At some point during her long career with American Ballet Theatre, Stella Abrera started to think it would never happen; paradoxically, this gave her a kind of peace. But on the evening of May 23, 2015, there she was, onstage at the Metropolitan Opera House, finally performing one of her dream roles: Giselle. It was … More »
There’s a warm and fuzzy feeling when dancers you’ve been following for years finally make it to the top. Of course, just making it into a company is a remarkable accomplishment and something to be proud of. But if there’s one thing successful dancers have in common, it’s that they never settle. And the corps is great until you’re ready to be a soloist…and so on.
Ballet San Jose principal Ommi Pipit-Suksun’s workout is carefully crafted—two parts mental preparation and one part each cardio and Pilates. She’s found the best times of day to sneak in extra moments of strength building, stretching and rejuvenation tailored to her current repertoire, whether it’s Jorma Elo’s Glow-Stop or Balanchine’s Serenade. A delicate balance: When … More »
You have incredible flexibility—how has that changed over the years? I’ve learnt how to use it to say what it can, rather than just flashing it around and being a freak. It’s easier to control now; I’m stronger than I was. It’s become a really amazing tool for me to tell a story. What is … More »
Aurora’s Act I solo in The Sleeping Beauty captures the young princess’ girlish exuberance. But from a technical standpoint, its four long minutes almost feel like multiple variations. New York City Ballet principal Sterling Hyltin discusses how to master its many moods and tempos. Calm down In most productions, Aurora’s solo follows the Rose Adagio—one … More »