David Gabriel, NYCB’s Rising Soloist, Talks About His Whirlwind Year
David Gabriel is a star on the rise: The 23-year-old New York City Ballet soloist has been making debut after debut this year in a wide range of the company’s repertory. In every role, he seamlessly moves across the stage with pristine technique, silky port de bras, and brilliant musicality. Though one of NYCB’s youngest male soloists, Gabriel is quickly becoming an integral member of the company.
Originally from Glenwood Springs, Colorado, Gabriel trained at Glenwood Dance Academy and Aspen Santa Fe Ballet before joining the rigorous training program at Central Pennsylvania Youth Ballet. From there, he was accepted to the School of American Ballet at age 17; NYCB invited him to become an apprentice two years later, and he officially joined the company in May 2022.
Gabriel began landing opportunities in early 2024, making his principal debut in Balanchine’s Ballo della Regina and dancing leading roles in Tiler Peck’s Concerto for Two Pianos and Amy Hall Garner’s Underneath, There Is Light. But he gained real momentum during the 2024–25 season, dancing principal roles in ballets like Balanchine’s Sonatine, Divertimento from Le Baiser de la Fée, and A Midsummer Night’s Dream, among others. In June, he won a Clive Barnes Award, given each year to promising young artists.
Pointe recently caught up with Gabriel over Zoom to discuss this whirlwind experience.
This past season was a breakout one for you. How has it felt to rise so quickly as a soloist?
I was promoted [a year ago] in June, which kind of came as a shock. It came after what felt like a breakthrough season for me. But I was still really new to the company. At the time, I wasn’t really thinking that it was going to happen so fast.
What were some of the big opportunities you got to take on your first year as soloist?
Coming back in the fall, I had a lot of exciting things lined up. I debuted in Divertimento from Le Baiser de la Fée, and, later, I revisited Symphony in Three Movements, which is one of my favorites. I danced Ratmansky’s Paquita, which was a big one. It was cool to be a part of one of Ratmansky’s new ballets, with him being the choreographer in residence.
The spring season was when things really got crazy. I did opening night with Megan Fairchild in Ballo della Regina. It was amazing to work with Megan. She has so much experience and is so inviting to the newer people. And I had a few other big debuts: Belles-Lettres by Justin Peck, which is probably my favorite ballet of his, and Brandenburg by Jerome Robbins, with Emma [Von Enck]. She’s so fun to dance with. I also did Sonatine with Indiana Woodward, who is just the loveliest person.
Finishing out the season, I danced Oberon in A Midsummer Night’s Dream, which is one of my top dream roles. I was very excited about that. It was cool to be able to perform it so soon in my career.
Can you zero in a bit more on a few of your favorite experiences?
I think that the most special one for me this year was Baiser, with Indiana Woodward. It was the hardest thing I had ever done. It’s just so much stamina. The pas de deux is quite long, and then you go into a very long solo directly afterwards. It took a lot of rehearsal to build that stamina. We got one show, so there was a lot of pressure to perform our best. I was really proud of that process, and it was so invigorating to get to dance such a leading role.
Another favorite is, of course, Ballo della Regina. It was fun to revisit it this season because it was one of my first principal roles. I feel like I have grown so much since [my 2024 debut]. Even though it’s only been a year, I’m more confident onstage. And I did it five times this season. I really wanted to elevate it each time, and I tried new things.
Also, Sonatine. The ballet is very stripped down, just two dancers with a piano onstage. It’s very serene. Our rep director, Christine [Redpath], was telling me how it’s about humanity. You have to be yourself, not a caricature of a dancer. It was nice to feel like I wasn’t putting on a front. It was just me and Indiana out there.
How do you handle the pressure of dancing such big roles?
It is a lot of pressure. I tend to get pretty nervous before shows, especially if it’s something that’s really technically challenging or if there’s a pas de deux involved. But I’m very lucky to work with some wonderful people. And my partners always reassure me that we’re in this together. I look at my partner before we go onstage. We give a little hand squeeze, and once we’re out there, everything just sort of melts away.
Dancers are perfectionists; we want everything to go well. I just have to tell myself that we have so many opportunities to perform at NYCB, and we’re so lucky in that regard. If one show doesn’t go well, it’s not the end of the world. And the less pressure that I put on myself, usually the better I perform. I just try to distract myself or calm myself with breathing. Also, we rehearse so much, so if it goes well in the rehearsal, you know that you can do it.
Can you tell me about your time training at Central Pennsylvania Youth Ballet?
I was really lucky to have been there while [founder] Marcia Dale Weary was still alive. She inspired so many people, whether they left to be a professional dancer or went on to go to college. It was really cool coming from a very small school in Colorado to see dancers in the advanced level there.
They focus a lot on technique, so that was where I got my building blocks. And we had a lot of opportunities to perform, [including] Balanchine ballets, which was when I was really introduced to his work. That’s when I realized I wanted to go to New York City Ballet.
How do you think CPYB shaped the dancer that you are today?
It gave me a really nice baseline. It also taught me how to pick up choreography; we learned multiple ballets at once. That’s something that we do at NYCB a lot. I don’t think that I would have been able to make it as far as I have without that school.
What do you like to do for fun?
We work most of the year, but right now I have a month off. It’s been really nice to just relax. I’ve been reading, spending time outside, going to museums, and trying to see more Broadway shows. I went to a women’s basketball game with my friends last night, and I’ve never been to one. I try to spend as much time with my friends as possible. I think that surrounding yourself with good people is important.
Looking ahead, is there anything in particular you’re excited for with NYCB’s July performances in Saratoga Springs, or next season in New York City?
At Saratoga I’m only in one ballet: Mystic Familiar, by Justin Peck. It’s super-fun. I’m really excited to just enjoy Saratoga, honestly.
This coming season there are a lot of ballets that I have my eye on. We never know what we’re going to end up doing, so it’s really speculation. But, one ballet that’s coming back, and that I have learned in the past, is Agon. I’m hoping that maybe I’ll get a show of a soloist boy. It’s probably my number-one dream role. Also, Square Dance is coming, which I don’t think I’ll get to do this season. But it is something I definitely hope to learn, at least. We’ll see.
