NBoC's Guillaume Côté to Become Artistic Director of the Festival des Artes de Saint-Sauveur

Côté in an NBoC rehearsal with wife Heather Ogden. Bruce Zinger, Courtesy NBoC.

Next summer, National Ballet of Canada principal Guillaume Côté will add another role to his repertoire—artistic director of Quebec's Festival des Arts de Saint-Sauveur. A Canadian version of the Vail International Dance Festival, Saint-Sauveur, founded in 1992, presents international and local dance companies and music groups in a bucolic village near Montreal. Events occur indoors and outside. "As a dancer, I'm constantly discovering new companies and choreographers I would love to collaborate with," says Côté. "I want to bring some of them to the festival." Eventually, he hopes to present an evening of premieres each summer, and the creation of an evening-length work.

Côté feels the setting makes it a special place for dance. "In a way, it brings dance back to its basics, stripped of scenery and expensive effects," he says. "It inspires artists to show their work in the most beautiful and simple way. Quebec is an incredible place for contemporary dance and I think the festival can be an extension of that community."

Ballet Careers
Eri Nishihara in Rex Wheeler's Symphonic Dances. Sarah Ferguson, Courtesy Richmond Ballet.

This is one of a series of stories on recent graduates' on-campus experiences—and the connections they made that jump-started their dance careers. Eri Nishihara graduated from University of Utah with a BFA in ballet performance in 2016.

As her time in high school drew to a close, Eri Nishihara knew she wasn't ready to dance professionally. She had seen dancers her age from other cities at summer intensives and didn't think that she was up to company caliber yet. "I didn't want to feel like I was having to keep up for a lack of training or experience, while adjusting to a new professional life," she says. Nishihara had trained with University of Utah professors in the past, through summer intensives at Ballet West, and felt that their teaching style would best prepare her for a future career.

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Courtesy Apolla

Ballet dancers today are asked to do more with their bodies than ever before. The physical demands of a ballet career can take an immense toll on a dancer's joints and muscles—subjecting them to pain, inflammation and an increased risk of injury. Considering all that is required of today's dancers, having a top-notch recovery regime is paramount.

Enter Apolla Performance Wear, which is meeting ballet's physical demands with a line of compression footwear that is speeding up the recovery process for professional dancers by reducing inflammation and stabilizing the joints.

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The Washington Ballet's NEXTsteps program opens this week. Here are company dancers Ashley Murphy-Wilson and Alexandros Papajohn. Procopio Photography, Courtesy The Washington Ballet.

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

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Ballet West in rehearsal for Le Chant du Rossignol. Beau Pearson, Courtesy Ballet West.

Ballet West opens its season October 25–November 2 with a triptych of works from George Balanchine's early choreographic career with Sergei Diaghilev's Ballets Russes. Highlighting the program is Balanchine's 1925 The Song of the Nightingale (Le Chant du Rossignol), never before seen in the U.S. This ballet is not only the first piece that a then-21-year-old Balanchine made for the Ballets Russes; it also marks his first collaboration with Igor Stravinsky, and features costumes by Henri Matisse. To bring it to Salt Lake City, Ballet West is working closely with Millicent Hodson and Kenneth Archer, who reconstructed the work for Les Ballets de Monte-Carlo in 1999.

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