Beginning in September 2014, Angel Corella became the new Artistic Director of the Pennsylvania Ballet. This season now underway is his first season with the company. An internationally famous dancer for many years, he is now responsible for the direction of the company. Mr. Corella took time out from his busy schedule to talk about his past, the present, and the future.

Ralph Malachowski: "I was told that you would be taking time out today between rehearsals to speak to me. Thank you for the opportunity. What is a typical day like for you?”

Angel Corella: "I usually lead class between 10:00 am and 11:30 am for the company before afternoon rehearsals. I feel that this is the best way for the dancers to get to know me and for me to get to know the dancers. Today, though, I decided to relinquish my role to someone else so that I could speak to you. At the very least, I try to lead class three times a week without fail.”

RM: "Since you are the Artistic Director, do you see yourself as someone like George Balanchine, who was also very involved with seeing his dancers on a daily basis? The Pennsylvania Ballet does appear to have many works by Balanchine this season.”

AC: "I did dance for the New York City Ballet, but Mr. Balanchine had already died, so I never had the opportunity to meet him. I was quite honored to be invited to dance "Themes and Variations” there for the 100th Birthday Celebration in 1995, since I had only recently begun dancing with American Ballet Theatre (ABT). I do believe that I need to familiarize myself with the fantastic dancers in our company. Some dancers feared that since I didn't handpick them personally, I would dismiss them. Nothing like that happened at all. I felt it my duty to affirm that I was here to build on their strengths. This is why I keep in touch with my dancers. The company has been a great Balanchine company, and I see no reason to change that.”

RM: "Indeed, since next season you will have Balanchine's 'Nutcracker' scheduled for a long run. We also see a new 'Don Quixote' which you will choreograph. Have you created the ballet with individual dancers from your company in mind, or are you choreographing it as you yourself would dance it?”

AC: "I most certainly have individual dancers in mind choreographing 'Don Quixote,' and I also have the Petipa and Vaganova schools of choreography in mind. I will be taking many dancers out of their comfort zone with this ballet. We have begun rehearsing it, and I must say that I am happily surprised that they know the style and technique. Dancers today are so very well-rounded. They know everything. When I had my ballet company in Barcelona, Natalia Makarova came to supervise her 'Bayadere' for us. She could not have been more gracious in allowing us to present her masterpiece. The dancers were fearful because she was very strict, very old-school. After a while with them, she said to me, 'Where did you find such wonderful dancers?' The dancers here at Pennsylvania Ballet dance at a very high level. It is a world-class company.”

RM: "You've mentioned both your ballet company in Barcelona and Ms. Makarova. I would like you to discuss both. We hear that Ms. Makarova played an important role in your life. Please talk about that a bit.”

AC: "Natalia Makarova is like my Fairy Godmother. I was only 19 when we first met. She was instrumental in my career. She also approved our use of 'Bayadere' in Spain. Then, when I retired from ABT in 2012, she was there and gave a lovely speech in my honor. As for my company in Barcelona, it was in trouble from the very start. Unlike here in the USA, Spain has no tax incentives for charitable giving. Arts organizations depend upon government grants and funding, which can be precarious. Spain has a crisis of values. Politicians there focus on soccer and partying and paella, and not upon educating the people in the Arts. If they did value an educated nation, then these educated people would begin to question the status quo, and that is something politicians do not want.”

RM: "When you assumed artistic control here, did you assume a company that was financially sound, or does the Pennsylvania Ballet have financial difficulties, as so many of our arts organizations do?”

AC: "When the Executive Director and I assumed our posts, we discovered much was not as it was represented as being. The Board of Directors works very hard at managing the company and keeping it financially sound. The company is solvent. Our challenge now is one of perception and presentation: How the public perceives us and how we present ourselves to the public. When I saw the new T-shirt with my picture on it I doubted that anyone would want such a thing. Well, I was wrong! It has been very profitable. We are also considering marketing plans in connection with next season's 'Nutcracker' where we may market the 'Nutcracker' figure.

It's funny that you should mention budgets and so on. Just today I began a company policy to catalog what assets we own. We've begun with the shoes: ballet shoes, boots, etc. This is a wise fiscal move because knowing what we own will prevent us from buying it again, and also enable us to rent what we own to other companies for an additional income stream. As you see, I am a bit of a control freak.”

RM: "Perhaps we might also see Ballet Action Figures? As far as marketing goes, I have noticed giant photos of your pretty face on The Avenue of the Arts. Is this disconcerting for you to see yourself on giant posters”

AC: "(Laughing) Yes, that is strange to see my face everywhere, but if it helps to market the company, I am all for it. I give a face to the company, so that everyone will know there is new leadership at the helm.”

RM: "Speaking of new leadership, what can we expect in the next few years at Pennsylvania Ballet? More new ballets, and more works choreographed by you? Will the company travel? Years ago, I saw the company in Brooklyn several times.”

AC: "We have ambitions for the company with more new works, modern masterworks, and world premieres which we already have this season. This is a must for this world-class company. I have a Five-year Plan. I have several projects which might happen. We are looking at new productions of 'Onegin,' 'Manon,' and 'Corsaire' which I may choreograph. Christopher Wheeldon's 'Swan Lake' was a great success. So much so, we went out on a limb and scheduled another performance which also sold out. I had five different casts for the eight shows. Many people said they came to see how differently it would be danced with different dancers. This is incredible and wonderful. This proves that there is an audience for full-length ballets. We are looking at extending our season at the Academy of Music and the Merriam. We may play our entire season at the Academy of Music. This is something still very much in the works. Three months ago I retired from dancing, so I am a full-time Artistic Director. The answer to your question about the company touring is yes. We hope to not only take our company to cities in Pennsylvania, but around the United States and then to New York, Spain, China and Japan.

RM: "Is there anything else you would like to add?”

AC: "The entire company is happy and proud to be here for our fans and patrons. I am happy to be here in Philadelphia, happy to be in Pennsylvania, and happy to be in the United States. I will try my best to do justice to the trust I have been given and to do justice to this endeavor with humility and passion.”