Since 2000, megastars and budding ballet celebrities alike have graced the covers of Pointe. Take a walk with us down memory lane as we recall some of the biggest names from some of our earliest issues. Whether they continue to perform or have transitioned to a position at the front of the studio, these stars have real staying power.
Irina Dvorovenko and Maxim Beloserkovsky (May/June 2001)
Then: Pegged as "Ballet's Hottest Couple" on our cover, the duo had recently joined American Ballet Theatre as principals.
Now: Though both have retired from ABT, they run a summer intensive in New York City, give limited performances as guest artists and have even designed items, like ballet booties, for Bloch. Dvorovenko also had a major role in the Starz's ballet drama "Flesh and Bone."
Svetlana Zakharova (July/August 2001)
Then: Zakharova was a young principal with the Mariinsky Ballet.
Now: She's still tantalizing audiences with her breathtaking performances of ballets like Swan Lake—but with the Bolshoi Ballet. Last year, Zakharova also became a guest artist with Bavarian State Ballet.
Tamara Rojo (November/December 2001)
Then: The Spanish dancer was a leading performer with The Royal Ballet.
Now: If someone can do it all, it's Rojo. She's currently balancing dual roles at English National Ballet as artistic director and principal dancer. Pointe even named her performance with Irek Mukhamedov in Annabelle Lopez Ochoa's Broken Wings one of the Standouts of 2016.
Misty Copeland (February/March 2002)
Then: Way before Misty Copeland became a household name, she scored her first Pointe cover as a promising member of ABT's corps.
Now: As ABT's first female African American principal, she's an all-around ballet superhero. Copeland has catapulted ballet into the mainstream and has championed issues like having a positive body image and diversity in dance.
Jenifer Ringer (April/May 2002)
Then: a leading principal at New York City Ballet
Now: Ringer traded East Coast for West when she became the director of the Colburn Dance Academy in L.A. If you're not one of her lucky students, you can read about her perspective in her memoir, Dancing Through It: My Journey in Ballet. And, just last year, she also spoke to Pointe about how dancers can foster confidence.
Carlos Acosta (August/September 2002)
Then: The international ballet star had loads of fans at The Royal Ballet, but Big Apple audiences were also getting acquainted with him since he'd recently appeared as a guest with ABT.
Now: He's busy leading his own company, Acosta Danza, in his native Cuba.
Paloma Herrera (December 2002/January 2003)
Then: The Argentinian dancer was wowing New York audiences as a principal at ABT.
Now: Earlier this month, Herrera became artistic director of Teatro Colón’s ballet company in Buenos Aires. We can't wait to see what she does in her new position.
Ethan Stiefel (February/March 2003)
Then: Though he launched his professional career with NYCB, Stiefel was an ABT principal by the time he appeared on our cover.
Now: Stiefel had a short stint as artistic director of Royal New Zealand Ballet from 2011 to 2014, but now, he's focusing on choreographing. His first major choreographic commission will premiere in May at The Washington Ballet.
Each year, the Princess Grace Foundation honors an extraordinary group of artists. This year, ballet got a major nod. Six of the eight winners in the dance performance and choreography category are ballet-related. (The other two are Alvin Ailey American Dance Theater's Jacquelin Harris and downtown dance-theater choreographer Raja Feather Kelly.) While you already know some of these names, we're excited to follow the careers of newcomers, like current Juilliard dance major Mikaela Kelly. Past Princess Grace Award winners include the likes of Carlos Acosta, Gillian Murphy and Tiler Peck, so they're in exceptional company.
What do you enjoy more: performing or being in the studio?
Performing, of course. It's like waiting and getting ready for your birthday party. The rehearsals are a hard process: It's a long wait for enjoyment.
What qualities do you admire most in other dancers?
A brain. Some say that a ballerina only needs good footwork, physical abilities, but I realized gradually that it's very important to have a good head on your shoulders. You go further if you think deeply about your roles.
What do you do to remain injury-free?
I always warm up properly, and I also have massages and water treatments to relax and soothe my body. Sometimes I go to the banya, a typical Russian sauna.
You created the lead role in Jean-Christophe Maillot's The Taming of the Shrew. What place does it have in your repertoire?
A very significant one. It's so precious when a ballet is made on you. So many dancers wait for that, try to find choreographers. If you are the very first person to do a role, it stays with you—and you stay in it, in a way.
It may be the middle of summer, but San Francisco Ballet is already rehearsing for its spring season. There's a lot to prepare for—the company's Unbound: A Festival of New Works, which runs April 20–May 6, 2018, will feature 12 new ballets by 12 choreographers. And it's an impressive group of dancemakers: David Dawson, Alonzo King, Edwaard Liang, Annabelle Lopez Ochoa, Cathy Marston, Trey McIntyre, Justin Peck, Arthur Pita, Dwight Rhoden, Myles Thatcher, Stanton Welch and Christopher Wheeldon. That's a lot of choreography to pack in!
Stanton Welch in rehearsal with San Francisco Ballet. Photo by Erik Tomasson, Courtesy SFB.
Luckily, we don't have to wait until spring to get a sneak peek of some of these new works. SFB is kicking off Unbound: LIVE, a series of live-stream events that will take us inside rehearsals. The first one is Wednesday, July 26, at 5:30 pm Pacific Standard Time (8:30 EST). It will highlight rehearsals with Arthur Pita, Edwaard Liang and Stanton Welch. You can expect to see the dancers perform excerpts of their works in progress, as well as interviews with each choreographer.
Artur Pita in rehearsal. Photo by Erik Tomasson, Courtesy SFB.
Visit SFB's website or its Facebook page tomorrow night to watch. And if you miss it, no worries—it'll be accessible on the company's site and YouTube channel for 60 days. The other live-stream events have yet to be announced, but we'll be sure to keep you posted!
When the Bolshoi Ballet visited New York in 2014, Soviet-era productions like Yuri Grigorovich's Swan Lake and Spartacus were on the menu. This summer, the company is taking a different approach under ballet director Makhar Vaziev, bringing fresh collaborations to the Lincoln Center Festival.
Ekaterina Krysanova and Vladimir Lantratov in "Shrew"Photo by Jack Devant, Courtesy of Lincoln Center
First the Bolshoi participated in the 50th anniversary celebration of Balanchine's Jewels last weekend alongside stars from New York City Ballet and the Paris Opéra Ballet. From July 26-30 Jean-Christophe Maillot's The Taming of the Shrew, created in Moscow in 2014, will have its American premiere. With 10 soloist roles, the witty, fast-paced version of Shakespeare's play is tailor-made for a brilliant new generation of Bolshoi stars, like Ekaterina Krysanova, Vladislav Lantratov and Olga Smirnova.The ballet was Maillot's first creation in two decades for a company other than his Les Ballets de Monte-Carlo. "It has become emblematic of a form of renewal for the Bolshoi," says Maillot. "It's a showcase for these dancers."
Get a sneak peak of the premiere with these two beautiful trailers.
On the morning of June 25, Festival Ballet Providence dancer Jordan Nelson was biking to meet a friend in Rhode Island when he was hit by a box truck. The driver drove off, leaving Nelson injured on the ground. The accident left Nelson with a fractured skull, serious concussion, broken clavicle, and abrasions down the right side of his body. He was unconscious for five days and suffered short term memory loss. Though doctors feared he might never be able to regain the memory and mobility to dance again, less than three weeks later Nelson is back in the studio. We checked in with him to hear about his inspirational recovery process and how his passion for dance motivated him.
When you woke up in the hospital were you immediately worried about dancing?
Definitely, because this upcoming season is very important to me, because we're doing Christopher Wheeldon's The American, which I believe is the first Wheeldon ballet the company has done. So for the whole month of June I was working hard on really pushing myself to get in shape and be as ready as possible for the start of the season. And the doctors originally told me I wouldn't be able to get back until January, if at all.
You've said that the hardest part of being in the hospital was not being able to move. What did you do to keep your spirits and your body active?
From the outside, one might assume that the stars onstage are leaders offstage, too. It might be so, but life in a company is usually more complex. Opportunities to volunteer, teach or represent fellow colleagues allow dancers at any rank to develop important skills and make their voices heard. Others take the lead simply by lifting company morale or setting a good example in the studio. In fact, leadership takes many forms—and you don't have to be a principal ballerina to be an influential company member whom others look up to. For these three dancers, stepping into leadership roles has given greater meaning and fulfillment to their careers.
I had grown up watching Kyra Nichols and Wendy Whelan dancing "Diamonds," and it was my absolute dream to dance it, too. I immediately connected to "Diamonds." It's big, dramatic movement, nothing small, and I don't think there's anything small about my dancing. I have to reach deep down in my soul to do this ballet, to rise to the level of the choreography, the costumes..."Diamonds" is just on another level from anything else I've done. It takes everything out of you, if you're willing to put that much into it.
Monday morning class after a three-day weekend? Stiff. After eight weeks off? Agonizing.
For most professional dancers on their summer layoff, a break from the daily grind is simultaneously exciting and unnerving. These months are often reserved for recovery and rest—a necessary opportunity to let the body repair and recharge. How dancers spend their summer break is mixed: some teach at summer intensives; some take the extended time to travel, visiting family or exploring internationally; some choose not to pause, performing at galas or festivals; and some just want to stay home, feet up, movies on. Depending on where you dance, the break might span a couple weeks or a couple months. Regardless of length, it involves a physical wind down, as well as a build back up. While it's never going to feel entirely easy, here are a few pro tips to help smooth the transition between 1 and 100 percent.