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Victor M. Moreno: Master of Grace at the Helm of Ballet North

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Victor M. Moreno: Master of Grace at the Helm of Ballet North Real Estate Magazine Editorial 474for Printing VICTOR M. MORENO Master of Grace at the Helm of Ballet North Story by Denice Breaux Since September 2003, dancers on the Mendocino Coast have enjoyed the rare privilege of working with Ballet Master Victor Moreno at Second Story Studios in Fort Bragg. Former soloist with the Ballet Russe de Monte Carlo and founding artistic director of numerous companies, Victor’s credits span many regions and decades. His high caliber of teaching has already made an impact on this coast’s dance scene, offering students of all ages and abilities a solid classical foundation while imbuing a sheer joy of dancing. Typical in Victor Moreno’s classes is a wide range of ages, with even the tiniest of tots occasionally at the barre amid older children, teenagers, and adults. Seventeen-year-old Elyse Bailey comes from Gualala several days a week to class and, although she’s had other teachers, she has made the most progress in the least amount of time while working with Victor. “He’s the most enjoyable teacher I’ve had, but he works you hard so you can’t slack off,” says Elyse who performed en pointe in this year’s Spring Dance Concert. Victor’s warm manner and sense of fun may keep the young ones coming back, but, as a septuagenarian, he inspires those of us past our balletic prime to take up “the dance” either for the first time or once again. Now we have the chance to benefit from his keen insights and personally developed technique—subtle adjustments in placement and timing that make a world of difference in balance, form and stamina. Voice teacher Ana Lucas, who joined Victor’s class just three months ago, finds him to be very reassuring to beginners, keeping his classes nurturing yet challenging. He’ll single out students for correction only when to do otherwise would hinder their development, says Ana. “His personality allows me to explore ballet at this point in my life. Victor’s made of love.” It is no wonder that his career as teacher, choreographer, and artistic director has endured. Besides being an incredible technician with boundless talent and decades of experience, Victor Moreno has a winning personality. He exudes old-world charm, always using refreshingly courtly manners; when walking on the sidewalk with a female companion, he automatically places himself between the street and the lady. At the same time, people are instantly drawn to his easy-going, up-beat manner, and his unassuming demeanor belies the enormity of his very full, almost regal past. Born seventy-seven years ago in Buenos Aires, Argentina, Victor Moreno began dancing when he was fourteen. His older sister was a ballerina, and his family thought dance lessons would help the smallish boy gain strength. His studies began in 1942 with Francisco Gago, a former mime at the Buenos Aires Opera House who was to become a second papa to Victor. A mere seven months later, young Victor auditioned for the school of Teatro Colon de Buenos Aires, joining its corps du ballet, and by 1944 he was doing solo work. Besides being a young dancer of enormous talent, his knack for teaching was also recognized early, so he taught while he learned, learning while he worked. For political reasons Victor left Argentina for New York in 1950 where he eventually danced with Ballet Russe de Monte Carlo as Principal Dancer, partnering with such notable ballerinas as Nathalie Krassovska and Maria Tallchief. In the following decades, Victor Moreno founded and directed many dance companies in this country and performed throughout the world collaborating with such distinguished choreographers as Leonid Massine and Jerome Robbins. He has danced, staged, and choreographed a huge body of work including Swan Lake, Coppelia, La Boutique Fantasque, Giselle, Peter and the Wolf and, of course, Nutcracker. He appeared in the Broadway musical Wonderful Town and on television with Steve Allen. A true master of his craft, Victor Moreno in 1948 became the youngest man in the history of his country to achieve the title of Premier Danseur. And in 2005, those on California’s North Coast can dance with him! file:///Users/chuckhathaway/Documents/WebSites/real%20estate%20mendocino/editorial_474print.htm (1 of 4) [12/31/07 4:04:18 PM] Real Estate Magazine Editorial 474for Printing Camille Parsons, owner/director of Second Story Studios and producer of the Spring Dance Concert, had the great fortune to have worked with Victor Moreno when she was a teenager. Both she and Serafina Andrews, another of Second Story Studios’ instructors, danced with Victor in Southern California at the Starlight Bowl and the Wilshire Ebell Theatre in full-length ballets as well as excerpts. Although she went on to become a professional jazz dancer, Camille continued ballet, maintaining an appreciation and affection for Victor Moreno. When she happened to telephone him two years ago just to convey her long-standing gratitude for his invaluable training, she learned that he was bored and dissatisfied with the unenthusiastic dance scene where he was living in Hesperia, California. Serendipitously, Camille was in need of a new ballet teacher for Second Story Studios and invited Victor to come investigate Fort Bragg for a possible next move. Luckily for dancers on the coast, the arrangement suited him fine. Besides being an “awesome teacher, Victor is a sweet person, a real gentleman whom people instantly like—just what I was looking for in a teacher,” says Camille. “He works his students hard, but is always helpful, kind and supportive.” Lily Parsons, Camille’s daughter, began dancing with her mom at a very early age but quit as a young adult after becoming disenchanted at the competitiveness common among dancers. She grew up hearing about the legendary Victor Moreno, so was thrilled when he arrived to teach at her mom’s studio. Says Lily, “We in Fort Bragg may be way beneath the caliber of dancer that Victor is used to, but what a treat for us! Besides being an incredible teacher who always thinks the best of what each individual can do, he is an archive full of rare information about classical ballet.” Lily is once again enjoying ballet. Also realizing Victor’s trove of first-hand knowledge is Albion resident Emily Tincher, a vocational rehabilitation counselor with a strong modern dance background. Although new to his classes, Emily instantly recognized Victor as a “national treasure who still embodies the original Ballet Russe that has been all but lost in American ballet.” This now rare vernacular is being passed on to a lucky next generation. The move to Fort Bragg has been a good one for Victor who enjoys the area and its dedicated, hard-working dancers whom he can help develop. One needn’t be “company” material or even a serious classical ballet dancer to benefit immensely from the master teacher’s tutelage. Jeff Kraut, a Fort Bragg physician and competitive ballroom dancer, appreciates Victor Moreno’s ability and willingness to tailor each class to accommodate the varied participants. His attention is given equally among beginning and advanced dancers alike. “He never leaves anyone behind,” says Jeff. Invaluable is Victor’s ability to convey to his students “exactly what to do to make the body work well without damaging it.” A weak spot for many dancers is the plié, a grounded movement in which the knees are bent outwards over the feet while the back is held straight. Fundamental to all dance technique, a proper plié goes a long way in preventing injury, especially when coming out of any jump. Victor says of the plié, “Many dancers don’t do it and they get hurt. Once you’re down, you must stay down and feel the floor before you leave it—a law of Ballet Physics.” Victor observes that many instructors do not teach dancers how to improve, instead taking the view that a dancer is either good or not good, with no further development possible. Besides seeking out great teachers and classes, dancers should study their own movements and bodies to determine why, for example, they can sometimes do triple pirouettes, yet at other times do only a single. By observing one’s own body and how it moves, one can achieve consistency and nail the multiple turn every time. (Victor’s own personal record is an eighteen-revolution pirouette without touching down—that’s nailing a pirouette.) He also stresses the importance of coordination in understanding technique, but not just ordinary coordination. “There are three balances in ballet: that which is in favor, that which is against, and that which is flat. To know how the body balances is to know coordination.” Victor’s barre exercises, inventive little dances in themselves, noticeably lack the notorious drudgery that often plague more mediocre classes. Having taught for sixty years, Victor has no need to plan out class in advance, but rather pulls out of his vast repertoire what is appropriate for each class and its particular students. He imparts decades of experience, gleaned from “the best teachers in the world.” He says, “Companies came from other countries like France and Cuba, and we learned from their techniques. After analyzing every movement, file:///Users/chuckhathaway/Documents/WebSites/real%20estate%20mendocino/editorial_474print.htm (2 of 4) [12/31/07 4:04:18 PM] Real Estate Magazine Editorial 474for Printing we of Teatro Colon added our own technique based on observing our own selves while dancing.” They were also experimental, coming up with inventions such as the entrechat huit, a leap straight up while crossing the legs many times, in this case eight (four is more usual); and the double tour jeté in which two turns are executed mid-air while leaping outward.
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