ASFB in rehearsal with director Tom Mossbrucker. Jessica Moore, Courtesy ASFB.

Creation is King at the Dual-City Aspen Santa Fe Ballet

In 1996, Aspen Santa Fe Ballet artistic director Tom Mossbrucker was a veteran Joffrey Ballet dancer with no aspirations to direct a company. But while visiting a Colorado music festival with his partner, Jean-Philippe Malaty, also a dancer, a chance encounter changed his mind. "We met Bebe Schweppe, who ran a ballet school in Aspen but always dreamt that the city could have its own resident company," Mossbrucker recalls. "We thought she was crazy and said, 'Good luck with that!' But she thought we were the ones who could do it." After a few weeks of discussion, the pair moved to Colorado and a company was born.


Nicolo Fonte's The Heart(s)pace

Sharen Bradford, Courtesy ASFB

Twenty-three years later, it's clear that Schweppe's intuition was spot-on. The troupe, which started as Aspen Ballet Company, grew into Aspen Santa Fe Ballet, a conceptually groundbreaking contemporary ballet company led by Mossbrucker and Malaty, who became its executive director. With 10 dancers on 52-week contracts (including full health, dental and retirement benefits), two home cities and flourishing schools serving the communities of Aspen and Santa Fe, ASFB has developed a reputation for bringing fledgling choreographic talent to national attention.

"We had no preconceived notions of what sort of company it should be," Mossbrucker says. "But the fact that we were both still dancers and had seen a lot of dysfunction in ballet companies was really our starting-off point. We thought there had to be a better way." They decided to approach the company from a dancer's point of view and create a healthy, nurturing environment.


Today their dual mission is to develop the careers of both dancers and choreographers. ASFB currently only performs work by living choreographers, most of which it commissions. Mossbrucker notes that Nicolo Fonte, Cayetano Soto and Jorma Elo, who were emerging dancemakers when ASFB first commissioned them, are still major players in the repertoire. "By their third or fourth commission, the work got deeper, the dancers understood it better and the choreographers left an indelible mark on the company," says Mossbrucker. In addition to new creations, works by Jiří Kylián and Alejandro Cerrudo have had a significant impact on defining the company's look, which combines classical lines and balletic ability with clean, contemporary versatility.

ASFB's seasons include one to two new works, plus revivals and an annual Nutcracker. The most recognizably classical ballet in the repertoire, its Nutcracker blends pointework and tutus with authentic traditional folk dances in the Act 2 divertissements.

Company class is designed to help the dancers move from one dancemaker's style to another. "I emphasize simplicity and clarity with no affectations, so the choreographers have a clean slate to work with," says Mossbrucker. "Everyone is very focused, but it's also about coming together as a team." The familial environment may be one reason why dancer turnover is so low. It's not unusual for performers to stay with the company for a decade or more. Fifteen-year veteran Katherine Bolaños says Mossbrucker's demeanor keeps the dancers motivated. "Something I love about Tom is how funny he is—his temperament is typically jovial and lighthearted, but when we're working on a hard show and need to focus on technique, he's more serious."

ASFB's Katherine Bolaños in Beautiful Mistake

Rosalie O'Connor, Courtesy ASFB

While the company's base of operations remains in Aspen, in 2000, its board created a dual-city partnership with Santa Fe, New Mexico, to support its growing quality and ambition. ASFB presents the same programs in both cities and spends roughly a third of each year touring regionally and internationally. They recently performed in France and will appear in New York City and Israel during March and April.

Bolaños says that traveling bonds the dancers. "Working through issues when you're together so much helps us innately understand each other," she says. "Learning to connect with your peers onstage is an important skill, and the times we're most cohesive is when we're touring and performing more."

Since fitting into the fabric of the small group is crucial, auditions involve spending at least two days in Aspen learning rep with ASFB. "Part of our idea was to have a company of stars," Mossbrucker says. "Our dancers have an engaging, charismatic quality that makes them stand out onstage. I want each one to add a unique piece to the bouquet."

Aspen Santa Fe Ballet At a Glance

Number of dancers: 10

Length of contract: 52 weeks

Starting salary: Undisclosed

Union signatory: No

Performances per year: About 40

Website: aspensantafeballet.com

Audition Advice

Mossbrucker looks for dancers with maturity and experience: "I need them to step right into the group, and also be able to portray an open and honest quality onstage."

Audition is by invitation only. To be considered for a private audition, email your cover letter, headshot, dance photos, resumé and links to performance footage and a video of rehearsal or class to auditions@aspensantafeballet.com.

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Peter Mueller, Courtesy Cincinnati Ballet

2020 Stars of the Corps: 10 Dancers Making Strides In and Out of the Spotlight

The corps de ballet make up the backbone of every company. In our Fall 2020 issue, we highlighted 10 ensemble standouts to keep your eye on. Click on their names to learn more!

Dara Holmes, Joffrey Ballet

A male dancer catches a female dancer in his right arm as she wraps her left arm around his shoulder and executes a high arabesque on pointe. Both wear white costumes and dance in front of a blue backdrop onstage.

Dara Holmes and Edson Barbosa in Myles Thatcher's Body of Your Dreams

Cheryl Mann, Courtesy Joffrey Ballet

Wanyue Qiao, American Ballet Theatre

Wearing a powder blue tutu, cropped light yellow top and feather tiara, Wanyue Qiao does a piqu\u00e9 retir\u00e9 on pointe on her left leg and pulls her right arm in towards her.

Wanyue Qiao as an Odalisque in Konstantin Sergeyev's Le Corsaire

Gene Schiavone, Courtesy ABT

Joshua Guillemot-Rodgerson, Houston Ballet

Three male dancers in tight-fitting, multicolored costumes stand in positions of ascending height from left to right. All extend their right arms out in front of them.

Joshua Guillemot-Rodgerson (far right) with Saul Newport and Austen Acevedo in Oliver Halkowich's Following

Amitava Sarkar, Courtesy Houston Ballet

Leah McFadden, Colorado Ballet

Wearing a white pixie wig and a short light-pink tunic costume, a female ballet dancer poses in attitude front on pointe with her left arm bent across her ribs and her right hand held below her chin.

Leah McFadden as Amour in Colorado Ballet's production of Don Quixote

Mike Watson, Courtesy Colorado Ballet

Maria Coelho, Tulsa Ballet

Maria Coelho and Sasha Chernjavsky in Andy Blankenbuehler's Remember Our Song

Kate Lubar, Courtesy Tulsa Ballet

Alexander Reneff-Olson, San Francisco Ballet

A ballerina in a black feathered tutu stands triumphantly in sous-sus, holding the hand of a male dancer in a dark cloak with feathers underneath who raises his left hand in the air.

Alexander Reneff-Olson (right) as Von Rothbart with San Francisco Ballet principal Yuan Yuan Tan in Swan Lake

Erik Tomasson, Courtesy SFB

India Bradley, New York City Ballet

Wearing a blue dance dress with rhinestone embellishments and a sparkly tiara, India Bradley finishes a move with her arms out to the side and hands slightly flexed.

India Bradley practices backstage before a performance of Balanchine's Tschaikovsky Piano Concerto No. 2.

Erin Baiano, Courtesy NYCB

Bella Ureta, Cincinnati Ballet

Wearing a white dress with pink corset, Bella Ureta does a first arabesque on pointe in front of an onstage stone wall.

Bella Ureta performs the Act I Pas de Trois in Kirk Peterson's Swan Lake

Hiromi Platt, Courtesy Cincinnati Ballet

Alejándro Gonzales, Oklahoma City Ballet

Dressed in a green bell-boy costume and hat, Alejandro Gonz\u00e1lez does a saut\u00e9 with his left leg in retir\u00e9 and his arms in a long diagonal from right to left. Other dancers in late 19-century period costumes watch him around the stage.

Alejandro González in Michael Pink's Dracula at Oklahoma City Ballet.

Kate Luber, Courtesy Oklahoma City Ballet

Nina Fernandes, Miami City Ballet

Wearing a long white tutu and crown, Nina Fernandes does a saut de chat in front of a wintery backdrop as snow falls from the top of the stage.

Nina Fernandes in George Balanchine's The Nutcracker

Alexander Iziliaev, Courtesy Miami City Ballet

Quinn Wharton

Pacific Northwest Ballet's Angelica Generosa Shares Her Classic, Comfy Style In and Out of the Studio

"I love the feeling and look of effortless fashion," says Angelica Generosa. Preferring a classic style, the Pacific Northwest Ballet soloist keeps her wardrobe stocked with blazers. But they serve a practical purpose, too. "It tends to get chilly in Seattle, so it's the perfect accessory for layering," Generosa explains.

She's also quite fond of designer handbags. "They're my go-to accessory, and they're also my weakness when shopping," she says, naming Chloé, Chanel and Dior as some of her favorite brands. "I really appreciate the craftsmanship it takes to produce one—they're so beautiful and each has its own story, in a way."

In the studio, Generosa prioritizes comfort, and she'll change up her look depending on the repertoire (leotards and tutus for classical works, breathable shirts with workout pants for contemporary). But she always arrives to work in style. "I really love putting together outfits for even just going to the studio," she says. "It's another way of expressing my mood and what kind of vibe I'm going for that day."

The Details: Street

Angelica Generosa, wearing a blue blazer, white blouse and gray jeans, is photographed from underneath as she walks and looks to the right.

Quinn Wharton

BCBG blazer: "It has some shoulder pads and a really cool pattern," says Generosa. "It reminds me of my mom and '80s fashion."

Zara blouse: She incorporate neutrals, like this white satin button-up, to balance bright pops of colors.

Angelica Generosa looks off to her right in front of a glass-windowed building. She wears a blue blazer, white blouse, gray jeans and carries a small green handbag.

Quinn Wharton

Madewell jeans: Comfort is a major factor for Generosa, who gets her fashion inspiration from her mom, friends and people she comes across day to day.

Chloé bag: "I tend to have smaller purses because I'm quite small. Bigger bags overwhelm me sometimes—unless it's my dance bag, of course!"

The Details: Studio

Angleica Generosa, wearing a blue tank leotard, black wool leggings and pink pointe shoes, balances in a lunge on pointe with her left leg in front, facing a wall of windows.

Quinn Wharton

Label Dancewear leotard: "This was designed by my good friend Elizabeth Murphy, a principal dancer here at PNB. Her leotards always fit me really well."

Mirella leggings: "I get cold easily," says Generosa, who wears leggings and vests to stay warm throughout the day.

Angelica Generosa, wearing a blue tank leotard, black wool tights and pink pointe shoes, jumps and crosses her right foot over her left shin while lifting her arms up to the right.

Quinn Wharton

Freed of London pointe shoes: "When sewing them, I crisscross my elastics and use an elasticized ribbon from Body Wrappers," which helps alleviate Achilles tendon issues, she says. She then trims the satin off of the tip of the shoe. "Then I bend the shank a bit to loosen it up and cut a bit off where my arch is."

Getty Images

This New "Nutcracker" Competition Wants Your Dance Studio to be Part of a Virtual Collaboration

Despite worldwide theater closures, the Universal Ballet Competition is keeping The Nutcracker tradition alive in 2020 with an online international competition. The event culminates in a streamed, full-length video of The Virtual Nutcracker consisting of winning entries on December 19. The competition is calling on studios, as well as dancers of all ages and levels, to submit videos by November 29 to be considered.

"Nutcracker is a tradition that is ingrained in our hearts," says UBC co-founder Lissette Salgado-Lucas, a former dancer with Royal Winnipeg Ballet and Joffrey Ballet. "We danced it for so long as professionals, we can't wait to pass it along to dancers through this competition."

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