National Ballet of Canada principal Heather Ogden in The Sleeping Beauty, which tours to the Kennedy Center this week. Bruce Zinger, Courtesy the Kennedy Center.

Onstage This Week: Ratmansky World Premiere at NYCB, National Ballet of Canada in DC, and More!

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


NYCB Presents a World Premiere by Alexei Ratmansky

New York City Ballet's winter season continues this week with a world premiere by Alexei Ratmansky titled Voices. His sixth work for NYCB, the ballet is set to a selection of pieces from "Voices and Piano" by Austrian experimental composer Peter Ablinger. Featuring 10 dancers, Voices debuts January 30 on a program with Christopher Wheeldon's Polyphonia, Justin Peck's Bright and Jerome Robbins' Opus 19/The Dreamer.

National Ballet of Canada Brings Two Programs to The Kennedy Center

National Ballet of Canada tours to the Kennedy Center January 28-February 2 with two programs showcasing the company's breadth. On January 28 and 29, Washington, DC audiences can see a mixed bill of contemporary works featuring William Forsythe's The Vertiginous Thrill of Exactitude and Approximate Sonata 2016, Jiří Kylián's Petite Mort and Alexei Ratmansky's Piano Concerto #1. January 30-February 2, NBoC presents The Sleeping Beauty, choreographed by Rudolf Nureyev after Marius Petipa.

Matthew Bourne's "Swan Lake" Hits the Big Apple

Matthew Bourne's New Adventures continues the tour of its Swan Lake with a two-week run at New York City Center, January 30-February 9. In preparation, NYCC has put out a series of videos, allowing fans to dive deeper into this unconventional classic. You can learn about the history of the ballet, hear Bourne discuss Tchaikovsky's score or get to know a few of the company's dancers (see above video).

Sarasota Ballet Presents the Company Premiere of Paul Taylor's "Brandenburgs"

Sarasota Ballet's winter/spring season opens January 31-February 3 with Redefined Movement, a diverse triple bill running at the FSU Center for the Performing Arts. The program celebrates a few of ballet's many facets with Sir Frederick Ashton's Les Rendezvous, Dominic Walsh's I Napoletani and the company premiere of Paul Taylor's Brandenburgs. Catch a glimpse of Walsh's Italian culture-themed ballet above.

"Cinderella" Waltzes Onto the Stage at Pacific Northwest Ballet

Watch a fairy tale come to life at Pacific Northwest Ballet. The company presents founding artistic director Kent Stowell's Cinderella January 31-February 9 at Seattle's McCaw Hall. Set to Sergei Prokofiev's vivid score, this production features the fairy godmother, step-sisters, pumpkins and carriages that make Cinderella so beloved.

Colorado Ballet Takes Flight With "Peter Pan" 

Milwaukee Ballet artistic director Michael Pink's production of Peter Pan returns to Colorado Ballet's Ellie Caulkins Opera House January 31-February 9 for nine performances, featuring composer Philip Feeney's score played live by the Colorado Ballet Orchestra. For more on the magic behind bringing this classic story to the stage, check out the above video on the ballet's flying elements.

World Premieres by 9 Company Dancers at Sacramento Ballet

Beer and Ballet, Sacramento Ballet's annual choreographic workshop, returns this week with nine world premieres. January 31-February 16, audiences can head to The Cunningham-Binda Stage for a festive beverage and the chance to see works by company dancers Stefan Calka, Anthony Cannerella, Frances Chae, Julia Feldman, Kaori Higashiyama, Michelle Katcher, Dylan Keane, Shania Rasmussen and Ben Youngstone, mentored by artistic director Amy Seiwert and choreographer Val Caniparoli. Get to know one of the choreographers above, and then head to Sacramento Ballet's YouTube page for a look at the others.

Fred Astaire Provides Inspiration for American Contemporary Ballet World Premiere

Valentine's Day comes early this year to American Contemporary Ballet. February 1-16, the company presents Astaire Dances III, featuring some of Fred Astaire's most memorable performances for film recreated onstage. This year's iteration of the program includes Astaire's dances to Cole Porter's "All of You" and "Night and Day," as well as Gershwin's "You Can't Take That Away From Me" and Johnny Mercer's "Something's Gotta Give." Also on the program is a world premiere by ACB artistic director Lincoln Jones inspired by Astaire.

Carolina Ballet Mixed Bill Features World Premiere by Robert Weiss

Composers George Gershwin and Leonard Bernstein provide inspiration for Carolina Ballet's newest program titled Rhapsody in Blue. Running January 30-February 16, this mixed bill features artistic director Zalman Raffael's Rhapsody in Blue and three works by founding artistic director Robert Weiss: Symposium, Adagio for Strings and the world premiere of Lullaby.

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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 and photos 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

Evelyn Cisneros-Legate. Photo by Beau Pearson, Courtesy Ballet West

Ballet West Academy's New Director on Dream Building During COVID-19

Evelyn Cisneros-Legate is bringing her hard-earned expertise to Ballet West. The former San Francisco Ballet star is taking over all four campuses of The Frederick Quinney Lawson Ballet West Academy as the school's new director.

Cisneros-Legate, whose mother put her in ballet classes in an attempt to help her overcome her shyness, trained at the San Francisco Ballet School and School of American Ballet before joining San Francisco Ballet as a full company member in 1977. She danced with the company for 23 years, breaking barriers as the first Mexican American to become a principal dancer in the U.S., and has graced the cover of Dance Magazine no fewer than three times.

As an educator, Cisneros-Legate has served as ballet coordinator at San Francisco Ballet, principal of Boston Ballet School's North Shore Studio and artistic director of after-school programming at the National Dance Institute (NDI). Dance Teacher spoke with her about her new position, her plans for the academy and leading in the time of COVID-19.

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Complexions Contemporary Ballet's Tatiana Melendez Proves There's No One Way to Have a Ballet Career

This is Pointe's Fall 2020 cover story. Click here to purchase this issue.

Talk to anyone about rising contemporary ballerina Tatiana Melendez, and one word is bound to come up repeatedly: "Fierce." And fair enough, that's a perfectly apt way to describe the 20-year-old's stage presence, her technical prowess and her determination to succeed. But don't make the mistake of assuming that fierceness is Melendez's only (or even her most noteworthy) quality. At the core of her dancing is a beautiful versatility. She's just as much at ease when etching pure classical lines as she is when boldly throwing herself off-balance.

"Selfish choreographer that I am, I want Tatiana to stay with Complexions for all time," says her boss Dwight Rhoden, Complexions Contemporary Ballet's co-artistic director and resident choreographer. "She has a theatricality about her: When the music comes on, she gets swept away." Not too shabby for someone who thought just a few years ago that maybe ballet wasn't for her.

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