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NYCB Ushers in New Voices for Fall Fashion Gala

Members of NYCB in Gianna Reisen's Composer's Holiday at the 2017 Fall Fashion Gala. Photo by Paul Kolnik, Courtesy NYCB.

Last year, New York City Ballet wowed fans by hiring its youngest choreographer ever, the then-18-year-old Gianna Reisen, to make a ballet for its Fall Fashion Gala. For this year's gala, held September 27 at Lincoln Center's Koch Theater, Reisen will be back alongside NYCB first-timers Kyle Abraham and Matthew Neenan. All three will present world premieres. Reisen, a former student at the School of American Ballet, is now an apprentice at Dresden Semperoper Ballett. "Living, dancing and choreographing in Europe has given me a set of tools that I could never throw away," she says. Reisen will work with a cast of 18 dancers to a score by John Adams, and will incorporate set pieces onstage. "I plan to tell more of a story this time around," she says.


Though Abraham, a highly acclaimed contemporary choreographer and artistic director of A.I.M, worked with former NYCB principal Wendy Whelan on her project Restless Creature, this is his first time choreographing for a ballet company. "It's very exciting, and it's very daunting," he says. Abraham plans on working with a cast of seven to eight dancers primarily in solos and duets, featuring principals Sara Mearns, Ashley Bouder and Taylor Stanley, whom he refers to as "a gift." "I'm very inspired by these new artists who have these different tools," he says.

As choreographer in residence at Pennsylvania Ballet and co-founder of BalletX, Neenan has choreographed for nearly a dozen ballet companies around the country. Yet having trained at SAB, he says this experience "feels like coming back home." He plans on working with 15 to 20 dancers and using a Dvořák string quartet. "I want the piece to be atmospheric and to the point."

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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News
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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