Have you 'HIRD'? in Toronto

Last weekend, Margaret Tracey and I visited our close neighbor - home to the CN Tower and the Blue Jays - Toronto. After a very early flight direct to Toronto City airport (Porter Airlines - very convenient and excellent service), we took the world's shortest ferry ride from Toronto island to the city.

We spent two days visiting Canada's National Ballet School and were warmly welcomed by Artistic Director Mavis Staines. We had the chance to observe classes in their stunning building, including seeing two NBS students who had come to Summer Dance Program last year as part of the exchange we have between our two schools. Another former exchange student is now an apprentice with the National Ballet of Canada.

Sunday took me to cold Calgary, where I was welcomed by Murray Kilgour, Director of the School of Alberta Ballet. His wife Nancy had taught me as a child in England - this dance world is very small!

Next stop is the highlight of my year - representing Boston Ballet in Europe. Find out how I get on in my next blog post!

BBS Artistic Manager Christopher Hird.

Have you 'Hird'? in Los Angeles

Last weekend, I took the long trip to the west coast of the USA, visiting Los Angeles, where Rodeo Drive meets the Hollywood sign. Having not been there since I was eight years old, I was excited to visit the sunshine state again. I met Evelyn Cisneros-Legate, who was brought up in Huntington Beach, just south of LA, and the two of us held auditions for the Summer Dance Program at the Los Angeles Ballet and the Maple Conservatory in Irvine.

We were both very pleased to see so many students auditioning - in Irvine, the line was around the block when we arrived! One of the delightful parts of the audition process is reconnecting with students who have attended SDP or BBS in the past. I was happy to see a former BBS student who is now a Trainee at Los Angeles Ballet, as well as several SDP alumni who were keen to join us again this summer. Also nice to see energetic young boys all wanting to take their first step towards a professional career. We hope they will join us in Boston or Newton this summer.

Next up is across the border in Canada - Margaret Tracey and I will be in Toronto for the weekend, and I will be traveling to Calgary on Sunday. Check in with me next week to find out how cold it really was!

Photo of Christopher Hird following in Charlie Chaplin's steps at the Hollywood Walk of Fame.

Spring 2012 (and Nutcracker!) Preparations

I hope everyone has had a great holiday season and is ready for a new year! We have been very busy down here in the shop the past couple of weeks getting ready for the rest of the season and even for next years new Nutcracker.

Pat Sullivan, Draper, has been very busy patterning, cutting, and fitting new mens coats for Rooster. She is making 18 coats for this production, as well as pants and shirts. She is also making patterns for mock-ups of the design we have from the new Nutcracker.

Ken Busbin, Draper, has been busy as well with Les Sylphides, Rooster, and of course with tutus for the new Nutcracker.

Alexi Weglowski, Head Crafts Person, is busy with Don Quixote, dyeing Etudes fabric, and making mock-ups of new Nutcracker headwear.

It’s never a dull moment in the costume shop!

SIMPLY SUBLIME: Scene from Les Sylphides. Photo: Rosalie O’Connor. Courtesy American Ballet Theatre.

HAVE YOU ‘HIRD’?

This is the first in a new series of blog entries, as I begin the audition tour for our Summer Dance Program. Similar to ‘Where’s Waldo?’, you can follow me on my travels around the USA, Canada and Europe. This first weekend I traveled to Cincinnati, home of Graeter’s Ice Cream and the Bengals. If you ever get to visit, I do recommend a restaurant – Via Vite – on the famous Fountain Square. Lovely Italian food – their pizza is simply wonderful.

Sunday took me to the nation’s capital, where I was joined by Kathleen Mitchell. We had a lovely brunch at Café Deluxe on Wisconsin Avenue, before enjoying working with 111 male and female students, all dancing with a nervous excitement, hoping to be accepted into SDP. This year, all students will hear within 10 days, so it’s a quick turnaround to get the results back to 19 Clarendon to be processed.

This weekend I will be going to Los Angeles – a place I haven’t been to since I was 8 years old. Any suggestions on what I should do?

Give Ballet a Try in 2012

Boston Ballet School now offers adult beginner ballet classes at all three locations: Newton, Boston and Marblehead. Read below about the benefits that current adult beginner ballet students have received.

I’m sometimes tempted after a long or frustrating day to stay home rather than venture to class, especially when it’s cold or rainy or snowy (or not uncommonly in Boston, all three) I’ve learned not to trust that feeling. No matter how tired my body or dispirited my mood, I can’t recall a single time that I did not leave class feeling better than when I came. - Mari N.

Laurel (Tennant)’s adult class has been a tremendous gift. Not only do you get a class from a well-trained and experienced instructor, you also get to share the experience with a great community of dancers who are excited to learn and happy to be there – just what ballet class should be! Plus, you get to laugh along the way. -Danielle A.

I am just two weeks into the Beginner Ballet classes offered through Boston Ballet School’s Adult Dance Program. It has been refreshingly fun and enjoyable to get back into ballet after several years away from it. Laurel is a wonderful teacher who does a great job setting a low-pressure environment, where we can feel comfortable learning or re-learning various movements.

This class is quite easy to jump into, even half-way through the fall schedule – as I have done – because Laurel is not only welcoming to new faces, but also very patient and encouraging to make sure everyone knows what’s going on. I’m glad to have started at the beginner level to immerse myself in the basics and still have a great workout with a fun, relaxed group! - Sarah P.

Learn more about BBS' Adult Dance Program, which includes classes at the beginner through advanced levels.

Photo by Sabi Varga, courtesy of Varga Images.

"It’s hard to believe that we are in the last week of performances."

Hi everyone, it’s Rachel, and I am performing this season as Clara in The Nutcracker. It’s hard to believe that we are in the last week of performances. It seems like I was excitedly getting ready for my first rehearsal just yesterday. I am amazed at how time flies, from the auditions in September and the greatly anticipated arrival of casting letters to rehearsals and giddy costume fittings to studio run-throughs and dress rehearsals -- it has all been a rewarding experience.

Before I knew it, I was nervously warming up on opening night. The excitement that I felt during that show and all the others that followed have made all of the hard work and late nights more than worth the effort. Plus, my family and friends have been incredibly supportive of me. If I had a question about something we had learned in rehearsal, I was lucky enough to have the guidance of many of my ballet friends, including past and present Claras. Also, my teachers both at ballet and at my middle school have been encouraging and understanding about juggling the intense schedule. It has been my honor and privilege to be a part of this show and to work with the amazing cast and crew.

Lia Cirio with Boston Ballet in The Nutcracker. Photo by Gene Schiavone.

Meet Rachel, One of the four Nutcracker 2011 Claras

Hi! My name is Rachel Harrison and I am thirteen years old. I study ballet at the Boston Ballet School’s Clarendon Street studio. I take classes six days a week - a combination of technique, pointe, character, modern and pilates. Although the holiday season has always been my favorite time of year, this year has been especially magical since I have had the opportunity to perform as Clara in the 2011 Nutcracker season.

The role of Clara is particularly special for me because I get to take the audience on an awe-inspiring adventure that starts at my parents’ festive holiday party and ends up in the wonderful Land of Sweets where I get to meet the beautiful Sugar Plum Fairy. Ever since the first time my mom took me to see the Boston Ballet Nutcracker, I have dreamed of being Clara. There is something so perfect about a child’s (or anyone’s) first trip to see The Nutcracker. I will never forget the twinkling lights on the Christmas tree, the fluttering snow or the radiant Sugar Plum Fairy that I observed with wide eyes from the audience. I hope that as Clara I am able to contribute to making this Nutcracker season as magical for the audience as it has been for me.

Rachel Harrison and James Whiteside in The Nutcracker by Gene Schiavone.

Happy Nutcracker!

It is, of course, that time again for Boston Ballet’s The Nutcracker and this will be my second season performing the role of Clara’s magical friend Drosselmeyer. This role is one of the most stressful in the production because there are so many responsibilities and so many things that can go wrong. As ballet dancers we are trained to be in complete control of ourselves but this role also requires an ability to roll with the punches. You are interacting with so many different moving parts, from the magic tricks and the children in the party scene to a massive cape and the flying balloon. The role requires trust in those around you to do their part and the ability to improvise well. Drosselmeyer is also one of the most rewarding character roles to perform. As he takes Clara on her journey, he brings the entire audience along with him. It’s nice to feel so directly responsible for such a warm holiday tradition.

We work very hard at Boston Ballet to make everything appear flawless. That’s part of the essence of ballet—present our hard work as effortless while striving for perfection. Most of the time, I’d say, we pull it off quite well. However, the nature of live art sometimes opposes these efforts. With its marathon of 40 performances, The Nutcracker sees more than its fair share of humorous flubs. Whether it’s a malfunctioning handkerchief trick turning the stage into a large scale marionette theatre, shattering lights raining glass onto the stage, an impromptu cameo appearance by an over-enthused child, or cannon balls falling into the orchestra pit, there is rarely a dull moment for us. I hope everyone has a happy and healthy holiday season and, of course, don’t forget to make The Nutcracker part of the magic!

Bradley Schlagheck, Rie Ichikawa and Artyom Maksakov in The Nutcracker. Photo by Gene Schiavone.

Post your own review of The Nutcracker

It's officially holiday season, and you've rung it in well with Boston Ballet's production of The Nutcracker! You are likely still humming Tchaikovsky, with visions of the Sugar Plum Fairy dancing through your head.

Post your review of Boston Ballet's production of The Nutcracker as a comment on this blog post!

Altan Dugaraa in The Nutcracker, photo by Rosalie O'Connor.

It's...The Nutcracker!

It came out of nowhere! Loud and rambunctious. It brought with it scores of tiny, bun-headed children frantically practicing the choreography they just learned. It is a living, breathing spirit that sneaks up on 19 Clarendon Street each autumn. One minute, it's Halloween and pumpkins and Romeo and Juliet, the next minute, it's ...

The Nutcracker!!

This year, following the close of Romeo and Juliet, we company dancers have only ten days to put the temporarily broken Nutcracker back together again. It is a very special kind of remembering-Nutcracker magic. Our first snow rehearsal of the season I experienced it. I was standing in the studio straining to make my brain and body remember the choreography. Then, all of a sudden, with the first notes of the piano, it all came flowing back and my body flew to the sounds of Mr. Tchaikovsky. It is amazing how simply hearing the music answers all my choreographic questions. I suppose it is the by-product of calling this Nutcracker production home for the past nine years.

There are several new dancers in the company that find these ten pre-Nutcracker days most stressful. Diana Albrecht can often be seen marking through all her new choreography during any available free moment. Ashley Ellis has been bombarded with new Nutcracker opportunities learning both a new snow scene and a new snow pas. There are quite a few new BBers trying frantically to learn this new-to-them Nutcracker. The whole team tries to help the learning process, offering guidance and mid-run whispers as we rehearse. It will all get put together in the end, as The Nutcracker always does.

This year, I am so grateful for this familiar process. I am going to relive each memory of this nine year old (to me) production. And remember with each note the joy it has brought into my ballet life. It is, after all, my last year with it.

Next year, you see, will be an exciting, brand new Nutcracker production with new sets and costumes, and a few choreographic changes as well!

Corina Gill in The Nutcracker by Rosalie O'Connor.

Post your review of Romeo and Juliet

Love is in the air in Boston, as Boston Ballet brings John Cranko's Romeo and Juliet to The Boston Opera House stage, with gorgeous costumes and a luscious score. Read these reviews of Romeo and Juliet, and then share your review!

The Boston Globe

The Patriot Ledger

The Hub Review

Boston Ballet in Romeo and Juliet by Rosalie O'Connor.

One short day until the opening of Romeo and Juliet!

Our annual Night of Stars was a truly splendid opening to the 2011-2012 season here at the ballet and we’re already moving right along. There is only one short day until the opening of Romeo and Juliet and, even though we’ve had quite a bit of preparation, there’s still much more to come as we move into the Opera House.

Over the past few weeks, part of our preparation has been specifically focused on the sword fighting. Along with learning the detailed sequences of hits, blocks, jumps, turns, and other fancy flairs of choreography, we’ve been receiving top notch stage fighting and combat skills from Ted Hewlett, faculty at Emerson College. His wealth of knowledge in trained combat is always extremely interesting and he’s a great talent and help when it comes to making everything look believable AND safe. It’s the ultimate thrill to watch the final showdown between Romeo and Tybalt and it’s one surely not to be missed.

Romeo and Juliet is so visually and musically stunning that it is absolutely breath taking to dance and watch. Personally, my favorite scene to dance in the ballet is the masquerade ball in Act I. From the opulence of the costumes, on loan from the National Ballet of Canada, to the heart-pounding rumble of the theme music, the scene is one of the largest in the ballet. It’s here that Juliet’s first passing glimpse of Romeo sparks all of the drama and tragedy to come. The dark and somewhat ominous score by Prokofiev sets the dramatic mood and will definitely leave a tear rolling down your cheek. All in all, this timeless tale of star-crossed lovers is a fabulous MUST-SEE!

Boston Ballet in Romeo and Juliet, photo by Gene Schiavone.

Post your review of Night of Stars

The reviews are in for Boston Ballet's 6th annual Night of Stars, and now we want to hear what you think!

Post your review of Night of Stars as a comment to this blog post.

Boston Ballet in the second detail by Rosalie O'Connor.

And the winner is....

The winner of Boston Ballet's What would you do for love? contest is Lulu!

Lulu, send us an email at webcontent@bostonballet.org to reclaim your prize.

The rest of you, thank you for sharing your love stories with Boston Ballet. Love is in the air this week, as Romeo and Juliet opens this Thursday, November 3 at The Boston House.

Sword fights, Stabbings, Romance and more!

It's hard to believe the tragedies taking place here at 19 Clarendon street. Today alone I witnessed three different sword fights, six different stabbings and two attempted murders. The ballet world is exciting!

I am speaking of course of our ongoing preparation process for Romeo and Juliet. We have almost completed the learning process with the BB visiting veteran, Jane Bourne, as our leader. She is tough, sometimes scary and ALWAYS seeking perfection in music, choreography and character development.

Every day in the studio offers a new cast of characters and a new combination of chemistry for the explosions of drama in the studio.

It is so much fun to watch all the different casts work. I am reprising my role as Juliet's Nurse which allows me not only to hone my acting skills but intimately observe the real,behind the scenes, growth of Romeo and Juliet as a couple.

It is so strange, but each pairing, just like in real life, has to find a rhythm and a timing for every precious step they take together. Jaime Diaz and Erica Cornejo still make my head tip slightly to the side as I watch them kiss and play teenager around the studio. Nelson Madrigal is a more experienced Romeo coaxes the gentle sweetness of Misa Kuranaga's Juliet. I keep having flashbacks to being Misa's Governess in the Nutcracker last New Years. I had better keep my stories straight or I'll end up giving her a toy instead of marital advice. Kathleen Breen Comes is divinely tragic with the charismatic James Whiteside by her side. Her genuine facial expressions give me chills and I can't wait to watch as the choreography becomes more just who she is. Finally there is the ultimate Juliet pro, Lorna Fejoo teaming up with the hugely energetic Lasha Koshavili. Each groups' interpretation is magic in the studio.

I feel like I could rattle on about this amazing ballet forever. Come and see it! It makes each working day a private show for us and it is only going to get better before we open the story to all of you.

In...

Two weeks!

Jaime Diaz and Kathleen Breen Combes by Rosalie O'Connor.

A life-changing experience in Copenhagen!

Hej! (Hello in Danish)

This is our final week in Copenhagen. So much has happened since our arrival. On a regular day we have a company or apprentice class in the morning and apprentice class in the afternoon, pas de deux class on Wednesday and modern class on Friday. It's such a joy to take classes with the company dancers here. They dance with such precision. We learned so much from watching them both in the studio and on stage and also from the amazing teachers. We've been bonding with the apprentices and hope to keep in touch. They are all wonderful people and talented young dancers.

On our weekends or after classes we became tourists and explored the city. Everyone recommended the Canal boat tour which took us around the city including the famous ‘Little Mermaid’ statue. We also went to the Tivoli Gardens, which is one of the most celebrated attractions in Denmark.

We were very fortunate to attend a few performances by the Royal Danish Ballet. We saw La Sylphide and The Lesson – one of the apprentices, Ida Praetorius played the role of the student. We also saw Bournonville Fantasie, Donzetti Variations and Etudes, which Boston Ballet is going to perform this season. Etudes was originally choreographed in one of the studios where we took a few classes. It was great to be in a room full of history.

This has been a life-changing experience and we are so thankful for this opportunity. We are sad to be leaving so soon but looking foward to being back in Boston!

Written by Hyun-joo Choi and Xavier Ferreira, Boston Ballet School trainee students

What would you do for love?

Romeo and Juliet is breathtaking moments away, and this timeless story of love has us thinking, what would you do for love? Plan an elaborate proposal? Move across the world to be together?

What have you done for love? Tell us the craziest thing you have done for love in a comment of 50 words or less on this blog post! You will be entered to win two tickets to the opening night of Romeo and Juliet (Thursday, November 3, 2011) and a $50 gift card to BiNA Osteria. The competition ends on Thursday, October 27 at 11:59pm EST.

Jaime Diaz and Kathleen Breen Combes by Rosalie O'Connor.

Boston Ballet School flies the flag in Denmark

We were delighted to be chosen to represent Boston Ballet School for the exchange with the Royal Danish Ballet. We left Boston on Friday night, and after a 10 hour layover in Iceland (where at one point the airport was completely empty except for us and a maintenance worker!) arrived in Copenhagen on Saturday evening. We had to take the Metro to the boarding house where we'll be staying for the next 3 weeks. Although Mr. Hird had explained to us how to use the Metro, buying the tickets was rather confusing. After some time we figured it out and went on our way to August Bournonville Passage with a little help from a Royal Danish Ballet dancer we met in the Metro elevator. She explained to us were to go from there and she was very sweet and kind. The building is very beautiful and comfortable. It has a very homey feeling and made us feel welcome. Our rooms are spacious and clean with lots of storage space. We quickly unpacked and got ready for bed. We had a very adventurous and long day.

The next morning we woke up and had breakfast. There were a variety of foods to chose from. After we ate we met up with our friend Laura Anne from the Pacific Northwest Ballet School who is also an exchange student and went exploring the city. We walked through what they call "The Walking Street" which is full of shopping and restaurants. We decided to go Nyhavn Street by the canal which was absolutely beautiful. Its filled with colorful buildings and restaurants full of people eating and drinking. The people here in Denmark are warm and friendly and speak English which is very helpful. We ended up at Ms. Tracey's favorite soft serve ice cream parlor on Nyhavn. That ended our first full day in Copenhagen. We start class tomorrow which we are looking forward to!

By Hyun-joo Choi and Xavier Ferreira, BBS Trainee students

"Doesn’t everyone love sword fighting and fruit throwing?"

Our days at 19 Clarendon in the past few weeks have been filled to the brim. We are now closing out our 8th week of rehearsals since our season began and there’s only about a month until our Night of Stars Gala and the opening of Romeo and Juliet.

One of the great things about being a senior corps de ballet member is getting the chance to learn a large variety of roles. On the other hand, 30 hours a week of new choreography for 10 different parts can take its toll on the body and mind. This week we’ve been concentrating on Don Quixote and Romeo & Juliet. Both of the stagers for these ballets are delightful to work with and even though they’re here to get a large amount of work done, they create a very fun and light-hearted mood in rehearsal. Act I of Don Quixote is a marketplace in Barcelona filled with snapping, clapping, fighting, stomping, cape twirling, and anyone’s fair share of fancy fan work. Once everyone has learned their respective dances, pas de deuxs, or solos, putting everything together is when the fun starts. Act II of Don Quixote turns to a gypsy camp on the outskirts of town and, yet again, another energy bursting corps dance. “Full Call” rehearsals like these are a lot of work because there is so much going on, and sometimes they can be a bit long and tedious, but when it all comes together, they’re so much fun to be a part of. In John Cranko’s version of Romeo & Juliet there’s nothing more fun than being in the corps and, of course, another fun-filled marketplace scene. Doesn’t everyone love sword fighting and fruit throwing?

Along with the two large story ballets of the season, we’ve also been working on the smaller pieces of the season including Jorma Elo’s Sharp Side of Dark and Jerome Robbins’ Fancy Free, both of which I am extremely excited about. Working on Fancy Free is equally as challenging as it is rewarding. Along with fabulous choreography and musical intricacy, the interaction between the three sailors and the action they encounter truly creates the heart of the ballet. Switching gears and playing a 1940’s sailor on shore leave in New York City really brings some excitement to a long work day.

The season is slowly shaping up and it’ll be opening night before we know it. See you at the Opera House!

Jaime Diaz and Kathleen Breen Combes by Rosalie O'Connor.

Autumn Greetings from the Boston Ballet Annual Fund

Boston Ballet School (BBS) is in full swing! I am happy to report that your donation is going toward a really great cause—dance education. (Although I suspect you already knew that)!

Running the largest dance school in North America is a big expense for Boston Ballet. Keeping 10,000 annual students on their toes is hard work, but it’s the most rewarding of its kind. Giving to the Boston Ballet School Annual Fund supports dance education in all three of our state-of-the-art studios in Boston, Newton and Marblehead. Tuition doesn’t cover the cost of our renowned faculty, paramount training and diverse curriculum. With your support we can continue to give the gift of dance education.

Please consider joining us today. Remember: every gift counts.

When you give back, we move forward.

Annual Fund Manager Rachael Rosselli can be contacted directly at: 617.456.6268, or via e-mail at rrosselli@bostonballet.org.

Photo by Sabi Varga ©Varga Images.

Always a new creative project on the horizon...

My job at Boston Ballet is to maintain the brand through graphic design. This means I touch every facet of the organization. I create everything graphical for print and online, including outdoor displays and merchandise graphics. I have even created crowns to hand out to kids at The Nutcracker!

If someone were to ask me what is the one thing that I love about my job, its that every day is different. Every day has a new challenge. One day its figuring out the best way to illuminate signage in the retail shop at The Boston Opera House. The next is creating graphics that will appear on the side of a city bus. There are of course the less exciting tasks like manipulating a lot of copy into a small ad space or making booklets full of text – but there is always a new creative project on the horizon.

Right now one thing I am very proud and excited about is the line up for this season's t-shirt collection. Creating the graphics for the shirts is a fun, yet time consuming project. Most seasons (and this is my 7th) I am doing it so last minute that its a nail biter as to whether or not the final product will appear on the shelves by opening night. This isn't on purpose – there are just so many other deadline driven tasks that this somehow always falls to the back of the line. This year, however, it was decided that we wanted to have the whole line up ready to go for the opening night gala, Night of Stars, on October 29.

Our new retail manager, Erin, and I were up for the challenge. (I say 'new' since she's only been with us for 6 months or so, but feels like we've been working together forever). First large task was to get the Artistic Director to sign off on all the poster art, since that dictates the campaign for everything else. Being a designer and a brand manager has a push and pull effect – I want each production to be unique (designer) but I want them each to look like they are being put on by the same company (brand). Plus I don't always get cut and dry direction... take Don Quixote, for example. I was told the design should 'smell like saffron and taste like sangria'. Try to figure that out in print.

Once each production had its look, it was time for Erin and I to translate into clothing. Erin found some awesome shirt cuts and fabrics for the base. Then she has really been pushing me to take the designs to a new level – less about just being a show souvenir and more about the fashion. After a few months of lots of back and forth, we are nearly finished and I am very pleased and proud of the results. I can't wait to see all six lined up in a row, showing off what a spectacular season lies ahead.

I am not going to ruin the anticipation – you'll have to see them for yourself at Night of Stars.

Written by Kristin Carr, Design and Brand Manager at Boston Ballet.

Kathleen Breen Combes and Jaime Diaz as Romeo and Juliet and James Whiteside and Misa Kuranaga in The Nutcracker by Rosalie O'Connor. Whitney Jensen in Brake the Eyes, Karine Seneca and Carlos Molina in Polyphonia and Lorna Feijóo in Don Quixote by Gene Schaivone. Pacific Northwest Ballet Principal Jonathan Porretta in Jerome Robbins' Fancy Free by Angela Sterling.

"It’s a grand sight for the happy costumer!"

It’s officialy that time again, when we begin seeing dancers in the Costume Shop. It is always very exciting down here once the dancers start back, as it gives us a chance to see the hard work that we have produced during the summer on an actual body!

It is crazy with costumes down here as costumes for Romeo + Juliet arrived yesterday. We are at maximum level with The Nutcracker, Don Quixote, Les Sylphides, Night of Stars, and R+J in the building. It’s a grand sight for the happy costumer!

Scene from Les Sylphides. Photo: Rosalie O’Connor. Courtesy American Ballet Theatre.

A recap of the first month back in the studios

Oh my! It's September! The college students are moving back in full force making the leisurely morning walk to 19 Clarendon street a virtual obstacle course of couches and old mattresses. I can't believe how fast the first month back has passed. I can almost feel The Nutcracker's familiar melody playing just around the corner.

Actually, all of Boston could hear that familiar tune as Boston Ballet paired up with the Boston Landmarks Orchestra to celebrate the wonders of ballet and Tchaikovsky at the Hatch Shell. It was a free show to celebrate the arts, and there was barely a square foot of free grass by the time all the audience of evening picnickers were seated. Select BB and BBII dancers performed exerpts from The Nutcracker, Swan Lake and The Sleeping Beauty while Jonathan McPhee hosted and conducted the music out to the crowd and over the Charles.

There was something truly magnificent about sitting there listening to the Snow Pas and Waltz of the Snowflakes out of context. It is SUCH beautiful music!

Oh! And Swan Lake! What a guy that Tchaikovsky was! I felt for a second, as the music boiled over towards the end of Swan Lake, like we all were at a ballet rock concert. The Hatch Shell was vibrating with music, people were all moving without even realizing it, and the ballet dorks (not just me) found ourselves flailing arms with the symbol crashes wishing we were performing the music. It was quite a ballet pep-rally.

This afternoon, I will put my thinking cap on for a three hour rehearsal of Fancy Free by Jerome Robbins. It is going to be our closing program of the season, and makes me think of Gene Kelley mixed with all the ballet technique a playful ballet can hold.

It's been a great day so far and is shaping up to be a great finish to the first month back of the 2011-2012 season.

Boston Ballet soloists John Lam and Whitney Jensen performing at the Hatch Shell this past Wednesday. Photo by Michael Dwyer.

How many tutus is tutu many?

This past summer has been hot and cold, but very busy down here in the Boston Ballet Costume Shop.

I have been away for back/disk surgery and recovery is coming along. I was told the case could have been a multiple of things, but mainly from dancing all those years. One's body was not meant to be manipulated in the ways in which we dancers put ourselves through. Even if I knew that then, I would have still kept dancing. It is a passion from within oneself that keeps each of us in the performing arts community.

Ken Busbin, Head Draper/Workroom Supervisor, has been busy making tutus with his team for Études. It is a ballet of tutus. This means every girl in the company is either in a black classical tutu or a white classical tutu. There are also some romantic white tutus that will be made as well. We are talking in the vocinity of about 40-45 classical tutus.

Here is a good trivia question: “How many tacks are there in a classical tutu?” Answer: about 300! A tack is used to make the layers stay together, with the tutu hoop, which make that flat crisp look on a classical tutu. You use a long needle and thread and start on the lowest under layers and work your way to the top layer.

Études, Patrick Baldwin courtesy of English National Ballet.

Join Today for Exclusive Offers!

Boston Ballet Annual Fund Donors

Dearest Boston Ballet Donors,

Over one month into the 2012 fiscal year, I wonder if you know how significantly Boston Ballet relies on donors such as yourself?

Our greatest percentage of donors are those who are members of the Friends’ Circle—with donations starting at just $35 a year!


Did you know that last year only 5% of a whopping $291 BILLION dollars of donations made in the US were contributed to Art and Cultural groups. That’s about $14.5 billion towards Arts and Culture. That isn’t much for thousands of programs that work to enrich our communities 365 days a year, from sea to shining sea…

Now that you’re wondering how to get involved in your community, there are incredibly exciting and affordable ways to support Boston Ballet. If you’d like to support local arts and would enjoy exclusive benefits, then you should become a member of the Boston Ballet Annual Fund. There are many different levels to give—every gift counts—and easy ways to make your gift. Are you between the ages of 21-45? Consider becoming a Young Partner! Meet up with ballet enthusiasts who are vibrant, fun professionals. There are several opportunities to attend private events and after-parties on the regular.

If you join the Friends’ Circle today, then you can buy your tickets an entire month before the general public. I know, right? I told you membership is exciting! Seize the day, become a member by joining Boston Ballet.

When you give back, we move forward.

Annual Fund Manager Rachael Rosselli can be contacted directly at: 617.456.6268, or via e-mail at rrosselli@bostonballet.org.

Referenced: http://www.reuters.com/article/2011/06/20/us-usa-charity-idUSTRE75J0RV20110620

From Taking Healthy Steps student to Teaching Assistant

I started at Boston Ballet's Taking Healthy Steps Program when I was 12. At first I was unsure of myself when it came to making friends and socializing but my concerned quickly evaporated in the 4 years I attended the camp. I learned many different types of dance and gained incredible experiences that I would have never gotten without the program. I learned about myself as well. I realized that I COULD dance, and be comfortable with making mistakes. I grew a lot as a person, I'm more outgoing and free with myself and my personality. Every year was a different experience. From Yoga, to Wushu even Step. I never knew what to expect....except for the soreness ;). I am very grateful for the program and all that it has taught me and continues to teach me.

I was very unsure about becoming a THS Teaching Assistant when I first got the email about the position. To be honest I didn't think I was right for it. But people pushed me to try it and gain the experience from it so I decided to give it a shot. And through that experience I learned even more about myself. I learned that I can help people in ways that other people can't. And that's very validating to know that I can make a difference in someone's day. It's a tough job and I now have even more respect for the individuals such as teachers that give their life to helping children. I would love to be a TA again for next year's camp so that I can continue to help other people through words and actions.

Written by Zoe Rosemond

Photo: Zoe with Sarah Duclos, Outreach Teaching Specialist at Boston Ballet

"this large ballet machine"

The end of summer came, oh, so quickly and the first few rehearsal days of the season have come and gone. During the spring of last season, a bit over the summer, and the day before our new contract started, a few of the dancers’ minds were concentrated on one specific thing: AGMA negotiations. The American Guild of Musical Artists is the dancers’ union that supports and protects pretty much everything we do at 19 Clarendon, The Opera House, and on tour. We discuss everything from compensation and temperature to theater schedules and pointe shoes. We negotiate our contract for a three year span and, with the close of last season, it was time for a new contract. The AGMA negotiating committee consists of our amazing AGMA lawyer, Deborah Allton-Maher, our company AGMA delegates for that season, James Whiteside and Alison Basford, and a few other dancers interested in learning about our contract and the negotiation process…myself, Sarah Wroth, Rachel Cossar, and Kathleen Breen-Combes. Hearing about negotiation setbacks at Joffrey Ballet and New York City Ballet and the general state of the economy during our process was a little unsettling, but I am very happy to report that our negotiations went extremely well. New additions to our contract will facilitate the daily happenings of the company and keep this large ballet machine running smoothly. As artists, we are proud to have a union that helps create a more stable and productive environment, while giving us the chance to improve our daily work lives. Standing as a strong, united group of artists is very empowering and, of course, we do it because we love it. I am also happy to announce that Kathleen Breen-Combes and I have been elected the new AGMA delegates for this season and we are both excited to represent and work for such an outstanding group of talented artists. Being an AGMA rep for this season will definitely be a great learning experience in leadership, not to mention a great exercise for the left side of my brain. AND of course a great thank you goes out to our negotiating committee, our lawyer, and Boston Ballet management.

Patrick Yocum: My Summer Vacation

What an incredible summer it’s been! Most dancers can relate to the fact that ever since I began this life in ballet, each and every summer has been filled with all consuming intensives, touring, teaching, you name it. This summer has been my very first exception, and I’ve really enjoyed my free time to expand my horizons!

I started out the summer in June with a wonderful family vacation to Puerto Adventuras, Mexico on the gulf coast. My whole family loves the water, and we spent each day in the bathwater of the lagoon exploring a huge, wildly diverse coral reef. My brothers also dragged me into exploring a ‘Cenote’ (Mayan for “mouth of the underworld”…gulp!) which is a pitch-black underground river cavern with 60 feet of cold water beneath you. Not great for those with active imaginations and a lot of phobias (like myself!!)

In July, I also got the chance to see the US southwest for the very first time, as my older brother moved from San Jose, California to the east coast! I was lucky enough to tag along and see some incredible national parks along the way. The photo here is at the edge of a cliff in Canyonlands National Park, Utah. The country is more enormous than I ever could have guessed, and driving across it you see some things that you will never forget. From finding yourself 100 feet below sea level in Death Valley to a herd of bison coming up to your car in Yellowstone National Park, it was quite an adventure!

Finally, after coming back to Boston a month ago to get back in shape I decided to explore yoga at Back Bay Yoga on Boylston Street. Even just a few weeks of this remarkable practice has really changed me. The movements and stretches compliment dance well, healing old injuries and strengthening the body in new ways. Plus, adding meditation to my daily routine has made me a calmer and happier person. It’s easy to say that I am so excited to begin my first year in the corps de ballet here at BB! It’s been an eye-opening summer but coming back to work might be the most thrilling part!

Written by Patrick Yocum, Boston Ballet corps de ballet member.

Patrick in Canyonlands National Park, Utah.

Alison Basford: My Summer Vacation

I decided to spend most of my summer break in Boston doing things I don’t usually have time for when our season is in full swing. I visited the farmer’s market (cousa and purple bell peppers, anyone?) and the Scooper Bowl with Patrick Yocum; I went on a Chocolate Walking Tour with Rachel Cossar (read more about it on Rachel’s food blog); I explored the U.S.S. Constitution (talk about close sleeping quarters!) with a friend visiting from out-of town.

I also tried yoga for the first time with Lia Cirio (our conclusion: yoga is hard!) Ballerinas may be elite athletes, but yoga trains different muscles. I decided to add yoga into my daily exercise/cross-training routine. Of course, it wouldn’t be vacation without ballet class; I spent much of my time at the Boston studios taking class and working out.

I took several mini trips, too, including a visit to my sister in Cleveland, Ohio, where my parents decided to join us for a family vacation. What does one do on vacation in Cleveland? Ballet class, of course! However, this was a rather unique experience as I took classes taught by my sister (a former dancer with Miami City Ballet) as my parents sat in the corner and watched. The best part, though? When my dad felt so inspired that he started to do port de bras from his chair with the rest of the class. Memories like these are priceless!

I also took three separate trips to New York to visit my parents and friends. On one of my trips, I saw the Royal Danish Ballet perform (they were fantastic!). My last trip was to DC to visit a former ballerina friend turned lawyer (she calls herself a ballawrina—isn’t she clever?).

So, that was my summer in a nutshell. It was a great summer filled with love, laughter, and a little sweat and tears, and now it’s almost time to head back into the studios for the start of another great season. Well-rested and traveled, I can’t wait!!

Written by Alison Basford, Boston Ballet dancer

Kelsey Hellebuyck: My Summer Vacation

This year since there was no tour we had a REAL honest to goodness SUMMER! And boy did I make the most of it. After the 2010/2011 season finished it was off to my sister's apt. in Cincinnati for a brief time with her and her poodle. From there together we flew to visit our parents in Colorado (it's always like a gorgeous mountain retreat up there in the Rocky Mountains!) I went to my very first baseball game, Rockies vs. White Socks! ROCKIES WON!

We had some kind of day trip everyday and I was there for 3 weeks! (Rocky Mountain National Park, Manitou Springs, Estes Park, Grand Lake, Garden of the Gods, etc.) each one more beautiful then the next!

We saw a movie at the Red Rocks Amphitheater ("Top Gun" 25th anniversary), first time I'd ever seen it! It was great! I then flew back here to take some SDP classes and tried to get my feet used to being back in the pointes:)!

This Past weekend I went to NYC for one last hoorah! We went to the Met Museum and saw the ALEXANDER MCQUEEN exhibit! IT WAS SO BEAUTIFUL!

Overall I think it twas a Fantastic summer! So many Fantastic Memories made! But Now it's BACK TO BUSINESS! Official first day back is August 9th, and I can't Wait! It's been a LONG summer but a MOST Enjoyable one at that!

Written by Kelsey Hellebuyck, Boston Ballet dancer

Photo of Kelsey and her sister, Courtney

"No matter what, you will learn something."

As a recent blockbuster movie and hit TV shows like So You Think You Can Dance have turned the spotlight to ballet, I think it’s time that the “intimidating” and “awkward” connotations of ballet class for adults are kicked to the curb. In reality, everyone can benefit from diversification in his/her workout routine, to avoid boredom and stimulate muscles you forgot you had! Full disclosure: I have been taking dance classes for a significant part of my life, but as I now take dance classes recreationally as an adult, I have noticed that ballet still holds its own barriers to entry. I am attempting to knock those walls down with some helpful tips!

1. You DON’T have to wear a leotard and tights. That alone should take a weight off your chest! Yoga clothes are perfectly fine. As long as the teacher is able to see your body alignment, you are all set. Ballet slippers are definitely good to have.

2. Arrive about a half hour before the class begins. That way if you are new to the studio, you can check in, find the changing room, fix your hair from the New England weather, perhaps meet the teacher, and …STRETCH!

3. Bring a water bottle, and if you sweat a lot from other physical activities, bring a small towel. If you want moral support, bring a friend!

4. Pick the class level that will make you feel comfortable. If it’s been a while since you’ve been in the studio, take it easier in an elementary class. If you have never taken ballet, take an absolute beginner ballet class. Starting in September, drop-in beginner ballet classes will be available at all three BBS locations, with special “back to basics” seminars incorporated. Feel free to call the studio and ask for recommendations from staff.

5. Take the time to stretch after class. You may want to run to catch your train, but your body will thank you in the morning.

The most important thing to do is not take yourself too seriously. I like taking classes at the Boston Ballet School Clarendon Street location in the South End because it is a super-convenient location. Some great pros about Boston Ballet School, I have found, are the professional and knowledgeable staff, the clean and air-conditioned facilities, and the fun and unpretentious students! I encourage you to give ballet a try, because no matter what, you will learn something.

Written by Genevieve K.

Sabi Varga (c) vargaimages.

"Here’s to the final days of summer!"

The lazy days of summer have slowly begun to pick up and there are only about 4 weeks until we’re back in 19 Clarendon. Personally, being in Boston during layoff can be a bit daunting but also exciting. We’re all so used to having hectic schedules and minimal spare time for personal things so, when summer layoff rolls around, I think, “there’s so much to do that I don’t normally have time for so where do I start?” From outdoor activities and beaches to museums and shopping, Boston really does seem to come alive when the winter chill isn’t around. Probably the biggest thing that happens to Boston Ballet while we’re away is the Summer Dance Program. I attended SDP in 2002 for just three weeks, not being quite skilled yet to receive a scholarship for tuition or room and board. I had such a great experience staying at the Boston University dorms, traveling on the T, making amazing friends that are in my life to this day, and learning more than I ever imagined. I returned to SDP in 2003 and had an equally amazing experience. Near the end of the program, I was asked to stay year-round in the Boston Ballet School and, after graduating my senior year of high school a semester early in Florida, I began training in Boston in 2004. I’ve lived in Boston and worked with Boston Ballet ever since and the past 7 and a half years have been a wonderful roller coaster of life. These days, taking SDP classes always makes me think about my first days at 19 Clarendon, with the old maroon carpet and even that lovely maroon marley, and I can’t help but crack a smile. The excitement and “corner-of-the-eye” curiosity from the students when a company member walks past makes any of us have a slight celebrity moment. I’ve come a long way since my days in the summer program and having made it to being a member of Boston Ballet isn’t too shabby. Here’s to the final days of summer!

Bradley Schlagheck in Company class by Gene Schiavone.

Pliés and La Playa: A Dancer's Summer Vacation

This summer I am teaching Summer Dance Program students at the Boston location, and I must say I walked into the studio a bit nervous about how my teaching style would fair with a more "mature" SDP audience, the 14+ age-group instead of my usual Newton 10- 14 year olds.

My first class was on Monday morning at 9 am, and I had the time of my life. It's so addictive having a class listen to your advice with an open heart and a willingness to try new things. Each day I find new ways to push them to dance better.

The secret is, the really tremendous part about teaching for SDP, is that I get to make all these neat, dance-improvement discoveries with my students and then, the very same day, apply all the new knowledge to myself and my own dancing. You see, company members are allowed to take (virtually) any class offered in the summer program. Sometimes there ends up being five or six of us co-motivating through the sweaty, ever-serious SDP classes. There is a bit of a company member rotation that goes on during the month of July. Everyone sort of drifts in and out of town making cameo appearances for weeks at a time in between guestings and vacations.

Before the buckle-down of SDP, I did most of my vacationing. I ditched Boston right after the season ended and went home to my Poolesville for a good dose of the country. It was so cathartic to see my family with no agenda, and no reason to rush anywhere.

After I saturated myself in small town, I met my husband, Rob, in Baltimore for an outstanding wedding celebration. Rob was one of the groomsmen and it was so nice to oogle him in his three piece suit while we danced like loving idiots to celebrate our friends newlywedded bliss.

In the wee hours of the morning after the night before, Rob and made our way to the airport and flew with bleary eyes to the dreamy Playa del Carmen in Mexico's Riviera Maya. We all-inclusived ourselves into a deep state of relaxation, seeing all the beauty a pool and a swim up bar can bring. We also saw a Wonder of the World while we were there.

I can comfortably say that the summer is going splendidly. I have relaxed, I have visited and now, with the Summer Dance Program well underway, I am all set to grow and learn in ways I never thought I could.

Photo by Sabi Varga, courtesy of Varga Images.

Countdown to SDP!

For the last two months I have been counting down the days until Boston Ballet School’s Summer Dance Program, or SDP, starts. As I am writing this, I only have four more days until I fly across the country from California to Massachusetts, and I could not be more excited! I cannot wait to be back at the studio, working with fellow dancers from all over the world. This will be my second summer attending SDP, and I can’t wait. The environment at SDP is so encouraging and it’s great to be in a place where everyone has the same goal – to be the best dancer we can possibly be.

This isn’t to say that I’m not nervous at all, because honestly, I am a bit. It’s always slightly nerve-racking to go to a summer intensive. I worry about flying by myself, being home sick and even forgetting to pack my pointe shoes! But when I really think about it, none of these worries matter in the slightest. I know I won’t forget my pointe shoes, and I know I’ll be spending the summer doing what I love, surrounded by people who completely understand what I’m working for. That’s truly my favorite thing about SDP. Everyone, including the faculty, understands how hard we all work to accomplish what we strive for, and the camaraderie that occurs because of this is amazing.

And so, despite any of my worries, I remind myself excitedly, four more days…

Written by Remy, SDP 2010 and 2011 student.

Photo by VAM Productions.

Boston Ballet School: What a year!

The 2010-11 year has flown by. September began with open houses at each of the three studios, Boston, Newton and Marblehead, followed by the annual Nutcracker auditions. Over 250 students were featured in company productions this year, in La Bayadère, A Midsummer Night’s Dream and of course The Nutcracker.

Spring brought another successful audition tour for our Summer Dance Program, with faculty members traveling as far afield as Vancouver and Helsinki. Following a live Trainee class that was streamed online, the school launched new online videos, detailing its four programs: Pre-Professional, Classical Ballet, Children’s and Adult.

The classes offered for our adult students have been incredibly popular this year. We have seen over 500 new students through the door! Our Children’s Program saw hundreds of excited youngsters ‘graduate’ from their classes in the now annual Step by Step presentation at the end of the year. Next year, our popular Hand in Hand classes will be available for children from 9 months up.

The Marblehead studio began its second successful year with Principal Evelyn Cisneros-Legate being recognized by Salem News as one of the top 100 influential people in the North Shore. BBS brought its famed outreach program, Citydance to Marblehead this year, allowing local students to have their first experience of dance. In Newton, a master class series brought in members of the company to share their insights with both Advanced and adult students.

The highlight of the year for students in the Pre-Professional and Classical Ballet Programs is always the annual showcase performances, including Next Generation, and showcase at all three studios.

As we say goodbye to another year of hard work through the joy of dance, we look forward to the many summer programs that are available to all BBS students and the excitement of a new year ahead.

By Christopher Hird

Boston Ballet School students by Rosalie O'Connor.

"Just another jet-setting summer!"

The long awaited summer is finally here and for me that means a whole lot of traveling, sun, and relaxing. After 8 weeks of performing to close out the season, there’s nothing like having a blank schedule. I started my summer with a quick week trip home to Orlando, FL to visit family. I returned to Boston for a couple days only to leave again with friends for a weekend in New York City and then a week in Philadelphia. The good thing about the ballet world being quite small is that, over the years, friends have moved elsewhere and it’s given me the chance to meet a lot of different people in other companies. This past weekend was Boston Pride and it was the first time that Boston Ballet had a booth at the festival. Even though the weather was cold and rainy, it was so much fun to have fellow dancers and co-workers representing Boston Ballet at such a great event. Our booth was located right near the performance stage and we had a great time bouncing around to great music and talking to old and new fans of the ballet. I’m here in Boston for another day then it’s off again to visit my boyfriend in Shepherdstown, WV where he is company manager for the summer at the Contemporary American Theater Festival. After that I’m back in Boston for awhile to move into a new apartment, then headed to Provincetown, MA to perform with JbDubs (James Whiteside’s pop-star alter-ego) on July 3rd. Mid-July I leave for San Francisco, CA and Portland, OR to see friends and enjoy more time off. Just another jet-setting summer!

I feel like having a long summer break is a great chance to step back from everything and regroup. My body can take the time to rest and heal any ailments and I can look back on the past season while looking forward to another. I can see things that went well, and not so well, and I can set new goals for myself. Of course, it’s a very long time to be off from dancing, but it’s great to go into the studios whenever and take class, do a barre, or just sit and stretch. Enjoying a nice relaxing summer is something I think we all deserve after such an amazing season, and the time to get back in shape at the end of July will be here before we know it. So until then, it’s off to another destination!

Bradley Schlagheck in Petite Mort. Photo by Sabi Varga

Late Spring in the Costume Shop!

Late Spring is here and the Costume Shop is doing some major cleaning. We are getting ready to house three of our story ballets for next season and build one at the same time. It means we need to juggle around various costumes and accessories from here to the warehouse and vise versa to accommodate this venture.

The shop in general is busy constructing the 24-32 brand new tutu’s for the production of Etudes we are doing this season. It will be great to see all new tutu’s onstage at once.

Have great June and we will talk again soon!

Photo by Gene Schiavone.

Leave a note for Larissa Ponomarenko

Boston Ballet Artistic Director Mikko Nissinen announced recently that principal dancer Larissa Ponomarenko has been appointed Ballet Master for Boston Ballet. She has decided to retire from the stage after 18 illustrious years with Boston Ballet. Ponomarenko joined Boston Ballet in 1993 and has since become an icon both on and off stage. Read the full press release.

If you would like to do so, you may leave a message for Larissa as a comment below.

Larissa Ponomarenko by Eric Antoniou.

Excited for the future

After a fabulous opening weekend of Balanchine/Robbins, Monday was a much needed day of rest. Of course with only one week of the season left and Monday being our only day off, that day of rest becomes more of a semi-hectic to-do list. But, looking back at this past weekend’s performances, I’m very happy to be ending the season on such a high note. Opening night’s performance of Symphony in Three Movements was a little more stressful than most, aptly described by Sarah Wroth in her latest blog. But when I performed the piece again on Saturday night, the jitters were gone and my confidence boosted. I told my partner Tiffany Hedman, “Let’s just go out there and do it!” The result of just letting go and giving it all you’ve got is so rewarding. And of course, it’s a lot more fun than stressing. My first performance of Divertimento No. 15 on Saturday afternoon felt a bit unfamiliar due to last minute casting changes and the good ole’ contemporary to Balanchine switch that came with the Bella Figura Program into Balanchine/Robbins. But, performing the piece again on Sunday afternoon, I let myself relax and genuinely enjoy my time on stage. After the show, Russell Kaiser, Assistant Artistic Director, told me “That’s what it’s all about,” and after 7 weeks of performances, it was so nice to hear those words.

Over the past few programs, I’ve discovered something so special inside myself and I’ve been able to share that with the audience. Being on stage and allowing my true, innate self to come alive has helped me to grow beyond my own expectations. This week, I watched my boyfriend graduate from Emerson College and walk across the Wang Theatre stage. I remembered all of the times I performed on that stage and how much I’ve grown, year after year, since then. Thinking about his “real life” and career just starting made me think of my past years with Boston Ballet and how excited I am for the years ahead of me. Through all of its physical and mental challenges, being a ballet dancer is not only a career but a life: the life of an artist. An artist who has the chance to push and grow to be the best possible version of himself and share it with a loving audience. So as another season comes to a close, many seasons lie ahead and I’m truly excited for what my future holds.

Bradley Schlagheck in the second detail by Gene Schiavone.

Next Generation 2011

The highlight of the year for Boston Ballet School's Pre-Professional Program is their now annual performance at The Boston Opera House. Next Generation has been designed to showcase the stars of tomorrow in specially chosen repertoire for BBII and students in the Trainee Program. In addition to George Balanchine's sparkling Valse Fantaisie, the performance will include August Bournonville's Konservatoriet, which recreates a ballet class from the early 1800's and is like a Degas painting coming to life. Another highlight this year is the world premiere of Extraction4 by Boston Ballet Company second soloist, Jeffrey Cirio. His work will be performed by the dancers of BBII. As well as the repertoire works, the entire Pre-Professional Program will be presented in a progression of classwork.

Once again we are delighted to be partnering with the New England Conservatory - this year we have their Youth Philharmonic orchestra to play with us. It is such a unique experience for our students to perform to a live orchestra, and for it to be students both on stage and in the orchestra pit. The evening brings together the two art forms and showcases some of the most talented youth in Boston.

Next Generation is a chance for the entire Boston Ballet School family to celebrate, and we look forward to seeing you at The Opera House tonight at 7pm.

Suzette Logue, Emily Mistretta and Rachel Cossar in Excerpts from Napoli, Act III. Photo © Liza Voll.

A fond farewell

It was a busy weekend of Balanchine/Robbins but very fun to be back onstage performing. I think it’s a very enjoyable show for the audience as well, and I hope you all make it to see the second weekend of performances.

I also have a special reason to hope you all make it to the shows this weekend-this weekend’s shows will be my final performances with Boston Ballet. I am leaving the company at the end of this season and joining the Dutch National Ballet in Amsterdam. I am very excited, as I have so much of the world to see and learn about, and I think this move will be an amazing opportunity for me to do just that, in both my professional career and my life. But, after 5 years here at Boston Ballet, I will be sad to leave behind so many friends, teachers, and just all-around amazing people that I have had the opportunity to meet.

When I joined Boston Ballet II for the 2006-2007 season, it was my first professional ballet job, my first time living away from home, and, in my 5 years here, it has come to be both my family and my home. I am so fortunate and blessed to have had such a wonderful, supportive atmosphere to start my career, and I have learned so much from the dancers and people I have met here about not only how to be a better dancer but also how to be a better person. I have found so many role models in both the dancers and stagers that I have had the opportunity to work, professionally and personally, and I consider myself lucky to have danced among so many talented dancers as well as exceptionally kind and wonderful people. I will always treasure my time here and keep it with me in my heart and memories.

Thank you to Boston Ballet and everyone who has been involved in my time here. And for anyone who reads my blog that would like to keep in touch, I would appreciate you finding me on Facebook or keeping in touch via email (k_ettlinger@yahoo.com) as I start this new adventure in my life.

Best wishes to you all,
Krista

Kelsey Hellebuyck and Krista Ettlinger pose backstage in costumes for La Bayadère. Photo submitted by Krista Ettlinger.

Symphony of Numbers

"8,8,6,five 3's, five 3's, three 9's, 6, 6, 6, 6, three 4's, then, God willing, five slowish 5's all in perfect unison." All the while, I might add, EVERYONE else's brain onstage is saying a different set of numbers.

Last night was the opening of the Balanchine/Robbins program at the Opera House featuring two Balanchine ballets (Divertimento No. 15 and Symphony in Three Movements) and two Robbins ballets (Afternoon of a Faun and Antique Epigraphs) The quote above was the pounding of counts in my brain as we danced to Igor Stravinsky's Symphony in Three Movements. This music, to listen to, is energetic with hints of comedy and play. However, dancing to it is like trying to reach a destination across a pitch black room. If you have your bearings and know all the distances you will be fine, but lose your concentration or your orientation for a split second and you will have a huge problem righting your path. Symphony in Three is the combination of jazzy dance and manic counting. Those are the two mantras flowing through our brains as we perform. Susie Pilar who staged the ballet said it best, "it's easy to have fun in this ballet..... you count!"

I had a slip up onstage last night. GRUNT...sigh. I usually pride myself on knowing what I am doing and always knowing the counts. Well, last night, at a certain point in the finale, I knew I was doing and counting something very wrong. The music slowed at a certain point and, rather than listen and respond to the change, my internal counts went on auto-pilot and I ended up Charleston-ing out of control, completely out of sync with my demisoloist counterparts. SUPER embarrassing!! Hopefully with a major review of the videotape today, the mistake will not be repeated.

Today, while the sun shines outside, we are rehearsing. There is no show tonight so we will spend the day ironing out the opening night kinks. Quite a Friday :)

Boston Ballet in George Balanchine's Symphony in Three Movements (c) The George Balanchine Trust. Photo by Rosalie O'Connor.

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Boston Ballet in Jerome Robbins' Antique Epigraphs by Rosalie O'Connor.

The Range of the Company!

I am very much looking forward to being back onstage this week in the Balanchine/Robbins Program. Although I really enjoyed watching the Bella Figura performances, it’s hard not to be up there dancing. But both of the Balanchine pieces I am cast in for next weekend will be lots of dancing- whether it’s classical and in a tutu for Divertimento No. 15 or jazzy and pony-tail swinging in Symphony in Three Movements. Although we have not had very much rehearsal time, I think that we have finally nailed down all of the counts in the Symphony in Three Movements demi-soloist spots. The music is Stravinsky, and although fun to listen to, very difficult to count, so I have spent the past week just memorizing the series of phrases. Hopefully with a few more dress rehearsal before opening night, we can all stop stressing about the counts and really just enjoy the movements and jazzy style of the piece. It will be a change from the style of the Bella Figura Program last weekend, but I think the audience will enjoy it and be able to really appreciate the range of the company.

Boston Ballet in Symphony in Three Movements, choreography by George Balanchine, courtesy of The Balanchine Trust. Photo by Eric Antoniou.

"I felt I grew as an artist."

What a beautiful morning! It is the kind of sun-soaked start that reminds me of elementary school wrapping up for the year, cleaning out desks and field days. It smells young outside.

Dancing rules right now. Last night I performed Bella Figura for the fifth time onstage, and for the fifth time, I felt I grew as an artist. Each new time that music rolls into the choreography, we all grow a little bit. No two shows have gone the same. Sometimes there are mishaps; steps go awry or like last Saturday a quick change during 16 counts of music went wrong and I ended up onstage with no tights on, but through some form of Bella magic, all the shows have felt successful.

I have never been a part of anything (save my sweet marriage) so special. As soon as the curtain drops after Bella Figura bows every show, we all exchange heartfelt hugs. It is very moving, as if we have all been on this same journey and bonded in a very deep way during the mere thirty minutes of dance. I hope I always remember this beautiful feeling of personal growth.

Tonight I get to dance The Second Detail! It is my second show and I am totally psyched. It was a wild ride to the stage, but both casts are getting to grow and learn from the experience of this ballet too. It is a very free exploration of the physical side of dace. Paulo Arrias said it best, I think, "Detail is like being in a dance club for twenty minutes once the music starts.". That's what it felt like last Sunday anyway. It is the exact opposite energy as Bella which makes calming down after the Forsythe roller-coaster a bit of a challenge. We all clearly love the ride though. It's terrific and I am so excited.

Enjoy the sunshine. Life is good. Happy Friday!

Altan Dugaraa, Sarah Wroth and Yury Yanowsky in Bella Figura by Gene Schiavone.

Something Rented, Something New

The costume shop is getting the last set of costumes out this week. We are making two of the four ballets for the Balanchine/Robbins program. It may seem a bit quiet in the shop, however we are busy as there wasn’t an abundance of time for fittings and construction during this spring season.

A bit of trivia about us renting a ballet and making a ballet. There are always small alterations done to even rented programs, but the one constant whether we rent or make a ballet is the shoes. Part of my job at Boston Ballet is to make sure shoes are colored the right way for each ballet. So if we rent the ballet and the shoes need to be dyed, that’s me! This usually means I have to wait until the last week to do this process, as it all depends on casting. That can mean 4 shoes or 50-55 pairs of shoes/pointe shoes/boots/jazz shoe etc…... For Balanchine/Robbins it means 25-26 pairs of ballet slippers to dye. Each shoe needs to be dyed separately to make sure the dye works properly. So when you look at the program and you see that costumes have been credited to another ballet company this means only the costumes and usually all shoes are done in-house.

Photo by Sabi Varga, courtesy of Varga Images.

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Bella Figura in The Boston Globe

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Bella Figura: courtesy of Netherlands Dans Theatre, ©Joris Jan Bos.

some much-needed downtime

After the crazy-business of the past four weeks of Jorma and Midsummer, this week has been much slower for me, since in the next program I am only a cover for Bella Figura. So although I have had somewhat full days of being in rehearsal, either for Balanchine’s Divertimento #15, Symphony in Three Movements, or watching Bella, the workload for my body has been much lighter, and given me some much-needed downtime to stretch and recover from the intensity of performing. At least, that’s what I’ve decided to use my lighter schedule to focus on, because, of course, all I want as a dancer is to be completely busy and involved all the time. But as I am discovering, that’s not realistic for every minute of every season, so although I am dying to be more involved in the Bella Figura Program, I am learning to use this time positively and to be ready for the Balanchine program after. But because I am a cover for Bella Figura, I have had the opportunity to learn in this beautiful ballet and choreography, even though I won’t have the experience of dancing it on stage. I am really excited to see it from the audience, and I hope you all will be there opening night to see it as well!