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Fil-Am Stella Abrera dances ‘Giselle,’ telenovela of ballet on Sept. 19
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Abrera (fourth from the left), who will be performing in the Philippines for the first time, poses with Ballet Philippines dancers.
Filipino-American Stella Abrera, a soloist at the American Ballet Theater (ABT), opens the Ballet Philippines (BP) “Blue Moon Series” with a one-night only performance of “Giselle” on Friday.
Performing for the first time in the Philippines, Abrera will be joined in the one-night only show by James Whiteside, ABT’s principal dancer, who will dance the role of “Albrecht.”
Abrera arrived in Manila from Australia on Sept. 8; coincidentally, the ABT started its 75th anniversary season with its maiden tour to the country from Aug. 28 to Sept. 7. In Australia, she danced Twyla Tharp’s “Bach Partita” and Alexei Ratmansky’s “Seven Sonatas.”
On Sept. 14, in between rehearsals and teaching ballet classes at the Cultural Center of the Philippines (CCP), Abrera visited the municipality of Guiuan in Eastern Samar, one of the hardest-hit and devastated areas by Typhoon Yolanda.
In Guiuan, the Fil-Am danseuse’s foundation called “Steps Forward for the Philippines,” in partnership with the charitable organization “Operations USA,” is supporting the educational and “creative needs” of children affected by Yolanda.
Strong connections with Philippine heritage
In an interview at the CCP, Abrera, who was visibly excited to be back in the Philippines after almost 15 years, said the Philippines is “the country of my heritage and my first language was Tagalog.”
Abrera was born in Manila when her Filipino civil engineer father was posted here, with his family.
“I left the Philippines when I was four years old. I have three sisters and one brother. I am the youngest and the only one born in the Philippines. I was an accident,” said Abrera, breaking into loud laughter during the interview at the CCP basement.
The Abrera family moved from the Philippines to Los Angeles; San Diego; Sydney, Australia, and then back to Los Angeles where her father and mother are still living. Before she was born, the Abreras were in Jakarta, Indonesia and São Paulo, Brazil.
Abrera, who started formal ballet classes when she was five years old, was “introduced” to it by her elder sister. “Once I was bitten by the bug, I just really took to it and kept going, and progressing like an ordinary ballet student.”
L to R: BP costumes mistress Jing Policarpio, repairing the Willis costumes, and Stella Abrera.
“But I had bigger dreams and strong passion with ballet. I just went with it. Ballet was unconventional. But I know I want to do ballet,” she added.
“I was stubborn. I knew what I wanted. I went for it. I did not rest until I got ‘it,’ which was a job at ABT. I am very fortunate to be with ABT. I am very fortunate,” she said.
Abrera said she wants to “commend” her parents and family for being supportive of her ballet career. “I think they are proud of what I have accomplished.”
Of the numerous roles she has danced, Abrera said her top three are “Gamzatti,” “Symphony in C,” and “In the Upper Room.”
“The beauty of American Ballet Theater is that it is like a microcosm of the US. ABT reflects the American nation. ABT is the national ballet company. And the US, although it may sound a cliché, is a melting pot. ABT is kind of America,” she said.
Abrera is married to Sascha Radetsky, who retired last July as an ABT soloist. “I met my future husband on the day I auditioned at ABT. Sascha was an apprentice then at the ABT.”
Abrera and Radetsky are “repetiteurs-in-training” with the Antony Tudor Ballet Trust. In this capacity, the couple handles and oversees the staging and performances of the Tudor ballets. They dispatch senior dancers educated and trained in the Tudor’s choreography to coach and mount the Tudor works every time ballet companies, including the ABT, perform them.
“I was raised in the US, but I have strong connections with my Filipino heritage. And that it is okay. This is embraced in the US, This is embraced in ABT. My ethnicity has never played any detrimental factor in getting roles in ABT. I’ve danced many roles in ABT,” Abrera said.
Retirement?
Of the BP dancers, Abrera said, “most artists, by nature, are perfectionists. They have a strong drive. They show up every morning and start with a fresh clean slate every day.”
Asked for advice to Filipino dancers who want to try and make it to ABT, Abrera said they must “put forward their best foot every day.”
“They must be always hungry to learn more. They must expose themselves to many other dancers and ways of doing things. They must keep themselves motivated,” Abrera said.
Noting that ballet dancers have “very short career” and “very short shelf time,” Abrera said she “feels stronger and more vibrant these days.”
“I do not know, I do not know (when I am retiring). I do not want to promise anything either,” she added.
Upon retirement from the ballet world, Abrera said she sees herself coaching and staging ballet works. “I want to stay in the dance world. I want to impart the knowledge that I’ve gained. I would love to share my experience with other people who would love to dance too.”
Of the BP dancers, Abrera said, “most artists, by nature, are perfectionists. They have a strong drive. They show up every morning and start with a fresh clean slate every day.”
'Giselle'
“Giselle” is considered by local balletomanes as “the telenovela” of classical ballet. The 2013 restaging won the Philstage Gawad Buhay awards, garnering recognition for Outstanding Ensemble Performance for Classical Dance, Male Lead Performance in Classical Dance for Jean Marc Cordero, and Female Featured Performance in Classical Dance for Rita Winder.
Aside from Abrera as “Giselle” and Whiteside as “Albrecht” on Sept. 19, BP principal dancers Katherine Trofeo and Jean Marc Cordero and soloist Denise Parungao and junior principal dancer Earl John Arisola are reprising the roles in the Sept. 20-21 shows.
Nonoy Froilan, the Philippines’ premier danseur, restages his acclaimed production together with the Philippine Philharmonic Orchestra under the baton of Maestro Olivier Ochanine.
The production features Angelina Mailes Kanapi as Berthe, Giselle’s mother, taking over from Shamaine Centenera in the 2013 staging.
Froilan and Butch Esperanza alternate as the Duke of Courland, appearing together with Carissa Adea, Richardson Yadao, Rita Angela Winder, Ma. Celina Dofitas, and the BP company members, apprentices, and scholars.
“Giselle” is a story of romantic tragedy, of loss and forgiveness, and of love beyond death. Two men are in love with the title character, but she chooses to surrender her heart to Albrecht, the suave newcomer—who, as she later finds out, is betrothed. — VC, GMA News
“Giselle” is performed at the CCP Main Theater on Sept. 19 at 3 p.m. and 8 p.m., Sept. 20 at 2 p.m. and 6 p.m., and Sept. 21 at 2 p.m. For inquiries, call Ballet Philippines at 551-1003, CCP Box Office at 832-3704, or Ticketworld at 891-9999.
