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2019 Stars of the Corps: The Washington Ballet's Adelaide Clauss

Adelaide Clauss and Tamás Krizsa perform Swan Lake's Act II pas de deux. Gene Witkowski, Courtesy The Washington Ballet.

Watching Adelaide Clauss dance intoxicates the senses, a visual equivalent of a flower's perfume. This past spring, while performing Swan Lake's Act II pas de deux at a benefit in her hometown of Buffalo, New York, her melding of grace and technique revealed her to be an artist of great promise. Her delicately positioned arms and hands floated as if to frame the beauty of ballet itself. Clauss was in her element: "I really love the demands of classical adagio," she says.


Clauss (third from left) in Antony Tudor's Lilac Garden with The Washington Ballet. Theo Kossenas, Courtesy TWB.

Trained at Buffalo's Neglia Conservatory of Ballet, Clauss later studied at the American Ballet Theatre's Jacqueline Kennedy Onassis School and performed the role of child Clara in Alexei Ratmansky's The Nutcracker. After a year with ABT Studio Company, she joined the unranked Washington Ballet in 2016. The 21-year-old, who performs mostly ensemble roles, has nonetheless been featured as the Dark Angel in Balanchine's Serenade, the Snow Queen and Dewdrop in The Nutcracker, and the Lilac Fairy in The Sleeping Beauty. In 2018, artistic director Julie Kent chose her for a two-month dancer exchange with the Royal Danish Ballet. "She works with a lot of thought and consideration," says Kent. "Nothing is ever wasted information with Adelaide."

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During one of Charlotte Nash's first few weeks with Houston Ballet II, she was thrown into a run-through of Balanchine's Theme and Variations. "I had never really understudied before and I didn't know what I was doing," she says. "I fell right away and was quickly replaced." For Nash, now a dancer with Festival Ballet Providence, the episode was a tough lesson. "I was mortified, but then I said to myself, 'Okay, I need to figure out how to learn things more quickly.'"

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Courtesy BLOCH

Today's ballet dancer needs a lot from a pointe shoe. "What I did 20 years ago is not what these dancers are doing now," says New York City Ballet shoe manager Linnette Roe. "They are expected to go harder, longer days. They are expected to go from sneakers, to pointe shoes, to character shoes, to barefoot and back to pointe shoes all in a day."

The team at BLOCH developed their line of Stretch Pointe shoes to address dancer's most common complaints about the fit and performance of their pointe shoes. "It's a scientific take on the pointe shoe," says Roe. Dancers are taking notice and Stretch Pointe shoes are now worn by stars like American Ballet Theatre principal Isabella Boylston, who stars in BLOCH's latest campaign for the shoes.

We dug into the details of Stretch Pointe's most game-changing features:

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The Joffrey Ballet's Amanda Assucena and Greig Matthews in Cathy Marston's Jane Eyre. Cheryl Mann, Courtesy Joffrey Ballet.

Wonder what's going on in ballet this week? We've rounded up some highlights.

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Herman Cornejo in Don Quixote. Gene Schiavone, Courtesy ABT.

American Ballet Theatre's fall season at Lincoln Center's Koch Theater offers a chance to see the company in shorter works and mixed-repertoire programs. This year's October 16–27 run honors principal Herman Cornejo, who's celebrating his 20th anniversary with the company. Cornejo will be featured in a special celebratory program as well as a new work by Twyla Tharp (her 17th for the company), set to Johannes Brahms' String Quartet No. 2 in G Major, Op. 111. The October 26 program will include Cornejo in a pas de deux with his sister, former ABT dancer Erica Cornejo.

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