Argentinian ballerina Paloma Herrera, who is now the artistic director of Ballet Estable del Teatro Colón in her home country, joined American Ballet Theatre at just 16 years old and was promoted to principal at 19. Over the course of her 24-year career with ABT, she became known for her maturity and range as an artist. Still, ingenue roles remained one of her hallmarks due to her ability to portray youth with honesty. She even danced Giselle for her ABT retirement performance. In this clip highlighting the first act variation in Giselle, she conveys the character's innocence with unaffected sincerity.


PALOMA HERRERA Giselle Frag Variacion 1 acto Teatro Colon www.youtube.com

Herrera's pristine, almost geometric sense of line imbues her dancing with an aesthetic purity. After pas de bourrée, she lowers her heels placidly with straight legs into a perfect fifth position. In the infamous hops sequence, Herrera lets the step speak for itself, adding little embellishment with the upper body. One of the most beautiful moments in this clip is the very last: after a wide, brisk manège of piqué turns, Herrera suspends the very last rotation, giving the audience a sense of slow motion in real time. Happy #ThrowbackThursday!

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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