In September 2004, a pair of siblings graced the Dance Magazine cover. Inside, the accompanying story wrote, "When the Cornejos dance, it's never merely a variation—it's a complete performance."


A Dance Magazine cover featuring the Cornejos leaping among illustrated planets and stars

The brother and sister from Buenos Aires were winning over American Ballet Theatre fans, garnering "fervent applause and almost as fervent reviews," wrote Hanna Rubin.

Erica was beloved for her musical phrasing and easy jumps, while Herman won over audiences with his technical brilliance and elegant lines. Both oozed charisma onstage.

But two years after the story came out, Erica left New York City to join Boston Ballet as a principal, and fans lost the ability to see the pair onstage together. Until now.

Although she retired from performing in 2017 and now directs Integrarte ballet school in Boston, Erica is making a special return to the ABT stage on October 26 to dance a pas de deux with Herman in celebration of his 20th anniversary with the company.

The piece holds extra significance for the two dancers: The Cornejos first performed El Chamuyo at a gala for Argentina held at the Metropolitan Opera House's grand tier in 1998. At the time, they were members of ABT star Julio Bocca's touring company, Ballet Argentino. So while in New York for the performance, they took company class at ABT—and were quickly asked to join the Studio Company. Now, their story is coming full circle, celebrating a milestone with the same work that brought them to the company in the first place.

The special evening will also see Herman dancing the title role in Apollo (his New York debut) and a leading role in Twyla Tharp's new A Gathering of Ghosts. We expect nothing less than "fervent applause."

Ballet Careers
Sisters Isabella Shaker and Alexandra Pullen. Photo Courtesy Alexandra Pullen.

This is the second in a series of articles this month about ballet siblings.

My mom was in the corps de ballet at American Ballet Theatre. A generation later, so was I. As if that's not enough for one family, my younger sister Isabella Shaker dreams of following in our dancing footsteps. Her endeavor, and her status as somewhat of a child prodigy, stirs feelings of pride and apprehension within me, since I have lived through the ups and downs of this intense yet rewarding career.

Ballet will always be my first love and the thing that brings me the most joy, and my dance career has opened endless opportunities for me. However, it's a difficult career path that requires a lifelong dedication. It's super competitive and can lead to body image issues, physical injury and stress. Most dancers will face some of these problems; I definitely dealt with all three.

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Ballet Stars
Photo by Gabriel Davalos, Courtesy Valdés

For decades the name Alicia Alonso has been virtually synonymous with Ballet Nacional de Cuba, the company she co-founded in Havana in 1948. Alonso died on October 17, just shy of what would have been her 99th birthday. In recent years, she had stepped back from day-to-day decision-making in the company. As if preparing for the future, in January, the company's leading ballerina, 42-year-old Viengsay Valdés, was named deputy director, a job that seems to encompass most of the responsibilities of a traditional director. Now, presumably, she will step into her new role as director of the company. Her debut as curator of the repertory comes in November, when the troupe will perform three mixed bills selected by her at the Gran Teatro de la Habana Alicia Alonso. The following has been translated from a conversation conducted in Spanish, Valdés' native tongue.

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Ballet Stars
Photo by Jayme Thornton

It's National Bullying Prevention Month—and Houston Ballet breakout star Harper Watters is exactly the advocate young dancers facing bullying need. Watters is no novice when it comes to slaying on social media, but his Bullying Prevention Month collaboration with Teen Vogue and Instagram is him at his most raw, speaking about his own experiences with bullies, and how his love of dance helped him to overcome adversity. Watters even penned an incredible op-ed for Teen Vogue's website, where he talks candidly about growing up queer. Catch his amazing anti-bullying video here—and, as Watters says, "Stay fabulous, stay flawless, stay flexible, but most importantly, stay fearless."

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News
Alicia Alonso with Igor Youskevitch. Sedge Leblang, Courtesy Dance Magazine Archives.

Her Dying Swan was as fragile as her Juliet was rebellious; her Odile, scheming, her Swanilda, insouciant. Her Belle was joyous, and her Carmen, both brooding and full-blooded. But there was one role in particular that prompted dance critic Arnold Haskell to ask, "How do you interpret Giselle when you are Giselle?"

At eight, Alicia Alonso took her first ballet class on a stage in her native Cuba, wearing street clothes. Fifteen years later, put in for an ailing Alicia Markova in a performance of Giselle with Ballet Theatre, she staked her claim to that title role.

Alonso received recognition throughout the world for her flawless technique and her ability to become one with the characters she danced, even after she became nearly blind. After a career in New York, she and her then husband Fernando Alonso established the Cuban National Ballet and the Cuban National Ballet School, both of which grew into major international dance powerhouses and beloved institutions in their home country. On October 17, the company announced that, after leading the company for a remarkable 71 years, Alonso died from cardiovascular disease at the age of 98.

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