Daniela Cardim

The Brazilian choreographer was recently appointed artistic director at Ballet Arizona. She selects her favourite music, from the stage and the concert hall.

Dance Gazette | Playlist | Issue 11 - Oct 2024

1 The Rite of Spring by Igor Stravinsky

I have danced two different versions of this. The first was the Nijinsky version at the Municipal Theater in Rio de Janeiro, which was an amazing experience because the music was originally created for that ballet. I fell in love with it because it’s so progressive. I was the kind of dancer that never needed to count anything – but this music, you have to count, there is no way around it. When I moved to Europe, every time I saw an orchestra was playing this work, I would go. I loved watching orchestras play: you can’t see them when you dance, so it’s a completely different experience. I’m not one of those dancers that remembers every step of a choreography – more than anything, I remember the feeling. In The Rite of Spring you feel so rooted to the earth, so grounded – you merge with the music somehow.
As a choreographer, I have not had the urge to approach Rite because it’s just too big, too important. It’s almost sacred.

2 Clarinet Concerto K622 by Wolfgang Amadeus Mozart 

I danced to this in a ballet by the American choreographer Lar Lubovitch, so I got very familiar with it – the clarinet solo is gorgeous. Again, I started watching it: I saw it in Holland and in the UK. Watching the soloist play is just so beautiful. I love the sound of the clarinet – Mozart uses the instrument in a way that I find very poetic. It is so dreamy and peaceful.

3 Danse Macabre by Camille Saint-Saëns

I absolutely love it. It’s got this sort of scary feeling, but not bad scary. It’s like a fun scary. I think it’s my childlike side that likes this piece – like going to a funfair and taking the ghost train. This piece has something dark in it, but also humour – you could make a good cartoon to it.

4 Piano Concerto in G Major by Maurice Ravel

I became familiar with this through concerts in Amsterdam: I went to watch orchestras in the Concertgebouw a lot. I didn’t know the piece, but fell in love with it. This is one that, for me, is not danceable. It is not one that I want to choreograph, but it’s really nice to watch live.

5 Romeo and Juliet by Sergei Prokofiev

Romeo and Juliet is a masterpiece. The music does a great job of telling the story, and it’s so beautiful. I danced it, so I have my memories. But even if you’re not a ballet lover, there’s still so much value in it. Will I make my own Romeo and Juliet? Maybe one day.


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REST OF Issue 11 - Oct 2024

interviews

Making moves

How do you create solos to premiere at The Fonteyn? In this special audio feature, we go behind the scenes with choreographer Andrew McNicol and dancers at The Fonteyn in London.

Big Picture post

The Fonteyn medallists 2024

Four dancers received medals at The Margot Fonteyn International Ballet Competition 2024 in London.

features

Labours of love

Behind every professional dancer is a shadow support system committing time, energy and hard cash to help a child succeed. Sally Howard explores the highs and lows of being a ballet parent.

reports

Inside out

Inmates in prison can find release from their difficulties during dance workshops. Charlotte Rowles meet the artists taking dance behind bars.

features

Settling the score

Ballets can live in memory and on film – but nothing captures their details and essence like a Benesh score. Sarah Crompton discovers the precise magic of notation.

reports

Keep the faith

Alia Waheed was surprised that her daughter was often the only Muslim student at her ballet class. She explores the barriers preventing Muslim girls from enjoying ballet, and asks how religious values can fit with the demands of dance.

features

In living colour

Audacious and imaginative, Léon Bakst’s Ballets Russes designs created a sensation. A century after his death, Jonathan Gray explores Bakst’s influence on ballet, fashion and design.

Inside RAD post

Paige Toews

Dancing through Lyme Disease to success in RAD exams.

RAD Q&A post

RAD at Pride

The RAD walked in London Pride for the first time in June this year. Hannah Prime, Head of Trusts and Foundations at the RAD, explains what Pride means to her.

Advice Bureau post

José Alves

Dance with your heart, says the acclaimed Brazilian dancer and judge at The Fonteyn.

Why Dance Matters post

Mike Wamaya

The inspiring RAD teacher in Kenya on why his work matters to him and to his community.

Tim Talks post

Change the culture

Chief Executive Tim Arthur calls on the RAD to help redefine the culture of dance training and to be a champion of wellbeing in dance.

interviews

Leading roles

Principal dancer Sasha De Sola is part of San Francisco Ballet’s new Raising Leaders programme. As she tells Julie Zigoris, leaping into leadership isn’t much of a stretch.