Ballet Stars

2019 Stars of the Corps: The Joffrey Ballet's Edson Barbosa

Edson Barbosa in Swan Lake. Cheryl Mann, Courtesy The Joffrey Ballet.

In Yuri Possokhov's premiere of Anna Karenina at The Joffrey Ballet last February, Edson Barbosa opened the full-length with a thrilling solo. It's a sweeping, grandiose passage for the ill-fated station guard, who foreshadows Anna's tragic end. The role appealed to this Brazilian dancer's sensational stage presence and lusty technique. In fact, the three major roles he's danced for The Joffrey (the others being Tybalt in Romeo & Juliet and Hilarion in Giselle) have all had a flair for the dramatic. "I love dying onstage," he says.


From left: Brooke Linford, Edson Barbosa, Fernando Duarte and Graham Maverick in Vespertine. Cheryl Mann, courtesy The Joffrey Ballet.


Barbosa joined The Joffrey Ballet, which is unranked, in 2014 following a traineeship with San Francisco Ballet. While he shines in theatrical roles, by far his best outing was in the company's April mixed-repertoire program, with exquisite performances in Andrew McNicol's world premiere Yonder Blue, Liam Scarlett's Vespertine and Andrea Walker's Home. "What I like about an unranked company is that it keeps everybody on their toes," says Barbosa, who enjoys the challenge of learning soloist and corps de ballet roles simultaneously. "Every person in the company gets a chance to shine."

Francisco Estevez, Courtesy Colorado Ballet Academy

When you're looking for a ballet program to take you to the next level, there are a lot of factors to consider. While it's tempting to look for the biggest name that will accept you, the savvy dancer knows that successful training has more to do with the attention and opportunities you'll get.

We put together a few of the most important things for dancers to look for in a summer or year-round training program, with the help of the experts at Colorado Ballet Academy:

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Everything Nutcracker
Pennsylvania Ballet demi-soloist Thays Golz as the Sugar Plum Fairy during a stage rehearsal for George Balanchine's Nutcracker. All photography by Arian Molina Soca.

For many professional ballet dancers, Nutcracker means weeks of performances. That usually translates to multiple casts—and important breakout opportunities for those in the junior ranks. On the afternoon of December 13, Pennsylvania Ballet demi-soloist Thays Golz made her debut as the Sugar Plum Fairy along with her Cavalier, corps member Austin Eylar. For the Brazilian-born dancer, who joined PAB in 2018 after two seasons at Houston Ballet, Sugar Plum marks one of her first principal roles.

"I'm really excited," says Golz. PAB artistic director Angel Corella appointed 12 casts of Sugar Plum Fairies over the run's 29 performances. "When I first found out, I was like, 'Pinch me!' I still can't believe it."

We caught up with Golz just before her debut to see how she prepared for her big break.

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Rosalie O'Connor, Courtesy US Prix de Ballet

The US Prix de Ballet is taking an unconventional approach to the ballet competition—by putting the competitors' health first. After a successful first year in 2018, the Prix is returning to San Diego, CA this February with an even more comprehensive lineup of wellness workshops and master classes, in addition, of course, to the high-level competition.

Though the talent is top-notch, the environment is friendly, says HARID Conservatory faculty member Victoria Schneider, who serves on US Prix de Ballet's elite panel of judges. "The wellbeing of the dancer is the main focus," says Schneider, who awarded three scholarships to HARID at last year's competition.

US Prix de Ballet was born after its founders traveled to the Japan Grand Prix International Ballet Competition in 2016. "The company ran every aspect of the competition with professionalism, dignity, honor and precision," says founder Neisha Hernandez. "We knew we wanted this level of experience for America."

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