Podcast appearances and mentions of Alexei Ratmansky

It's just us this week and we catch up on Michael's staging of Alexei Ratmansky's 'The Fairy's Kiss' at Dutch National Ballet. PLUS - JUST ANNOUNCED! Tickets for Conversations on Dance at the 2024 Vail Dance Festival are on sale now! https://vaildance.org/conversations-on-dance/LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

Hüster, Wiebke www.deutschlandfunk.de, Kultur heute

Michael is currently at the Dutch National Ballet setting Alexei Ratmansky's 'Fairy's Kiss.' This inspired us to go back into our vault and find this 2017 episode with dance historian, Doug Fullington, on the history of the ballet, also known as 'Baiser de la fée.' Ratmansky's 'Fairy's Kiss' was originally made on Miami City Ballet while we were in the company, and during the time this was recorded. We hope you enjoy! WATCH -> Doug's presentation at Works and Process at the Guggenheim in Feb 2017: https://www.youtube.com/watch?v=R-aX7sYMKQA&t=4sLINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

This week, NYCB Music Director Andrew Litton leads us on a promenade through the Modest Mussorgsky score to Alexei Ratmansky's 2014 ballet Pictures at an Exhibition. Beginning with a little background on the composer's short but complicated life, colored by contemporary critiques of his "disregard" for musical conventions, Litton is joined by Piano Soloist Stephen Gosling as he demonstrates the ways in which Mussorgsky captured the subjects of a beloved artists' paintings in remarkably challenging piano pieces. (23:31) Edited by Emilie Silvestri Music: Symphony in Three Movements (1945) by Igor Stravinsky Pictures at an Exhibition (1874) by Modest Mussorgsky

This week Jeremy and Reid are discussing Death, “The Holdovers”, Anna Teresa de Keersmaeker and Alexei Ratmansky's “Solitude” before getting into Chapter 7 of “Errand Into the Maze”. Anna Teresa de Keersmaeker at MoMa Alexei Ratmansky's "Solitude" "Primitive Mysteries" The Holdovers ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠ ⁠➩ WEBSITE⁠ ◦ ⁠YOUTUBE ⁠◦⁠ ⁠⁠INSTAGRAM⁠⁠ ⁠ ⁠➩ SUPPORT W/$.99⁠ ◦ ⁠PATREON⁠ ◦ ⁠THE MERCH⁠ ⁠➩ REID⁠ ◦ ⁠JEREMY⁠ ◦ ⁠JACK⁠ ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠ ⁠➩ withdanceandstuff@gmail.com⁠

This weekend marks two years since Vladimir Putin ordered the full-scale invasion of Ukraine. However, despite his attempts, his forces have not been able to capture the country's capital or overthrow its government, and with the support of NATO, the country has been able to resist Russia. But as the war enters its third year, Ukraine's forces are outmanned and outgunned, desperately trying to fill the gaps on the front lines.  Also on today's show: Diane Foley, President and founder, James W. Foley Legacy Foundation / Co-author, “American Mother” & Colum McCann, Co-author, “American Mother”; Yevgenia Albats, Editor-in-Chief & CEO, The New Times / Friend of Alexey Navalny; Alexei Ratmansky, Russian-American choreographer and ballet dancer/ Artist in residence, New York City Ballet/ Former Director of Moscow Bolshoi Ballet  Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on Finding Your Bliss, we have our annual holiday special! Life Coach and Bliss Expert Judy Librach is joined by Prima Ballerina Heather Ogden (The National Ballet of Canada) and our very own film critic, Thom Ernst!

Join dance historian Doug Fullington as he takes us through the three works of Pacific Northwest Ballet's second production of the 2023/24 season, LOVE & LOSS. This trio of works created for PNB shines a light on some of the stunning world premieres that our New Works Initiative has created in recent years. Donald Byrd's haunting Love and Loss premiered in 2019, Alexei Ratmansky's stunning tribute to his homeland of Ukraine, Wartime Elegy, followed in 2022, and and the newest new work at PNB, Australian choreographer and Oregon Ballet Theatre's artistic director Dani Rowe's The Window. Recorded in the Nesholm Family Lecture Hall at Seattle Center's McCaw Hall in Seattle, Washington in November of 2023. 

“Dance Talk” ® with Joanne Carey and special guest, Marina Harss, dance writer and author of 'The Boy from Kyiv, Alexei Ratmansky's  Life in Ballet.'  In this episode of  “Dance Talk” ® with Joanne Carey,  join host Joanne Carey as she chats with Special Guest, Marina Harss who recently published her first biography 'The Boy from Kyiv, Alexei Ratmansky's  Life in Ballet.' Join us as we talk not only about this beautiful book that explores the life and career of choreographer , Alexei Ratmansky, but the in depth process and care that Marina took to learn and connect us to this 'boy from kyiv'.  Marina's writing brings the reader inside the heart of this extroidinary talent of Alexei Ratmansky in a way that leaves the reader wanting to know more. Marina Harss is a dance writer, journalist, and critic based in New York City. Her work has appeared in The New York Times, The New Yorker, The Nation, The Guardian, The Boston Globe, The Threepenny Review, Dance Magazine, and Fjord Review. Follow on Instagram @marina.harss To purchase the book ⁠⁠https://us.macmillan.com/search?searchType=products&q=The+Boy+from+Kyiv⁠⁠⁠⁠https://www.amazon.com/Boy-Kyiv-Alexei-Ratmanskys- ⁠Ballet/dp/0374102619/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr=⁠⁠ Follow Joanne Carey on Instagram @westfieldschoolofdance And follow  “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. Tune in. Follow. Like us. And Share. Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey"Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

On today's episode of 'Conversations On Dance', we are joined by Marina Harss, author of 'The Boy From Kyiv', the life story of the great choreographer Alexei Ratmansky. We talk to Marina about her own journey to writing dance, how she came to admire and love Ratmansky's work and what her process was researching and developing the book. You can purchase 'The Boy From Kyiv' at your local bookstore or on Amazon: https://amzn.to/3Ql3WMa.THIS EPISODE'S SPONSOR:The BFA Dance program at the Peabody Conservatory of the Johns Hopkins University prepares students to be at the forefront of dance innovation through performance, choreographic and critical historical and theoretical exploration. Studying dance at Johns Hopkins, one of the world's premier research institutions, gives students the opportunity to make connections between dance, science, technology, and the humanities. Submit your application by December 1st. Learn more at Peabody.jhu.edu/dancebfaLINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

City Ballet The Podcast returns in the run-up to our 75th Anniversary Season, which begins by celebrating The Foundation of the Company. Associate Artistic Director Wendy Whelan checks in with Artist in Residence Alexei Ratmansky, who has been in the studios for three weeks, leading company class and observing as the dancers prepare for a Fall devoted to the works of George Balanchine. As he shares, “I'm learning as much as I'm teaching… Balanchine ballets give you different information in the different phases of your life." (36:11)  Edited by Gus Reed Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

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In part 2 of this episode, Alan shared anecdotes of working with world-class dancers and choreographers at New York City Ballet, including the legendary choreographer Jerome Robbins. Throughout his 28-year career as a soloist for the ballet company and with their chamber group called “Moves,” he has performed concerti and solo repertoire in prominent concert venues worldwide. Mr. Moverman holds a master's from The Juilliard School and a doctorate from SUNY Stony Brook University. He has been an artist-fellow at the Banff Centre for Arts and Creativity. As a musician for dance, he has worked closely with the most celebrated choreographers, such as Alexei Ratmansky, Jerome Robbins, Justin Peck, and more.

For this episode, I'm taking you, TPP friends and listeners, exclusively on a quick trip to NYC's famous Lincoln Center, and more specifically, the backstage of the David H. Koch Theater -- home to one of the most celebrated ballet companies in the world, New York City Ballet! I was privileged to interview Dr. Alan Moverman, a New York City Ballet Piano Soloist. Throughout his 28-year career as a soloist for the ballet company and with their chamber group called “Moves,” he has performed concerti and solo repertoire in prominent concert venues worldwide. Mr. Moverman holds a master's from The Juilliard School and a doctorate from SUNY Stony Brook University. He has been an artist-fellow at the Banff Centre for Arts and Creativity. As a musician for dance, he has worked closely with the most celebrated choreographers, such as Alexei Ratmansky, Jerome Robbins, Justin Peck, and more. In the first half of this episode, we covered topics as follows:

When Principal Dancer with New York City Ballet Sara Mearns performs, she goes for broke, thus earning the nickname "Stage Animal" from famed choreographer Alexei Ratmansky. The star ballerina shares how she found the bravery to advocate for herself as a student at School of American Ballet, climbing the ranks to become a principal ballerina, and the advice Suzanne Farrell gave her to best prepare for performances. Sara explains how she has learned to maintain her physical and mental health, and her insatiable curiosity to explore modern and contemporary dance, thus earning herself another nickname from Alicia.Check out Sara Mearns on Instagram, YouTube, or at New York City Ballet.Follow Moving Moments on Instagram.Follow Alicia on Instagram.You can find out more about Artful Narratives Media on Instagram or the web.The Moving Moments theme song was composed by Saul Guanipa for Videohelper.Moving Moments was co-created by Alicia Graf Mack, Jessica Handelman, and David Krauss. This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

Join host, Joanne Carey as she sits down with Special Guest, friend, dancer, choreography, curator , all around amazing human being! Claire Kretzschmar who recently retired as a soloist with New York City Ballet but not from the dance world! In this episode of "Dance Talk®" with Joanne Carey, you'll discover the beautiful story of healing depicted in ‘Rhaposide' which is based on the history of St. Bernadette, the Lourdes Sanctuary and the apparitions of the Blessed Virgin Mary. Claire expresses the ability the language of movement and music has to depict the stories of the healing, wonder, faith and hope and how as dancers we reach into the human condition offering a place of solice and love. Claire Kretzschmar is paving the way in the dance field as a woman of faith and we sit down to discuss how she has blended the two depicted in the ballet ‘Rhapsodie' she choreographed at the NY Ballet Choreographic Institute during the COVID-19 Pandemic when she felt audiences needed hope and healing. Claire Kretzschmar is a former soloist dancer with New York City Ballet (NYCB) and a native of Winston-Salem, NC. As a child, she danced at Academy of Dance Arts, Wake Forest Community Ballet, and the University of North Carolina School of the Arts before continuing on to the School of American Ballet for her final year of high school. She joined NYCB as a corps member in 2011 and was promoted to soloist in 2018. With NYCB, Claire has performed featured roles in works by George Balanchine, Jerome Robbins, Alexei Ratmansky, Justin Peck, and Kyle Abraham. In 2018, she received a bachelor's degree in Communications from Fordham University, and she currently leads dance lectures, teaches ballet, and co-hosts "The Rosin Box" segment of NYCB's podcast. Claire also choreographs when the opportunities arise, and her most notable works include Rachmaninoff Suite and Rhapsodie for the New York Choreographic Institute and The Nutcracker Garage Show for the people of Winston-Salem. She is the recipient of the Janice Levin and Martin E. Segal Awards for rising artists, and she loves to spend her free time with family and friends. You can also listen to Claire's IGLive interview with Joanne Carey on Instagram @westfieldschoolofdance "Dance Talk” ® with Joanne Carey “Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real." Choreography: Claire Kretzschmar Music Composition: Lauren Vandervelden Film: Quinn Wharton. Tune in, Follow, Like us and SHARE!

Join host, Joanne Carey as she sits down with Special Guest, friend, dancer, choreography, curator , all around amazing human being! Claire Kretzschmar who recently retired as a soloist with New York City Ballet but not from the dance world! In this episode of "Dance Talk®" with Joanne Carey, you'll discover the beautiful story of healing depicted in ‘Rhaposide' which is based on the history of St. Bernadette, the Lourdes Sanctuary and the apparitions of the Blessed Virgin Mary. Claire expresses the ability the language of movement and music has to depict the stories of the healing, wonder, faith and hope and how as dancers, we reach into the human condition, offering a place of solice and love. Claire Kretzschmar is paving the way in the dance field as a woman of faith and we sit down to discuss how she has blended the two here depicted in the ballet ‘Rhapsodie' she choreographed at the NY Ballet Choreographic Institute in response to the COVID-19 Pandemic when she felt audiences needed to be uplifted with stories of hope and healing. Claire Kretzschmar is a former soloist dancer with New York City Ballet (NYCB) and a native of Winston-Salem, NC. As a child, she danced at Academy of Dance Arts, Wake Forest Community Ballet, and the University of North Carolina School of the Arts before continuing on to the School of American Ballet for her final year of high school. She joined NYCB as a corps member in 2011 and was promoted to soloist in 2018. With NYCB, Claire has performed featured roles in works by George Balanchine, Jerome Robbins, Alexei Ratmansky, Justin Peck, and Kyle Abraham. In 2018, she received a bachelor's degree in Communications from Fordham University, and she currently leads dance lectures, teaches ballet, and co-hosts "The Rosin Box" segment of NYCB's podcast. Claire also choreographs when the opportunities arise, and her most notable works include Rachmaninoff Suite and Rhapsodie for the New York Choreographic Institute and The Nutcracker Garage Show for the people of Winston-Salem. She is the recipient of the Janice Levin and Martin E. Segal Awards for rising artists, and she loves to spend her free time with family and friends. You can also listen to Claire's IGLive interview with Joanne Carey on Instagram @westfieldschoolofdance "Dance Talk” ® with Joanne Carey “Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real." Choreography: Claire Kretzschmar Music Composition: Lauren Vandervelden Film: Quinn Wharton. Tune in, Follow, Like us and SHARE!

Choreographer Alexei Ratmansky joins Associate Artistic Director Wendy Whelan to discuss Voices, his most recent ballet for NYCB, which premiered at the Company's annual New Combinations evening on January 30, 2020. Ratmansky describes his early career as a dancer in Kiev, the importance of watching bootleg VHS dance recordings in his early development as a choreographer, and how he came to set a ballet to Peter Ablinger's complex, avant-garde composition, Voices & Piano. (34:06) Originally released January 20, 2020 Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

A transcript of this episode is available here: thedanceedit.com/transcript-episode-141Visit/add to the Dance Media Events Calendar: dancemediacalendar.comPodcast listeners can save $5 on a Dance Magazine subscription. Claim the offer here: dancemagazine.com/offerLinks referenced in/relevant to episode 141:-Dance Magazine's 25 to Watch list: dancemagazine.com/25-to-watch-2023-Limelight coverage of Patricia Barker's departure from Royal New Zealand Ballet: limelightmagazine.com.au/news/david-mcallister-joins-royal-new-zealand-ballet-as-interim-artistic-director/-ArtsDesk 100 list: readartdesk.com/feature/the-artdesk-100-"White Noise" dance scene: youtube.com/watch?v=nJblPY5hVHI-New York Times coverage of Alexei Ratmansky's moves: nytimes.com/2022/12/22/arts/dance/alexei-ratmansky-american-ballet-theater.htmlnytimes.com/2023/01/05/arts/dance/alexei-ratmansky-new-york-city-ballet.html

Lauter Anfänge, kein Ende: In der Neukreation "Tschaikowsky-Ouvertüren" widmet sich Alexei Ratmansky ausschließlich den Anfängen eines Balletts - große Geschichten ohne Handlung.

Der Tänzer und Choreograph Alexei Ratmansky ist Russe, geboren in St. Petersburg, dem damaligen Leningrad 1968, zugleich aber mit einer engen Beziehung zur Ukraine. Er ist in Kiew aufgewachsen und er Zeit war er erster Solist beim Ukrainischen Nationalballett. Seine politische Haltung ist eindeutig, eindeutig contra Putin und gegen dessen Krieg in der Ukraine. Ratmansky inszeniert jetzt ein Tanzprojekt mit dem Bayerischen Staatsballett zu Musik von Peter Tschaikowsky. Tschaikowskys ist das Gegenteil von Putins Russland, sagt Ratmansky. Und trotzdem hat auch er nach Ausbruch des Krieges etwas Zeit Tschaikowsky, Ballett, Weihnachten. Alles klar, werden Sie jetzt vielleicht denken: Nussknacker. Aber was der der russische Tänzer und Choreograph Alexei Ratmansky heute abend beim Bayerischen Staatsballett präsentiert, ist was ganz anderes. Eine abendfüllende Neukreation von Tschaikowski-Ouvertüren. Ein ebenso stimmungsvolles wie abstraktes Ensemblestück mit Musik, die Peter Tschaikowski zu Dramen von Shakespeare komponiert hat. Verschiedene Ouvertüren, die das Thema des Beginnens variieren. Im BR-KLASSIK-Interview spricht Alexei Ratmansky über seine Choreographie.

For the concluding conversation of this season of The Rosin Box, hosts Claire Kretzschmar and Aarón Sanz are joined by NYCB Principal Dancer Adrian Danchig-Waring, who also serves as the artistic director for the New York Choreographic Institute. The three share memories of their individual experiences with Institute sessions since its launch in 1999, reflecting on the importance of time and space to experiment both for the burgeoning choreographers involved (whose ranks include Justin Peck, Alexei Ratmansky, and Christopher Wheeldon, among many others) and for the dancers cast for each creatively-rewarding and educational two-week period. (57:26) Edited by Emilie Silvestri Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

PNB's Dress Rehearsal Conversation series returns! Enjoy this conversation between PNB Artistic Director Peter Boal and choreographer Alexei Ratmansky on the eve of the world premiere of Ratmansky's new work, Wartime Elegy. This episode was recorded live in the Nesholm Family Lecture Hall inside McCaw Hall in Seattle, Washington on September 22, 2022. 

City Ballet The Podcast returns for another season of deep dives and candid conversations, beginning with an episode of See the Music devoted to the score for Alexei Ratmansky's 2008 ballet Concerto DSCH. Musical Director Andrew Litton takes us on a tour through the many in-jokes, historical references, and musical cryptograms in Dmitri Shostakovich's “uncharacteristically cheerful” Piano Concerto No. 2. As he demonstrates in various excerpts, the piece is a powerful yet playful love letter between father and son. (21:46) Music: Symphony in Three Movements (1945) by Igor Stravinsky Concerto No. 2 in F Major, Op. 102 (1957) by Dmitri Shostakovich

Die Ballettfestwoche in München ist eröffnet. Zum Auftakt gab es im nahezu komplett ausverkauften Nationaltheater den Dreiteiler "Passagen" mit dem Bayerischen Staatsballett. Drei wichtige Choreographen unserer Zeit zeigten ihre Arbeiten: "Affairs of the heart" von David Dawson, "Bilder einer Ausstellung" von Alexei Ratmansky und "Sweet Bones Melody" von Marko Goecke. Ein zeitgenössischer und dabei total zeitgemäßer Abend ...

A transcript of this episode is available here: https://thedanceedit.com/transcript-episode-108Subscribe to The Dance Edit Extra: https://podcasts.apple.com/us/podcast/the-dance-edit-extra/id1579075769Links referenced in/relevant to episode 108:-"The Lion King"'s tribute to Sharron Lynn: https://www.instagram.com/p/CbLeVkrsTK8/-Ja' Malik's Dance Magazine essay "My Life as an Invisible Black Choreographer": https://www.dancemagazine.com/ja-malik-choreographer/-The Chmerkovskiy family's charitable organization for Ukraine relief, Baranova27: https://www.instagram.com/baranova27/-Mikhail Baryshnikov's comments on the war in "The Guardian": https://www.theguardian.com/world/2022/mar/20/mikhail-baryshnikov-do-not-punish-russian-artists-and-athletes-for-war-in-ukraine-Alexei Ratmansky's response to those ideas: https://www.instagram.com/p/CbbXrlHKjTs/-"The Guardian" feature on the history of ballet as a diplomatic tool: https://www.theguardian.com/stage/2022/mar/17/dancers-and-dissidents-how-ballet-became-a-political-football-between-east-and-west-"Pointe" story on size-inclusive dancewear: https://pointemagazine.com/size-inclusive-dancewear/

A transcript of this episode is available here: https://thedanceedit.com/transcript-episode-105Subscribe to The Dance Edit Extra: https://podcasts.apple.com/us/podcast/the-dance-edit-extra/id1579075769Links referenced in/relevant to episode 105:-Lynn Garafola's artsmeme story on Bronislava Nijinska's connections to Ukraine: https://artsmeme.com/2022/02/24/nijinskas-heartstrings-to-ukraine-recalled-by-biographer-garafola/-Deadline article on the attack on an Asian-American dancer in NYC: https://deadline.com/2022/02/asian-american-dancer-attack-off-broadway-public-theater-the-chinese-lady-1234960116/-Information about how to participate in the Great Dance Shoe Giveaway: https://www1.nyc.gov/content/mfta/pages/-Dance Teacher Award nomination information and submission form: https://dance-teacher.com/nominate-an-educator-for-a-dance-teacher-award-3/-France 24 story on Laurent Hilaire's resignation from Stanislavsky Ballet: https://www.france24.com/en/live-news/20220227-french-ballet-director-quits-russia-company-over-ukraine-invasion-New York Times piece on Alexei Ratmansky's departure from Moscow: https://www.nytimes.com/2022/02/27/arts/dance/alexei-ratmansky-leaves-bolshoi-ballet.html-New York Times article on the Metropolitan Opera severing ties with pro-Putin artists: https://www.nytimes.com/2022/02/27/arts/music/met-opera-putin-ukraine-peter-gelb.html-Guardian feature on British venues' cancellations of Russian dance company performances: https://www.theguardian.com/stage/2022/feb/26/ballet-goes-on-as-uk-audience-backs-russian-dancers-Washington Post feature on dancer Maksim Chmerkovskiy's dispatches from Ukraine: https://www.washingtonpost.com/nation/2022/03/02/dancing-with-the-stars-maksim-chmerkovskiy-escapes-ukraine/-Philadelphia Inquirer story on the Philadelphia Ballet dancers who are performing together while their home countries are at war: https://www.inquirer.com/news/philadelphia-ballet-ukraine-russia-swan-lake-20220301.html

As COVID-19 rages this winter, the Miami City Ballet continues to dance, preparing to perform "Swan Lake" in February, under the careful eye of celebrated choreographer Alexei Ratmansky. Jeffrey Brown spent a day with Ratmansky and dancers to see how they've brought this traditional ballet going back to its rediscovered historical roots. This report is for our arts and culture series, CANVAS. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Julie Kent became the Artistic Director of The Washington Ballet in July 2016. She is the longest-serving ballerina in American Ballet Theatre's 79-year history. She began her dance training with Hortensia Fonseca at the Academy of the Maryland Youth Ballet in Bethesda, MD and attended summer sessions at American Ballet Theatre II and the School of American Ballet before joining American Ballet Theatre as an apprentice in 1985. In that same year, Kent won first place in the regional finals of the National Society of Arts and Letters at the Kennedy Center. In 1986, she was the only American to win a medal at the Prix de Lausanne International Ballet Competition, and she became a member of ABT's corps de ballet.Kent starred in the Herbert Ross film “Dancers” in 1987 opposite Mikhail Baryshnikov. She was appointed a Soloist with ABT in 1990 and a Principal Dancer in 1993, the year in which she became the first American to win the Erik Bruhn Prize in Toronto and was named one of People Magazine's “50 Most Beautiful People.” In April 2000, Kent achieved another triumph, becoming the first American to win the “Prix Benois de la Danse.” Later that year, Kent starred in the motion picture “Center Stage” directed by Nicholas Hytner. In 2012, she was awarded an Honorary Doctorate of Performing Arts from the University of North Carolina School of the Arts as well as a “Lifetime Achievement Award” from Dance Magazine. Since 2014, she has been the Brand Ambassador for HANIA New York, a luxury line of hand-knit cashmere in NYC.During Kent's long performing career, she has acquired a vast repertoire dancing over 100 ballets, including all of the major classical, dramatic and neo-classical roles in works by Marius Petipa, George Balanchine, Jerome Robbins, Frederick Ashton, Kenneth MacMillan, John Cranko, Anthony Tudor, Michel Fokine, Agnes DeMille, Merce Cunningham, Jose Limon, Jiri Kylian, Ronald Hynd, Ben Stevenson and Christopher Wheeldon. As well, she has had roles created on her by John Neumeier, Lar Lubovitch, Mark Morris, Twyla Tharp, Alexei Ratmansky, Nacho Duato, Stanton Welch, James Kudelka, Jorma Elo, David Parsons, Jessica Lang, and Natalie Weir. Her appearances as a guest include invitations from the Mariinsky Theatre, Teatro alla Scala, New York City Ballet, Stuttgart Ballet, Berlin Staatsballett, Australian Ballet, Bayerisches Staatsballett, Teatro Colon, Ballet de Santiago, and others. In August of 2015, after a 30-year performing career, Kent was named Artistic Director of ABT's Summer Intensive, a comprehensive summer dance program for 1,400 students at five campuses across the US.Since Kent arrived at The Washington Ballet, she has brought important classical and contemporary masterworks into the repertoire, including her and Victor Barbee's own critically acclaimed staging of The Sleeping Beauty, described by New York Times former chief dance critic Alastair Macaulay as “one of the world's finer Sleeping Beauties.” Kent's steadfast commitment to the development of artists, rising choreographers, and the creation of arts education initiatives that benefit the community of our Nation's Capital, showcase her dedication to creativity, expression, and to propelling ballet forward into the 21st century.Kent is married to The Washington Ballet's Associate Artistic Director Victor Barbee, and, as a mother of two children, she has helped redefine the image of the American Ballerina.

Born in Providence, Rhode Island and trained at Festival Ballet of Rhode Island and Canada's National Ballet School, Greta Hodgkinson joined The National Ballet of Canada in 1990, where she has been a Principal Dancer since 1996. Greta retired as a Principal Dancer at the end of the 2019/20 season and assumed the position of Artist-in-Residence for the 2020/21 season, teaching and coaching the National Ballet's next generation of dancers.An artist acclaimed for her dazzling technical virtuosity, dramatic intensity and articulate characterization, she is the complete ballerina, par excellence. Greta has performed every leading role in the classical repertoire and her talents extend to the contemporary repertoire as well. She has had numerous roles created for her by world renowned choreographers and has worked closely with such icons as William Forsythe, Jiří Kylián, Glen Tetley, John Neumeier, Alexei Ratmansky, Christopher Wheeldon, Wayne McGregor, James Kudelka and Crystal Pite.  As a guest artist, Greta has appeared with The Mariinsky Ballet, Teatro alla Scala, The Royal Ballet, The Australian Ballet, Stuttgart Ballet, Munich Ballet, Teatro Comunale di Firenze, Gala des Étoiles, Stars of the 21st Century and International Ballet Galas in the US, Russia, Japan, Europe and Canada. Greta was invited to tour Japan dancing Swan Lake with K-Ballet, partnered by Tetsuya Kumakawa. She also performed at The World Ballet Festival in Tokyo, with frequent partner Roberto Bolle.Greta has graced the covers of Dance Magazine and Dance International Magazine and has been featured in various fashion publications including Vanity Fair, Lucky, W, GQ Italia, ELLE, NUVO, Flare and FASHION among others.Greta's film credits include a collaboration with director Moze Mossanen in the title role in the film Roxana, based on the novel by Daniel Defoe, the role of Margot Fonteyn in the Bravo! TV docudrama, Nureyev, CBC's Romeos and Juliets and The Rings of Saturn. She also appeared in the title role in The Firebird, The Four Seasons (starring in Summer), A Dancer's Story-50 Years of The National Ballet of Canada (dancing The Sleeping Beauty pas de deux) and as a guest star on the premiere of the Canadian comedy television series Baxter. In 2013, Gretaperformed Giselle in Emerging Pictures' film, Ballet's Greatest Hits, a ballet gala filmed and presented in over 200 cinemas throughout North America.Greta has received two Citations from the State of Rhode Island. One of the highest honours given by the state, the Citations are in recognition of her extraordinary talents, accomplishments and outstanding contribution to arts and culture in the US. Greta was also appointed to the Order of Ontario in 2017.

The three year designation by Segerstrom Center for the Arts begins in December 2021 with ABT's annual engagement of Alexei Ratmansky's The Nutcracker. For photos, please visit The Ballet Herald. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/balletherald/message Support this podcast: https://anchor.fm/balletherald/support

On the first episode of the second season of 'A Body's Language' we speak to David McAllister. This episode was recorded late last year, in Davids final week as director of The Australian Ballet Company.David shares stories about his dancing days with The  Australian Ballet, working with the likes of Nureyev and Glen Tetley, speaks about pieces of music still make him feel sick with nerves and provides great insights into his philosophies on directorship- reflecting on how The Australian Ballet chose to prioritize the mental health of their dancers during the pandemic while maintaining their world leading physical healthcare program.A graduate of The Australian Ballet School, Perth-born David McAllister began his training with Evelyn Hodgkinson and joined The Australian Ballet in 1983. He was promoted to senior artist in 1986 and to principal artist in January 1989.During his time with the company, he danced many principal roles, including those in The Sleeping Beauty, Don Quixote, Coppélia, Manon, La Sylphide, John Cranko's Onegin and Romeo and Juliet, and Jiří Kylián's Stepping Stones; in 1985 he won Bronze at the Fifth International Ballet Competition in Moscow.Throughout his career, David made numerous guest appearances worldwide, dancing with Bolshoi Ballet, the Kirov Ballet, the Georgian State Ballet, The National Ballet of Canada, Birmingham Royal Ballet, Singapore Dance Theatre and, in 1992, as part of a Royal Gala performance in London in the presence of the Princess of Wales. In 2000, he completed a Graduate Diploma in Arts and Entertainment Management and in 2001, took his final bow as a dancer after a performance of Albrecht in Giselle at the Sydney Opera House, partnering Miranda Coney. In July of that year, David became artistic director of The Australian Ballet. He was awarded a Member of the Order of Australia in the 2004 Australia Day Honours List.Over the next two decades, on his way to becoming The Australian Ballet's longest-serving artistic director, David invigorated the company's repertoire with a series of new commissions from the world's foremost choreographers, including Alexei Ratmansky, Graeme Murphy and Wayne McGregor. He appointed two new resident choreographers, Tim Harbour and Alice Topp, and, through co-productions with leading international companies, secured major works such as Christopher Wheeldon's Alice's Adventures in Wonderland© and Yuri Possokhov's Anna Karenina. As a director/choreographer, he gifted the company with a lavish and widely acclaimed new production of The Sleeping Beauty, funded largely through donations from philanthropic supporters, and three works in the Storytime Ballet series, made especially for young children.Since stepping down as director in January of 2021, David has created a new 'Swan Lake' for Finnish National Ballet, is currently staging Lucas Jervies 'Spartacus', created for The Australian Ballet in 2018 and is in high demand as a guest teacher and choreographer in Australia and abroad.

With registration on their website, the American Ballet Theatre 2021 Summer Celebration is free to stream. The dancing portion of this fundraising event will feature recently filmed works by Silas Farley, Helen Pickett, and James Whiteside as well as excerpts from Alexei Ratmansky's Bernstein in a Bubble and Sir Kenneth MacMillan's Romeo and Juliet. To watch a trailer video and find the registration link, please visit The Ballet Herald. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/balletherald/message Support this podcast: https://anchor.fm/balletherald/support

The guest on episode 7 of 'A Body's Language" is Guillaume Côté.Guillaume Côté was born in Lac-Saint-Jean, Québec and trained at Canada's National Ballet School. He joined The National Ballet of Canada in 1998 and became a Principal Dancer in 2004. In 2013, Guillaume was also appointed Choreographic Associate.With The National Ballet of Canada, Guillaume has danced most of the principal roles in both the classical and contemporary repertoire. He has created a number of lead roles in ballets by James Kudelka including Ferdinand in An Italian Straw Hat, Prince Charming in Cinderella and Will in The Contract (The Pied Piper). He also created the role of Romeo in Alexei Ratmansky's Romeo and Juliet and performed the role as a guest artist with The Bolshoi Ballet in Moscow.Guillaume is in great demand as a guest artist at major ballet companies around the world, such as Teatro alla Scala, English National Ballet, The Royal Ballet, American Ballet Theatre, The Mikhailovsky Theatre, The Hamburg Ballet and Stuttgart Ballet. He also performed in Kings of the Dance, Gala des Étoiles, Stars of the 21st Century, The Vision of Manuel Legris, Roberto Bolle and Friends, The Hamburg Ballet's 40th Anniversary Gala and the 44th Annual Nijinsky Gala for Hamburg Ballet Days as well as many other international galas. With English National Ballet, he created the role of Gene Kelly in Derek Deane's Strictly Gershwin.Guillaume is an accomplished choreographer, musician and composer. His choreographic works for The National Ballet of Canada include Venom, Enkeli, Dance Me To The End of Love, Body of Work and Being and Nothingness. Awards for his choreography include the Audience Choice Award for Best Choreography at The International Competition for The Erik Bruhn Prize for Enkeli and third prize at Ballet Society Hanover's 25th International Competition for #24. He debuted his first full-length ballet, Le Petit Prince, during the National Ballet's 2015/16 season and created Dark Angels in 2017 for the National Arts Centre. Most recently in 2018, he created Frame by Frame, in collaboration with Robert Lepage.In 2012, Guillaume choreographed and starred in the short film Lost in Motion which was presented at Toronto's International Film Festival. The sequel, Lost in Motion II, was released in 2013 and was featured at the Dance on Camera Festival in New York City in 2014. He won a Gemini Award in 2007 and the Galileo 2000 A Life for Music Prize in 2008 for Moving to His Music: The Two Muses of Guillaume Côté. In 2012, Guillaume was awarded La médaille de l'Assemblée nationale du Québec, a prestigious award from the province of Québec for his work in the arts. Mr. Côté is also the Artistic Director of the Festival des Arts de Saint-Sauveur, one of the largest summer dance festivals in the country.

Episodio en Inglés, si deseas verlo con subtítulos, te invito a ir a nuestro canal de YouTube. Julie Kent ha estado al frente del Washington Ballet desde julio de 2016 y fue la primera bailarina con mayor carrera en los 80 años de historia del American Ballet Theatre. Comenzó su formación en danza con Hortensia Fonseca en la Academy of the Maryland Youth Ballet en Bethesda, MD y asistió a sesiones de verano en American Ballet Theatre II y en la School of American Ballet antes de unirse a American Ballet Theatre como aprendiz en 1985. Ese mismo año , Kent ganó el primer lugar en las finales regionales de la Sociedad Nacional de Artes y Letras en el Kennedy Center. En 1986, fue la única estadounidense en ganar una medalla en el Concurso Internacional de Ballet Prix de Lausanne y se convirtió en miembro del cuerpo de ballet de ABT. Kent protagonizó la película de Herbert Ross "Dancers" en 1987 junto a Mikhail Baryshnikov. Fue nombrada solista con ABT en 1990 y bailarina principal en 1993, año en el que ganó el premio Erik Bruhn, en Toronto, y fue nombrada una de las "50 personas más bellas" de la revista People. En abril de 2000, Kent ganó el "Prix Benois de la Danse" siendo la primera estadounidense en ganar este premio. Más tarde ese año, Kent protagonizó la película "Center Stage" dirigida por Nicholas Hytner. En 2012, recibió un Doctorado Honoris Causa en Artes Escénicas de la Escuela de Artes de la Universidad de Carolina del Norte, así como un "Premio a la Trayectoria" de la Dance Magazine. Desde 2014, ha sido la embajadora de la marca de HANIA New York, por Anya Cole, una línea de suéteres tejidos a mano. Durante su carrera interpretativa, Julie Kent adquirió un vasto repertorio de más de 100 ballets, incluídos los principales papeles clásicos, dramáticos y neoclásicos en obras de Marius Petipa, George Balanchine, Jerome Robbins, Frederick Ashton, Kenneth MacMillan, John Cranko, Anthony Tudor, Michel Fokine, Agnes de Mille, Merce Cunningham, José Limón, Jiří Kylián, Ronald Hynd, Ben Stevenson y Christopher Wheeldon. Además, ha tenido papeles creados para ella por coreógrafos como John Neumeier, Lar Lubovitch, Mark Morris, Twyla Tharp, Alexei Ratmansky, Nacho Duato, Stanton Welch, James Kudelka, Jorma Elo, David Parsons, Jessica Lang y Natalie Weir. Sus apariciones como invitada incluyen invitaciones del Teatro Mariinsky, Teatro alla Scala, New York City Ballet, Stuttgart Ballet, Berlin Staatsballett, Australian Ballet, Bayerisches Staatsballett, Teatro Colón, Ballet de Santiago y otros. Antes de unirse al Washington Ballet, en agosto de 2015, después de una carrera de 30 años, Julie fue nombrada Directora Artística del Summer Intensive de ABT, un programa integral de verano para 1,400 estudiantes que se lleva a cabo en cinco localidades en los Estados Unidos. Julie Kent está casada Victor Barbee, director artístico asociado del Washington Ballet, desde 1996 y tiene dos hijos. Es una de las pocas mujeres líderes en todo el mundo en el papel de directora artística, Kent está redefiniendo la imagen y el impacto de la bailarina estadounidense.

Pacific Northwest Ballet's triple bill is nostalgic, sublime, and flirtatious. A true mixed program, with choreography by Donald Byrd, Alejandro Cerrudo, and Alexei Ratmansky, it has a bit of everything and maybe when you see a glimmer of your reflection on the screen, a bit of you. To view images of Pacific Northwest Ballet from this program, an excerpt from Cerrudo's Future Memory, and streaming information, please visit The Ballet Herald. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/balletherald/message Support this podcast: https://anchor.fm/balletherald/support

Danielle Rowe is the guest for episode four of  'A Body's Language'.Dani Rowe was born in Shepparton, Australia and trained at The Australian Ballet School. From 2001-2015 Dani was a Principal Dancer with the Australian Ballet and Houston Ballet, and also danced with the prestigious Nederlands Dans Theater. She now lives in San Francisco and works as a choreographer, film director and creator and writer. She is the former Associate Artistic Director of SFDanceworks.We speak about how during  the COVID-19 pandemic, Dani pivoted to film making. Her creations included Shelter, created, directed and choreographed with Garen Scribner and Alexander Reneff-Olson, Wilis in Corps-en-tine for The Australian Ballet, written, directed and choreographed with Garen Scribner, I Am Spartacus for The Australian Ballet, written, directed and choreographed with Garen Scribner and The Animals for Ballet Idaho. The films garnered positive attention from Vogue, The New Yorker, The Guardian and Dance Magazine.We also speak with Dani about her career as a choreographer and how she never imagined herself 'making dances'.  Dani has created works for San Francisco Ballet, most recently creating 'Wooden Dimes' for their digital season, Nederlands Dans Theater's SWITCH program, Royal New Zealand Ballet, Co.Lab Dance (featuring dancers from American Ballet Theater), Ballet Idaho, Grand Rapids Ballet, SFDanceworks, Diablo Ballet, Oakland Ballet and Berkeley Ballet Theater. She also choreographed for the award-winning dance film Sirens Tango (featuring principal dancers, Sasha de Sola and Luke Ingham of San Francisco Ballet), and we speak about her cross-disciplinary immersive theater production of FURY (a collaboration between San Francisco Ballet, Alonzo King LINES Ballet and indie-pop band YASSOU).Dani also reflects on her incredible dancing career.  She originated roles in creations by Paul Lightfoot/Sol Leon, Christopher Wheeldon, Wayne McGregor, Alexander Ekman, Crystal Pite, Marco Goecke and Medhi Walerski and worked with choreographers Mats Ek, Jiri Kylián, Hans van Manen, Alexei Ratmansky and Christopher Bruce. Rowe has also performed in works by Kenneth McMillan, Jerome Robbins, George Balanchine, Mark Morris and Nacho Duato as well as the title roles in Giselle, Cinderella, Sleeping Beauty, Kitri in Don Quixote and Sugar Plum Fairy in The Nutcracker. https://www.youtube.com/watch?v=K8PMw7NuaPM Link for Danielle Rowe as 'The Baroness' in Graeme Murphy's Swan Lake.The Australian BalletChoreography - Graeme MurphyThe Australian Opera and Ballet OrchestraConductor - Nicolette FraillonThe Sydney Opera House - 2008https://www.youtube.com/watch?v=CISGInB-bagLink for 'Shoot the Moon' trailer. Music: Philip Glass: Movement II from Tirol Concerto for piano and orchestra © Dunvagen, New York / Albersen Verhuur B.V., 's-Gravenhage | Light: Tom Bevoort | Choreography, decor and costumes: Sol León and Paul Lightfoot.

Doug Fullington's pre-performance Ballet Talk for Rep 4 of PNB's Digital Season features your behind the scenes look at Doris Duke Artist award winner Donald Byrd's world premiere work And the sky is not cloudy all day, and residenct choreographer Alejandro Cerrudo's second premiere for PNB, Future Memory, both created and produced just for the digital stage. Joining the program is an encore presentation of Alexei Ratmansky’s Pictures at an Exhibition.

A Ratmansky Celebration was captured live from City Center, although to an empty house. It features excerpts from Alexei Ratmansky's The Sleeping Beauty (Rose Adagio), Seven Sonatas, and The Four Seasons (Summer pas de deux), as well as the premiere of Bernstein in a Bubble. To view images of ABT in this program's works, a trailer for the event, and ticket information, please visit The Ballet Herald. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/balletherald/message Support this podcast: https://anchor.fm/balletherald/support

Check out DanceConnectSeries.com for more information on each guest! Instagram: @danceconnectseries -------- Antuan Byers (Dallas, TX) is a graduate of the Ailey/Fordham BFA Program in Dance. He holds a certificate from the Parsons School of Design and is an alumnus of Booker T. Washington High School for the Performing and Visual Arts. He was a scholarship student at Dallas Black Dance Theatre and Dallas Ballet Center, and has attended summer programs including Abraham.In.Motion, Cedar Lake Contemporary Ballet, Jacob's Pillow, Northwest Dance Project, Pacific Northwest Ballet, and Ronald K. Brown/EVIDENCE Dance Company, all with partial or full scholarship. Antuan has been featured in OUT Magazine, Dance Magazine, Dance Spirit Magazine, and has global campaigns with ASICS and Capezio. He has also danced for recording artists Erykah Badu, Jennifer Holliday, The Skins, and D.R.A.M. Antuan has toured internationally with Alvin Ailey American Dance Theater's second company, Ailey II, and has performed with The Washington National Opera Ballet, Keigwin + Co., Mark Morris Dance Company, as well as solo work by Kyle Abraham. Antuan has been an ambassador for the Joyce Theater, Company Management Assistant for Alvin Ailey American Dance Theater, and is currently on the Steering Committee of Dance Artists' National Collective (DANC) and a founding member of the Black Caucus at the American Guild of Musical Artists (AGMA). Antuan is currently dancer The Metropolitan Opera Ballet, performing a diverse repertory including Christopher Wheeldon, Mark Morris, Lorin Latarro, Susan Stroman, Kim Brandstrup, Alexei Ratmansky, Sue Lefton, and Philippe Giraudeau. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

American Ballet Theatre Soloist, Gabe Stone Shayer talks in this podcast about his journey from Philadelphia to becoming the first African-American male graduate of the Bolshoi Ballet Academy, the first in the 250 year history of this prestigious school. Gabe shares his experience of dancing and living in Moscow, touring with the Bolshoi Ballet and returning to the US to join the American Ballet Theatre. Having performed many soloist and principal roles over the years, and creating roles with the acclaimed choreographer Alexei Ratmansky, Gabe was promoted to Soloist during the lockdown and awaits to return to perform on stage. During the lockdown, Gabe has drawn on his love of choreography and launched the Creative Genesis project and has raised more than $30,000 to go towards creating and presenting new choreographic work. This project importantly helps support other dancers during these covid times, giving them work and an opportunity to perform as they wait for the theatres to reopen.   You can DONATE HERE to the Creative Genesis project! PRESS PLAY!  

James chats with costume and set designer Jean-Marc Puissant about his early work and creating the designs for Alexei Ratmansky's “Of Love and Rage” which was slated to make its NYC debut at the Metropolitan Opera with ABT this spring. They discuss the joys of difficulties of working on this epic full length ballet.   Premier Dance Network website   James on Instagram JamesWhiteside.org Upcoming Performances

Ratmansky talked to Eleanor Wachtel about his new work, Of Love and Rage, and creating Romeo and Juliet for the National Ballet of Canada.

Juliet Burnett grew up in Sydney, while spending considerable time in Indonesia. Dancing was in Juilet’s blood; her grandmother, was the Sultan’s star dancer at his court in Jogjakarta. At the age of 5 her parents enrolled her in ballet school to see if she took after her grandmother. Later Juliet studied at The Australian Ballet School, before joining the company in 2003. Juliet has worked in creations by Wayne McGregor, Stanton Welch, Alexei Ratmansky, Krysztof Pastor, Nicolo Fonte, Maina Gielgud, Rudolf Nureyev, Peggy van Praagh, Matjash Mrozewski, Stephen Baynes, Gideon Obarzanek, Graeme Murphy and Stephen Page. In mid-2015 Juliet left The Australian Ballet after her final show as Giselle. She left to become a freelance dancer performing in Australia and Indonesia, working with a range of people including Melanie Lane, a childhood friend. In 2016 Juliet made the move to Europe to join Ballet Vlaanderen, Belgium's premier dance company, under the directorship of renowned choreographer Sidi Larbi Cherkaoui. Since 2016 Juliet has been a First Soloist with Ballet Vlaanderen, where she has had new creations made for her by Édouard Lock in The Heart of August and The Heart of August ... continued and Sidi Larbi Cherkaoui in his Requiem. Other roles include the title role in Akram Khan’s Giselle, in William Forsythe's Approximate Sonata and Workwithinwork, Pina Bausch's Café Müller, in Benjamin Millepied’s Bach Studies, as Marguerite in Jean-Christophe Maillot's Faust, as Queen Fabiola in Jeroen Verbruggen's Ma Mére L'Oye, Trisha Brown’s Twelve Ton Rose, in Alexander Ekman’s Joy, in Sidi Larbi Cherkaoui's Firebird, Memento Mori, Exhibition and Fall, and the Snow Queen in Demis Volpi's Nutcracker. In 2017 she danced as Guest Artist with Dutch National Ballet, in Remi Wortmeyer's new creation, Passing Shadows. Juliet is also a writer, having been a regular contributor for Dance Tabs, MDM Dancewear's website and The Australian Ballet's blog Behind Ballet. She has written for other publications including Vogue Australia, Dance International and Gourmet Traveller magazines. With such an extensive career and so many interesting things to talk about this interview is presented in two parts.

Juliet Burnett grew up in Sydney, while spending considerable time in Indonesia. Dancing was in Juilet’s blood; her grandmother, was the Sultan’s star dancer at his court in Jogjakarta. At the age of five her parents enrolled her in ballet school to see if she took after her grandmother. Later, Juliet studied at The Australian Ballet School, before joining the company in 2003. Juliet has worked in creations by Wayne McGregor, Stanton Welch, Alexei Ratmansky, Krysztof Pastor, Nicolo Fonte, Maina Gielgud, Rudolf Nureyev, Peggy van Praagh, Matjash Mrozewski, Stephen Baynes, Gideon Obarzanek, Graeme Murphy and Stephen Page. In mid-2015, Juliet left The Australian Ballet after her final show as Giselle. She left to become a freelance dancer performing in Australia and Indonesia, working with a range of people including Melanie Lane, a childhood friend. In 2016, Juliet made the move to Europe to join Ballet Vlaanderen, Belgium's premier dance company, under the directorship of renowned choreographer Sidi Larbi Cherkaoui. Since 2016, Juliet has been a First Soloist with Ballet Vlaanderen, where she has had new creations made for her by Édouard Lock in The Heart of August and The Heart of August ... continued and Sidi Larbi Cherkaoui in his Requiem. Other roles include the title role in Akram Khan’s Giselle, in William Forsythe's Approximate Sonata and Workwithinwork, Pina Bausch's Café Müller, in Benjamin Millepied’s Bach Studies, as Marguerite in Jean-Christophe Maillot's Faust, as Queen Fabiola in Jeroen Verbruggen's Ma Mére L'Oye, Trisha Brown’s Twelve Ton Rose, in Alexander Ekman’s Joy, in Sidi Larbi Cherkaoui's Firebird, Memento Mori, Exhibition and Fall, and the Snow Queen in Demis Volpi's Nutcracker. In 2017 she danced as Guest Artist with Dutch National Ballet, in Remi Wortmeyer's new creation, Passing Shadows. Juliet is also a writer, having been a regular contributor for Dance Tabs, MDM Dancewear's website and The Australian Ballet's blog Behind Ballet. She has written for other publications including Vogue Australia, Dance International and Gourmet Traveller magazines.

Choreographer Alexei Ratmansky joins Associate Artistic Director Wendy Whelan to discuss Voices, his new ballet for NYCB,  which premieres at the company’s annual New Combinations evening on January 30, 2020. Ratmansky describes his early career as a dancer in Kiev and the importance of watching bootleg VHS recordings of dance in his early development as a choreographer. Listeners will also find out how he came to set a ballet to Peter Ablinger’s complex, avant-garde composition, Voices and Piano, a departure for him musically, and why he feels NYCB is the best place to address the unique challenges this music has presented. (33:27)

New York City Ballet up-and-coming corps member, Roman Mejia, sits down with us from the Vail Dance Festival.  We talk about his year of dance since we last saw him in Vail, working with Edward Villella, and on performing Alexei Ratmansky's ‘Fandango' here at Vail Dance Festival on August 2nd, 2019. This episode is brought to you […] The post BONUS: Roman Mejia of NYCB from Vail Dance Festival appeared first on tendusunderapalmtree.com.

New York City Ballet up-and-coming corps member, Roman Mejia, sits down with us from the Vail Dance Festival.  We talk about his year of dance since we last saw him in Vail, working with Edward Villella, and on performing Alexei Ratmansky’s ‘Fandango’ here at Vail Dance Festival on August 2nd, 2019. This episode is brought to you […] The post BONUS: Roman Mejia of NYCB from Vail Dance Festival appeared first on tendusunderapalmtree.com.

Join Carrie Gaiser Casey, PhD for an in-depth analysis of Alexei Ratmansky’s Chamber Symphony, the centerpiece of his stunning Shostakovich Trilogy. Like […]

Today's episode of Conversations on Dance was recorded at a live post-performance event at the Kennedy Center.  At the beginning of February, American Ballet Theatre brought Alexei Ratmansky's “Harlequinade” to the Kennedy Center for a week of incredible performances. Following a Saturday matinee, we caught up with ABT soloist, Skylar Brandt, who had just danced the […] The post (127) Skylar Brandt of American Ballet Theatre LIVE from the Kennedy Center appeared first on tendusunderapalmtree.com.

Today’s episode of Conversations on Dance was recorded at a live post-performance event at the Kennedy Center.  At the beginning of February, American Ballet Theatre brought Alexei Ratmansky’s “Harlequinade” to the Kennedy Center for a week of incredible performances. Following a Saturday matinee, we caught up with ABT soloist, Skylar Brandt, who had just danced the […] The post (127) Skylar Brandt of American Ballet Theatre LIVE from the Kennedy Center appeared first on tendusunderapalmtree.com.

Wendy Whelan spent 30 years with New York City Ballet, 23 of those years as a principal dancer. She has danced virtually every major Balanchine role, and worked closely with Jerome Robbins on many of his ballets. She originated leading roles in works by such notable choreographers as William Forsythe, Twyla Tharp, Alexei Ratmansky, and Christopher Wheeldon. Wendy has been a guest artist with The Royal Ballet and the Kirov Ballet and has performed on nearly every major stage across the globe. She received the Dance Magazine Award in 2007, and in 2009 was given a Doctorate of Arts, honoris causa, from Bellarmine University. In 2011, she received both The Jerome Robbins Award and a Bessie Award for her Sustained Achievement in Performance. Since 2013, Wendy has been developing her own independent projects including, Restless Creature and Some Of A Thousand Words both co-produced by The Joyce Theater Productions, Whelan/Watson Other Stories co-produced by London’s Royal Opera House and Hagoromo, self-produced for the 2015 BAM Next Wave Festival. A documentary, entitled Restless Creature: Wendy Whelan, was released during the summer of 2016, in movie theaters across the country.

Herman Cornejo is about to celebrate 20 years with American Ballet Theatre—spending 15 of those years as a principal dancer. You could say the Argentina-born Cornejo practically grew up at ABT. He came to the company as an apprentice at the age of 17; yet, he was already considered a prodigy. The previous year, he had won the Gold Medal at the prestigious International Moscow Competition becoming the youngest dancer ever to do so. Over the past twenty years, Herman has developed a repertoire of more than 90 classical, contemporary and modern ballets—working with some of today's greatest choreographers including Justin Peck and Alexei Ratmansky. Herman Cornejo is also as charming as he is talented. In this podcast, he talks about becoming a dancer in Argentina, joining ABT—his dream company, the secret sauce to a good partnership, and the process of learning a dance that a choreographer “makes on him.”

Herman Cornejo is about to celebrate 20 years with American Ballet Theatre—spending 15 of those years as a principal dancer. You could say the Argentina-born Cornejo practically grew up at ABT. He came to the company as an apprentice at the age of 17; yet, he was already considered a prodigy. The previous year, he had won the Gold Medal at the prestigious International Moscow Competition becoming the youngest dancer ever to do so. Over the past twenty years, Herman has developed a repertoire of more than 90 classical, contemporary and modern ballets—working with some of today’s greatest choreographers including Justin Peck and Alexei Ratmansky. Herman Cornejo is also as charming as he is talented. In this podcast, he talks about becoming a dancer in Argentina, joining ABT—his dream company, the secret sauce to a good partnership, and the process of learning a dance that a choreographer “makes on him.”

Herman Cornejo is about to celebrate 20 years with American Ballet Theatre—spending 15 of those years as a principal dancer. You could say the Argentina-born Cornejo practically grew up at ABT. He came to the company as an apprentice at the age of 17; yet, he was already considered a prodigy. The previous year, he had won the Gold Medal at the prestigious International Moscow Competition becoming the youngest dancer ever to do so. Over the past twenty years, Herman has developed a repertoire of more than 90 classical, contemporary and modern ballets—working with some of today’s greatest choreographers including Justin Peck and Alexei Ratmansky. Herman Cornejo is also as charming as he is talented. In this podcast, he talks about becoming a dancer in Argentina, joining ABT—his dream company, the secret sauce to a good partnership, and the process of learning a dance that a choreographer “makes on him.”

It's our One Year Anniversary! We loves you and thank you for listening. In person, by voice memo, or (as in this week's case) by phone call, the Queens have kept it up each and every week. This week, they review Erin Markey's extraordinary new show, Singlet, get a little more in depth about Alexei Ratmansky's, Harlequinade, and all while being afraid to see Hereditary. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This week I discuss the three things that judges look for when evaluating artistry on floor. I break down each deduction and provide my best interpretation of the JO Code of Points. The music in the episode is Stevie Ray Vaughn's Little Wing which I reference when I talk about my floor routines. This was the music I had when I competed in college. Please take a look at our blog post on www.leotard.com this week to watch the YouTube videos of the three routines I reference for having wonderful artistry. I also think it's worth watching the profile of Alexei Ratmansky on YouTube, some Misty Copeland videos and Tiler Peck to see how they create such an amazing story with their dance, choreography, expression, and quality of movement. I think this provides some unique perspective to athletes typically focused on only gymnastics. Hope everyone has a great holiday weekend and good luck to everyone competing or TOPS testing. Keep dancing and don't forget to point your toes! --- Support this podcast: https://anchor.fm/lifeinaleo/support

In this bonus edition, Reid and Jack indulge in an extended look at Alexei Ratmansky's ballet "Whipped Cream". --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Doug Fullington takes us behind the scenes on the last rep of our season, Pictures at an Exhibition. George Balanchine choreographed La Source to help push an upcoming dancer (John Clifford) to his highest potential, Jerome Robbins choreographed Opus 19/The Dreamer on Mikhail Baryshnikov during the year he was a dancer at New York City Ballet, and we learn why Alexei Ratmansky chose Wassily Kandinsky's work as the backdrop for Pictures at an Exhibition.

James talks to ABT artist in residence, Alexei Ratmansky (who inexplicably calls him "Jim") about Russia, Britney Spears, and roles he missed out on. It's an illuminating chat with a prolific choreographer.   Premier Dance Network website James Whiteside website ABT website James Whiteside - Instagram James Whiteside - Facebook James Whiteside - Twitter  

Mathilde Froustey on dancing Balanchine and working with Alexei Ratmansky

Alexei Ratmansky’s Seven Sonatas joins the SF Ballet rep this season. Carrie Gaiser Casey, SF Ballet resident scholar, places this […]

Guest conductor David LaMarche discusses his experiences in working with Alexei Ratmansky to bring Shostakovich Trilogy to the stage at […]

ABT Ballet Mistress and Répétiteur Nancy Raffa traces the process of creating Alexei Ratmansky Shostakovich Trilogy; citing her long association […]

Misty Copeland joined ABT's Studio Company in September 2000 and then joined American Ballet Theatre as a member of the corps de ballet in April 2001. In 2007, Misty Copeland made history by becoming the third African American female soloist and first in two decades, at American Ballet Theatre. Her roles with American Ballet Theatre include: Muse-Duo Concertant, Gulnare-Le Corsaire, Flower Girl-Don Quixote, The Peasant Pas de Deux-Giselle, Lead Harlot-Romeo and Juliet, Fairy of Valor-The Sleeping Beauty, Princess Florine-The Sleeping Beauty, Pas de Trois and a Cygnet-Swan Lake, The Tchaikovsky Pas de Deux, Sinatra Suite-Twyla Tharpe, workwithinwork-William Forsythe, Overgrown Path-Jiri Kylian, Gong-Mark Morris, Company B, Airs-Paul Taylor, Milkmaid-The Bright Stream, a Principal role created on her in Alexei Ratmansky’s Dumbarton and Misty premiered the title role of The Firebird in the Spring of 2012, featuring new choreography by world renowned in house American Ballet Theatre choreographer Alexi Ratmanski. In 2008, Misty was honored with the Leonore Annenberg Fellowship in the Arts. This two year fellowship is awarded to young artists who exhibit extraordinary talent, providing them additional resources in order to attain their full potential. Misty was honored with induction into the Boys and Girls Club National Hall of Fame in the Spring of 2012. website: www.mistycopeland.com  

During the run of Programs 2 and 3, Pascal Molat discusses dancing in Alexei Ratmansky’s From Foreign Lands, Wayne McGregor’s […]

In her role as Ballet Master, Anita Paciotti spoke about Alexei Ratmansky's Shostakovich Trilogy to receive its west-coast premiere on […]