We share thoughts from some of the dancers participating in the Arpino Centennial performances. We continue with Misa Kuranaga and Joseph Walsh of San Francisco Ballet, who are performing L’Air d’Esprit on both programs.
Misa Kuranaga, born in Osaka, Japan, has been a Principal dancer with San Francisco Ballet since 2019. Among the choreographers whose works she has performed with the company are Tomasson, Balanchine, Lander, Morris, Petipa, Ratmansky, and Wheeldon. She has also danced with Boston Ballet. With other companies she has also performed works by Cranko, Elo, Ekman, Forsythe, Kylián, Neumeier, Nureyev, and more. She was awarded a gold medal in the junior division of the Ninth Moscow International Ballet Competition and a gold medal in the senior division of the USA International Ballet Competition.
Misa’s thoughts and reflections:
How long have you been dancing professionally? Do you have a favorite choreographer you like to dance?
I have been a professional dancer for 20 years. I have too many choreographers’ works I like to dance to, and I can’t pick one.
Is there anything in particular that you found joyful, interesting or challenging in Mr. Arpino’s choreography? What is one thing you learned about yourself while learning past Arpino works you’ve performed?
From Mr. Arpino, I’ve danced only L’Air d’Esprit. But this piece is not seen very often. It’s a contemporary piece with today’s technique and a stylized look from the Romantic era, which makes it unusual and fun to dance. And I like the energy and attack in this piece, even in the adagio section. It makes it very exciting.
If you were to meet Arpino today, what would you ask him?
Could you create a brand-new piece on me and Joe and rehearse us?
Joseph Walsh is a Principal dancer with San Francisco Ballet. He has created roles in Forsythe’s Pas/Parts 2016, Peck’s In the Countenance of Kings (The Protagonist), and Wheeldon’s Borealis. He has performed principal and featured roles in Balanchine’s The Prodigal Son, Diamonds, Rubies, Emeralds, Coppélia (Franz), Allegro Brillante, The Four Temperaments (Sanguinic), Serenade, and Symphony in C; Cranko’s Onegin (Lensky); Forsythe’s The Vertiginous Thrill of Exactitude; Makarova’s (after Petipa) “The Kingdom of the Shades” from La Bayadère, Act II (Solor); van Manen’s Solo and Variations for Two Couples; Morris’ Drink to Me Only With Thine Eyes; Possokhov’s Magrittomania and Swimmer (The Swimmer); Ratmansky’s Seven Sonatas and Shostakovich Trilogy; Robbins’ Dances at a Gathering (Brown) and In the Night; Scarlett’s Frankenstein, Fearful Symmetries, and Hummingbird; and Wheeldon’s Prince in Cinderella, Continuum, Rush, and Within the Golden Hour.
Joseph’s thoughts and reflections:
How long have you been dancing professionally? Do you have a favorite choreographer you like to dance?
I have been dancing professionally since 2007, first with Houston Ballet and San Francisco Ballet since 2014. My favorite choreographers are too numbered to name them all, but to name a few: Kenneth MacMillan, Justin Peck, Dani Rowe, Liam Scarlett, George Balanchine. Aszure Barton, and Kathy Marston. The list goes on and on. Every choreographer has their own language/dialect they work in, and I find the challenge to “speak fluently” in their work makes me a better artist, especially in a new creation.
Is there anything in particular that you found joyful, interesting or challenging in Mr. Arpino’s choreography?
L’Air d’Esprit is my first Arpino ballet, although I had heard much about his work. I find his work is both movement for the dancer, as well as for the audience. There is a very classical entry point and simple beauty to then uncover the intricacies that keep me interested as a dancer both technically and dynamically within the score.
What is one thing you learned about yourself while performing L’Air d’Esprit?
The first time I danced this piece it was with Misa. I learned that I love to dance with Misa and can learn from a new partner no matter how long I have been dancing.
If you were to meet Arpino today, what would you ask him?
Who were the biggest influences on your career?