Miami City Ballet's Nathalia Arja with Renan Cerdeiro in Ballo della Regina. Daniel Azoulay, Courtesy MCB.

The Best of the Best: Our Top 10 Performances of 2014

This story originally appeared in the December 2014/January 2015 issue of Pointe.


​Steven McRae

Commanding presence: McRae in Ashton's Rhapsody

Tristan Kenton, Courtesy ROH

The Royal Ballet's Steven McRae danced with a power and speed most people would need figure skates to achieve at Covent Garden in February, but the amplitude of his chaînés, barrel turns and rivoltades was just the icing on the cake during his finely calibrated performance in Sir Frederick Ashton's Rhapsody. Dancing the lead role originally made for Mikhail Baryshnikov, the 28-year-old Aussie also excelled in the small gestures and precise positional details for which Ashton's work is known. McRae says the music, Rachmaninoff's Rhapsody on a Theme of Paganini, is the key to balancing athleticism and artistry in the piece. "It's easy to get caught up in the technical demands of the choreography," he says. "However, when you really listen to the music, something magical starts to happen." The same can be said for the moment when this dynamic and versatile principal takes the stage. —Michael Northrop

​Diana Vishneva & Marcelo Gomes

Vishneva and Gomes brought their partnership to greater heights.

Gene Schiavone, Courtesy ABT

One of the biggest thrills of Diana Vishneva and Marcelo Gomes' longtime partnership at American Ballet Theatre is its ability to transcend to greater heights each season. It was ever apparent in their performance of Giselle last June. While they've performed the roles together in years past, familiarity and experience have allowed them to bring deeper richness to their characters. Vishneva's Giselle was shy and vulnerable, coming out of her shell gradually in response to Albrecht's affections until she almost seemed to burst with joy. Meanwhile, Gomes—a cocksure but lovable Albrecht—grew more and more smitten with his conquest. Once his ruse was discovered, you sensed not only Giselle's disbelief but her painfully public humiliation, making her breakdown all the more understandable and heartbreaking. In Act II, Vishneva was otherworldly in her lightness, accentuated further through Gomes' reverential, seamless partnering. Together they drew the audience into their story and held them, spellbound. —Amy Brandt

​Connor Walsh

Princely polish: Walsh in Swan Lake

Amitava Sarkar, Courtesy Houston Ballet

When Houston Ballet's Connor Walsh first danced Siegfried in the premiere of Stanton Welch's fast-paced, dreamy version of Swan Lake in 2006, he was technically impressive, holding his own with the elegant Barbara Bears. But watching him reprise the role some eight years later, it became clear just how much he has grown. It's as if his edges have become sharper—not just technically but in all aspects of his artistry; he's developed a distinctly refined performance polish. There's ample heart behind his princely swagger now. Walsh's noble command of the stage, solid virtuosity and well-tempered bravado all add up to one convincing prince. His involvement in the ballet's original creation process, along with added years of experience, certainly helped deepen his interpretation. The HB principal is moving into his own, and his performance in Swan Lake provided the evidence. —Nancy Wozny

​Bolshoi Ballet

Shakespeare with a modern edge: Lantratov and Krysanova in the Bolshoi's Taming of the Shrew

Alice Blangero, Courtesy Bolshoi Ballet

It was a gamble on all sides: a new, full-length Taming of the Shrew by a foreign choreographer at the Bolshoi Ballet, just over a year after the acid attack on Sergei Filin. Les Ballets de Monte-Carlo's Jean-Christophe Maillot, who was creating his first ballet for an outside company in two decades, proved undaunted, and the result was a team effort that showed the Bolshoi's young generation in a new light. Each of the 10 soloist roles was choreographed with and for the first cast, from Vladislav Lantratov to Olga Smirnova, Vyacheslav Lopatin and Anna Tikhomirova, channeling their offstage personalities to show a new facet of their talent; their bold classical technique was in evidence throughout yet colored by the spontaneous, naturalistic approach Maillot favors. It was the Bolshoi as the world loves it, with a modern edge—and the Shrew herself, principal Ekaterina Krysanova, led the pack with a nuanced, career-defining performance, her power matched by a new abandon. —Laura Cappelle

​Chloe Felesina

Powerfully nuanced: BalletX's Chloe Felesina

Alexander Iziliaev, Courtesy BalletX

In the BalletX premiere Sunset, o639 Hours, Chloe Felesina danced front and center, with an abandon, fire and precision that made her riveting. The dreamlike adventure tale, choreographed for 10 dancers by BalletX co-founder Matthew Neenan, was based on the true story of Captain Edwin Musick's ill-fated Honolulu-to-Auckland flight in 1938. As the famous pilot's wife, and in her other roles in the ballet, Felesina's depth of feeling was matched by a robust agility. She shone in scenes portraying the couple's romance, the island life of New Zealand and her solitary bereavement.

Even though her medium height and fine features make her look delicate, she's a powerhouse: at the front of the pack in floor-rolling unisons and sparkling in Neenan's inventive partnering. A full-time company member since 2012, Felesina relishes deciphering each choreographer's intent and seeking more ways to communicate strongly with her audience. In Sunset, o639 Hours, her approach worked: You couldn't take your eyes off her. —Lisa Kraus

​Christine Rocas

Rocas, with Rory Hohenstein, brought sweeping lyricism and dramatic ingenuity to the role of Juliet.

Cheryl Mann, Courtesy Joffrey Ballet

A couple of years back, Joffrey Ballet dancer Christine Rocas confessed: "I'm always scared to do modern things…I try to be spontaneous, but I know I look funny at first."

Rocas, 28, definitely didn't look "funny" in her opening night performance of Polish choreographer Krzysztof Pastor's Romeo & Juliet in Chicago this past April. And Pastor's take on the story was supremely contemporary—not at all like the Kenneth MacMillan or John Cranko versions for which Rocas' lyrical, weightlessly lovely style would have been a perfect fit. In fact, as Juliet, Rocas seized hold of Pastor's starkly modern, sweepingly cinematic reinvention, which used 20th-century Italian history as a backdrop. Masterful in her embrace of the ballet's mix of difficult classical and contemporary technique, she revealed a powerful, highly individualistic, surprisingly dramatic talent.

Her performance had genuine star quality, with pristinely beautiful dancing and fiercely honest acting in evidence from the moment, early on, when she simply walked around the perimeter of the stage, quietly fixing her gaze on Romeo. The palpable quickening in Rocas' face and body was a far cry from simple pubescent awakening. This was the dawning of a young woman with a mind of her own. —Hedy Weiss

Nathalia Arja

Quicksilver brillance: Arja with Renan Cerdeiro in Ballo della Regina

Daniel Azoulay, Courtesy Miami City Ballet

As the recently promoted Miami City Ballet soloist Nathalia Arja can attest, some roles lift dancers to the heights of artistic privilege. While still a corps member last season, Arja—a 21-year-old MCB-school alumna with Rio de Janeiro roots—earned the opportunity to dance the lead in George Balanchine's exquisitely demanding Ballo della Regina. There she was, on opening night no less, fast and fastidious in virtuoso moves: restless changes in direction, riveting hops on pointe, clockwork articulations that teased time itself. "I learned to do what I didn't know I could," says Arja. No small amount of calibration, of course, came from being coached by Merrill Ashley, the New York City Ballet wonder who originated the role. Still, Arja brought strengths she's been honing since dancing the role of Sugar Plum at MCB as a teenager—the verve and knack for detail that also served Alexei Ratmansky when he fashioned a solo on her in Symphonic Dances in 2012. A culmination for many, Ballo figures for Arja as the promise of an ever more thrilling career. —Guillermo Perez

​Ashly Isaacs

A confident debut: Isaacs with Gonzalo Garcia in Symphony in C

Paul Kolnik, Courtesy NYCB

In the third movement of Balanchine's Symphony in C, the leads repeatedly charge onto the stage in a series of grands jetés—irrepressibly buoyant, as if they're more at home in the air than on the ground. In a way, that's a fitting metaphor for New York City Ballet corps member Ashly Isaacs' 2014 season, which saw her star on the rise, achieving greater heights with each successive performance. Her debut as the ballerina in that movement of Symphony showed off not only her preternatural ballon, but also her easy command of the stage. In the wrong dancer's hands (and feet) the always-on-the-go choreography can feel bombastic, but Isaacs colored it sensitively, adding subtle shading to its softer moments. For some years this role has been danced brilliantly by Ashley Bouder; it was hard not to notice the similarities between the two. —Margaret Fuhrer

​Esteban Hernandez

Hernandez (left) stole the spotlight in Les Lutins.

Erik Tomasson, Courtesy SFB

Season galas showcase principal dancers at their best, but San Francisco Ballet's 2014 gala also introduced a rising star: Esteban Hernandez. Announced pre-curtain as a replacement for Joan Boada in Johan Kobborg's Les Lutins, the first-year corps member faced high expectations from a demanding audience, who rustled their programs looking for clues about this unfamiliar dancer. But in Lutins, an eight-minute battle of the sexes that requires insouciant charm, clear acting and blistering petit allégro—and falls flat if any one of those is missing—the Mexican-born Hernandez proved his mettle as a Royal Ballet–trained technician and a natural performer, with confidence well beyond his 19 years. Not only did he hold his own opposite Gennadi Nedvigin and soloist Dores André, in those thrilling eight minutes he won 3,500 hearts and became a name to remember. —Claudia Bauer

​Gabrielle Thurlow & Luca Sbrizzi

Making their mark: Thurlow and Sbrizzi rehearsing Don Quixote

Aimee DiAndrea, Courtesy PBT

When lead casting was announced for Pittsburgh Ballet Theatre's Don Quixote last season, there was a surprising pair included in the mix. While Gabrielle Thurlow and Luca Sbrizzi have long been regarded as cornerstones among PBT's ranks, their star power was relatively untested: Thurlow was a longtime corps member and Sbrizzi, a soloist, had been away from the stage nearly nine months following a career-threatening back injury. But they more than delivered. Thurlow entered the first act as an energetic Kitri, all spry jumps and energetic pas de chevals, while Sbrizzi played an earnest Basilio, his admiration for Kitri present in every carefully finished movement. Later, during their brightly executed grand pas de deux, Thurlow brought playful sharpness, breezy turns and balances that said, "I could stay here all day." Sbrizzi's refined technique and bounding jumps lent his Basilio the elegance of a man in love. Following the performance, Thurlow was promoted to soloist and Sbrizzi cemented his place as a leading man after an uncertain season away from the stage. —Kathleen McGuire

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Eighteen-year-old Sarah Patterson (foreground), with her classmates at New Ballet School. She's decided to stay home this summer to take advantage of outdoor, in-person classes. Courtesy New Ballet School.

Why Planning Summer Study This Year Is More Complicated Than Ever

When it comes to navigating summer intensives, 2021 may be more complicated for ballet students than last year. On the heels of the COVID-19 pandemic's spring spike in 2020, summer programs went all-virtual or had very limited capacity. This year is more of a mixed bag, with regulations and restrictions varying widely across state and county lines and changing week by week.

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Chris Hardy, Courtesy LINES

Check Out These 2021 Summer Intensives Especially for Adults

After a year of shuttered studios, virtual-only classes, and waving to ballet buddies over Zoom, summer intensives are back. For adult students, packing up for a few days of intensive training might seem like a pipe dream, as many of us spent the last year trying to fit in ballet classes while juggling work and, for those of us with kids, remote learning. With the country opening up again, let's start planning (safely!) for workshops that allow us to jump into technique, conditioning and, of course, high-elbowing some new friends.

For in-person intensives, please check the studio's website for detailed health and safety guidelines, including policies on masks, cleaning/hygiene, social distancing, and the policy on having to cancel in-person programs due to COVID-19 restrictions.

CALIFORNIA

Alonzo King LINES Ballet Adult Dance Intensive (virtual only, via Zoom)

May 28–31, San Francisco

Immerse yourself in the celebrated home of Alonzo King, the artistic visionary who created LINES 39 years ago. Now in its second year as a virtual offering, this four-day workshop includes ballet, yoga, Pilates, choreography and contemporary. Students also have the option to drop in to class if they can't commit to all four days.

KENTUCKY

Lexington Ballet Adult Ballet Intensive

July 12–16, Lexington

Why should thoroughbreds have all the fun of training in the horse capital of the world? Reach new heights in your training at Lexington Ballet's Adult Ballet Intensive. Join school directors Luis and Nancy Dominguez and principal instructor Ayoko Lloyd for a five-day workshop that includes conditioning, Pilates, technique and repertoire. All classes are held in the evenings, and the program welcomes beginning through advanced students.

A group of eight smiling adult ballet students\u2014seven women and one man in the middle\u2014pose in a line and stand on their right leg in tendu crois\u00e9 devant.

A group of dancers pose at a past Lexington Ballet Adult Dance Intensive.

Ayoko Lloyd, Courtesy Lexington Ballet

Louisville Ballet Adult Summer Intensive

May 31–June 4, Louisville

Polish off a glass of sweet tea (or two), and then work up a sweet sweat at Louisville Ballet's Adult Summer Intensive. Geared towards beginning through advanced levels, students ages 18+ can take part in half- or full days of training. Classes offered include technique, pointe and jump strengthening, modern, Pilates and yoga. Students will also perform in a livestreamed performance on the final day.

MASSACHUSETTS

Brookline Ballet School Adult Summer Ballet Intensive

June 23–27, Brookline

The Red Sox and New England Patriots may get a bulk of the glory in Beantown, but the city is also a mecca for ballet. At Brookline Ballet School's Adult Summer Ballet Intensive, students (beginner or intermediate level) will spend three weeknights and two weekend mornings in technique and repertoire classes, wrapping up with an informal performance on Sunday afternoon.

NEW YORK

Kat Wildish Presents (virtual, via Zoom)

June 14–25 and July 12–23

Join master ballet teacher Kat Wildish in a virtual intensive that aims to take your training to the next level. Each day, in one-hour classes, Kat will lead students of all levels from basic to advanced in various ballet exercises. The group will be limited to 20 dancers, so each person will get personal attention.

A group of older adult ballet students in leotards, tights or leggings, stand in two lines with their left foot in B+ position and holding hands, as if rehearsing a ballet.

Kat Wildish (far left) working with adult students at Peridance Capezio Center

Matthew Venanzi, Courtesy Kat Wildish

OHIO

artÉmotion Adult Ballet Summer Workshop

June 14–19, Cleveland

Head to the Buckeye State for a week of training under the tutelage of Ballet West first soloist Allison DeBona and principal Rex Tilton. In this Adult Ballet Summer Workshop, beginner and intermediate/advanced students will fine-tune their skills in two classes every morning: a 90-minute technique class followed by a one-hour class in one of the following disciplines: pointe/pre-pointe, acting, men's and women's variations, conditioning.

PENNSYLVANIA

Amy Novinski

May 24–28 and June 28–July 2, Philadelphia

Those interested in the Vaganova technique may want to check out Amy Novinski's Adult Workshops. For the five-day May workshop, newbie dancers can look forward to classes devoted to ballet, jazz and yoga. For those more advanced, the June workshop offers more rigorous technique, contemporary ballet, pre-pointe/beginner pointe and jazz.

SOUTH CAROLINA

Ballet Academy of Charleston Adult Summer Intensive

July 26–30 and August 2–6, Charleston

Embrace the low-country charm in historic Charleston, where a weeklong Adult Summer Intensive at the Ballet Academy of Charleston invites beginning through advanced students to take classes in technique, stretching/Pilates/yoga, pre-pointe or pointe (for advanced students), variations, jazz, modern, contemporary and choreography. You may choose the half-day or full-day program.

TEXAS

Houston Ballet Adult Intensive

June 1–5, Houston

For intermediate/advanced students with at least three years of ballet training, Houston Ballet's Adult Intensive might be the perfect place to hone your skills. The school has two-, three- or five-day options, and includes ballet technique, variations, yoga and Zumba.

UTAH

May 31–June 5, Salt Lake City

Ballet West welcomes students of all levels to artÉmotion's one-week Adult Ballet Summer Intensive. Classes include ballet, contemporary, pointe, jazz, modern, acting, and men and women's variations. Available in full-day or half-day options, those dancing only in the morning will take two 90-minute technique classes. The full-day experience offers the opportunity to be choreographed on for an in-studio performance on Saturday, June 5. All students will also have a professional dance photo shoot with Logan Sorenson.

A group of four men in dance practicewear face the right corner of the room and raise their arm as if beckoning someone. Three of the men stand in parallel, which the man in the middle sits in a wheelchair.

A men's class at artÉmotion Adult Summer Ballet Intensive

Logan Sorenson, Courtesy artÉmotion

INTERNATIONAL

The August Ballet Retreat in Leeds

August 28–30, Leeds, UK

The three-day August Ballet Retreat in Leeds offers classes for students of all abilities. The mornings are devoted to technique, and in the afternoon, students will focus on repertoire. In the past, The Ballet Retreat has taught solos from Sleeping Beauty, Romeo and Juliet and Giselle. One detail is still tentative: If the retreat is unable to take place in person due to the pandemic, it will be offered virtually over Zoom.

Morlaix International Adult Ballet Camp

July 2–10, Morlaix, France

The Morlaix International Adult Ballet Camp is in the heart of France's Brittany region. In this full-day intensive, intermediate through advanced-level students will be led by an international faculty. Dancers can look forward to morning ballet classes and rehearsals in the afternoon. The week of training wraps up with a performance of Bournonville's Napoli at a nearby theater. Please contact the school for information about room and board.

Still shot by cinematographer Benjamin Tarquin, Courtesy Post:ballet

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