Suddenly, the Metropolitan Opera House, where Ballet Theater has a season each year, was full of families, and enthusiastic Black and brown girls. I only wish the company had promoted Copeland earlier so she could have had more time to grow her artistry. By then, she had been with Ballet Theater a long time — since 2001 — and been a soloist since 2007. Her body, during her principal years, was prone to injury. And then the pandemic happened. All ballet dancers face the inevitable end, but she was really in a race against time. The stakes were higher for her as a Black woman in ballet, a field that has been slow to address its problems of racial inequity, particularly when it comes to women. Copeland pushed herself to do more, whether giving speeches, with grace, or appearing on shows like 'Late Night With Jimmy Kimmel,' where she led the host and his sidekick, Guillermo, through ballet steps. They wore tutus; she did not. Her exasperation with them is funny, down to earth and blunt — and, therefore, so Copeland. 'Today,' she says in a deadpan, ballet 'died.' Want all of The Times? Subscribe.
Epoch Times
09-05-2025
- Entertainment
- Epoch Times
Costumes: Another Reason to Love Opera
Opera costumes are likely the second reason fans love the art form. Fabulous singing is why they happily purchase the ticket, but opera is an art that includes many art forms: orchestral music, ballet, and stunningly painted and beautifully crafted sets. It has something for everyone. Right up there in second place is costuming; it that can range from fabulous to shocking and everything in between. Costumes run the gamut from the ridiculous to the sublime. To begin with the sublime, the successful, late-1800s soprano Emma Abbott understood the power of beautiful costumes. 'The costumes purchased during the summer of '90 by Miss Abbott were not only the most elegant and costly she ever bought by her, but exceeded both in cost and beauty any ever seen on any stage,' Soprano Emma Abbott appearing as the Queen of Spain in the Victor Hugo-based opera "Ruy Blas." Public Domain Over $100,000 were spent on accessories and costumes. Abbott's audiences looked forward to the sumptuous gowns, according to Martin. 'Many of her dresses were embroidered in gold and silver thread, others had yards upon yards of heavily jeweled garniture, with beads and buttons of real gold plate,' she said. Abbott purchased the most elegant fabrics that European looms had to offer. Sublime and opulent to a physically challenging degree describes the costume that soprano superstar Leontyne Price wore in the Metropolitan Opera's 1966 world premiere of Samuel Barber's 'Antony and Cleopatra.' The extravaganza was also the inaugural performance in the Met's new opera house, and included live horses, goats, and a camel, in addition to lavish costumes. But not everyone was impressed. Some of Price's Cleopatra costumes looked to weigh in the 40 to 50 pound range, and there was also a head dress. 'Cleopatra's most challenging obstacles were her grotesque costumes, ponderous creations that virtually imprisoned her,' In the same article, director Franco Zeffirelli described the costume: 'She will look like one of the greatest widows in the world, like a giant praying mantis.' Leontyne Price opened the new Metropolitan Opera House at Lincoln Center in a lavish production of Samuel Barber's "Antony and Cleopatra." Photo by Louis Melançon. Courtesy of The Metropolitan Opera For pure outrageousness, soprano Beverly Sills's Related Stories 6/16/2024 3/3/2025 Legendary diva Maria Callas wore stunning costumes as Elisabetta in Giuseppe Verdi's 'Don Carlo,' at La Scala in 1954. One velvet, black gown had a high, ruffled neckline and swaths of gold embroidery down the front and trimming the sleeves. The Another stunning Benois creation was Callas's costume for a 1956 production of 'Fedora' by Umberto Giordano. Ivory and gold brocade with a center panel embroidered with geometric designs was adorned with glass and crystal beads. Diamonds—3,700 of them—puts 19th-century diva Adelina Patti in first place for opulence. She wore her diamond-encrusted 'Aida' costume for a Covent Garden production of Verdi's opera. They are estimated to be worth $20 million today. What became of that creation is not clear. 'Turandot' The gorgeous and fantastical headpieces for 'Turandot,' the soprano in the title role of Giacomo Puccini's final opera, are worthy of a room in a museum. The Museo del Tessuto (textile museum) in Prato, Italy, thought so, too. An Cecil Beaton created Soprano Birgit Nilsson's 1961 Metropolitan Opera 'Turandot' head piece. It had beaded, bejeweled golden rods fanning out from her head with dangles ending in golden drops. The bloodred, gold-embroidered robe completed the stunning vision. Birgit Nilsson as Turandot. The Cecil Beaton-designed costume will be on display at a costume exhibit in conjunction with the Metropolitan Opera's 2025–2026 season. Photo by Louis Melançon. Courtesy of The Metropolitan Opera Archives Theatro Municipal of Sao Paulo's wore brilliant blue feathers with peacock plumes fanning out. The equally brilliant blue, satiny robe was embroidered with sparkling, ornate design. 'Ridiculous' is an apt description of the human-sized, purple, plastic egg-suit that mezzo soprano Marilyn Horne had to wear for her La Scala debut. She sang the role of Jocasta in Igor Stravinsky's 'Oedipus Rex,' and remembered in her book, 'Marilyn Horne, My Life' that 'The motif of the entire production was eggs. Jocasta was literally encased in a purple plastic egg.' She recalled her misery, 'Surrounded by this plastic case, with only my head visible, I had no choice but to be static.' Unable to move her arms and legs, she was also rendered deaf by the covering. 'When conductor Claudio Abbado stopped me in the middle of one solo and said, 'Can't you hear what your music is?' I rolled down to the front of the stage and answered, 'My music? I can't hear what this opera is!'' That problem was solved, and she received favorable reviews, but said of the stifling apparatus, 'Things got so hot, I almost hatched!' Marilyn Horne as Jocasta, in a purple plastic egg suit, in Stravinsky's "Oedipus Rex." Photo of image by E. Piccagliani from the book "Marilyn Horne: My Life," by Marilyn Horne with Jane Scovell. Courtesy of Helena Elling The thrill is in viewing the creativity. Whether the costumes are divine or dismal, as long as the singing is sublime, true opera fans love it all. What arts and culture topics would you like us to cover? Please email ideas or feedback to
