Val Caniparoli working on The Lottery with (left to right) Beckanne Sisk, Katlyn Addison, and Christopher Anderson

Photo by Beau Pearson, courtesy of Ballet West

With a career spanning over four decades, it's hardly surprising that Val Caniparoli is one of the most sought-after choreographers in the world. The American choreographer has performed and worked with the San Francisco Ballet School since 1973, and produced work for more than 35 companies across the globe. His best-known work is perhaps the ballet The Lady of the Camellias, based on the French novel by Alexander Dumas, which has been on stage for over 20 years and will be performed in Hong Kong in November 2016. We sit down with Val to find out what drew him to ballet and this particular show.  

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How did your dance and choreography journey begin?

I started late in ballet training. I had studied music from the time I was young all the way through college at Washington State University, where I also majored in theater. While I was a student there, a touring dance company offered a ballet class to students in the Theater Department. That was the first time I tried dance and I was quite surprised when the teacher told me I had natural talent, and encouraged me to consider further study. Soon after that, I auditioned for the San Francisco Ballet School and was immediately offered a full scholarship. A year and a half later, I joined the prestigious San Francisco Ballet: I am still a member of that company.

What about ballet interested you more than other dance forms?

My creations are always rooted in classical dance, but I definitely incorporate all of these dance forms into them as well. I love all forms of dance, from ballroom to ethnic dance to modern dance, and find that even elements of ice-skating carry into my work. I built a career in ballet because it was my first opportunity, and I really resonated with the movement and dynamic. But all forms of dance definitely interest me.

What is the best performance you've ever seen?

Both as a dancer and as a choreographer, I have seen too many amazing performances to recount, much less to pinpoint a single one as the “best.” I can say that performances where a dancer truly internalizes a role and infuses it with his or her own personal interpretation and dynamic, often results in a performance that can be truly inspirational. I take great pride when a dancer in any of my ballets gets recognized for that kind of transformative performance. 

What has been your favourite show to choreograph to date?

Each ballet that I have worked on has a unique narrative and identity, so I would have to say that each has some aspect that makes it a favorite for me. Even with works that get less attention, there is always some nuance that stays with me after I have completed them.

Which performance has been the most challenging? 

Each performance has its own unique challenges, especially because I approach each as a chance to experiment and redefine limits. Certainly, one of the most difficult to date was the creation of The Lottery, based on the short story by Shirley Jackson. The difficulty of being inspired by a story and not having the music first is daunting and it took more than 15 years to find the solution. Ballet West, under Artistic Director Adam Sklute, approached me and solved that problem by allowing me to commission Robert Moran to create a new score. Creating a work with a commissioned score to match my presentation of the narrative, and coordinating that with the costume and set designs by Sandra Woodall and lighting designs by David Finn, as well as negotiating the literary rights, was a difficult and multi-layered process. But ultimately, it was extremely rewarding and I learned a tremendous amount.

You must travel frequently for work: how do you keep energised and focused?

I have travel down to a science, so it really doesn’t affect my energy or focus. I am often asked if I ever take vacations. I respond that if I have time off, I prefer to stay at home in San Francisco and explore since it is truly one of the most fascinating cities in the world.

Lady of the Camellias is performing in Hong Kong next month. What drew you to the story back in 1994?

The story behind the creation of my ballet Lady of the Camellias is perhaps as dramatic as the story itself. In 1990, Ballet Florida had commissioned a new ballet based on Alexander Dumas’s novel La Dame aux Camellias, from another choreographer and friend, Norbert Vesak and costume designer Robert de la Rose. This creative team had already developed a concept, a scenario and an arranged Chopin score. Ironically, we were on the same flight from San Francisco to New York City when they were going to buy fabrics for the costume designs. On their return flight back to San Francisco, Norbert Vesak died suddenly of a brain aneurysm. Ballet Florida shelved initial plans for the production, until Robert de la Rose approached me two years later to ask if I would take on the project. So many things were already in place that it was both a gift and a challenge, as I have my own way of choreographing and approaching literary concepts when I create a new work. I wanted to honor Vesak, but also wanted to make it my own by rearranging the score and the narrative. I also invited Ballet West from Salt Lake City, where I was resident choreographer at the time, to co-produce the work. That was over 20 years ago, and Lady of the Camellias is still regularly performed.

What is your favourite thing about the choreography process?

My favorite part of the process is taking up a challenge and succeeding, and finding my inspiration. In the case of Lady of the Camellias, it was important to me to honor Norbert Vesak, who had started work on the ballet, and who had given me my first job as a professional dancer, with the San Francisco Opera Ballet. I am also proud that I made this ballet my own, with my unique nuance and interpretation defining it and setting it apart from others productions. My inspiration for Lady of the Camellias was more the Greta Garbo film called Camille than with the novel itself, or the opera La Traviata.

Which other artists, performers or choreographers do you admire/inspire you?

I admire so many that they are too numerous to mention. While growing up, I was always captivated by musicals that included great dancers like Gene Kelly and Fred Astaire. When I was just starting out, I was inspired by the work of the iconic dancers and choreographers. Now, there are amazing things happening in contemporary dance that are truly remarkable, and it is a delight to see the abundance of creative ingenuity regularly coming forth. 

What's next? 

I am booking up to three years in advance. I am currently preparing works for several companies including Ballet West, BalletMet, Diablo Ballet, Smuin Ballet, Grand Rapids Ballet, Louisville Ballet, A.C.T, Canada’s Royal Winnipeg Ballet, Orlando Ballet and Kansas City Ballet, with future possible plans including Finnish National Ballet and others. I am excited and grateful for these wonderful opportunities and the chance to work with companies that are always seeking to expand creative boundaries.

The Lady of the Camellias is performing in Hong Kong in November: find out more about dates and tickets here