Ballet Stars
ABT in "Swan Lake." Petipa often collaborated with Lev Ivanov, who choreographed this ballet's white acts. Photo by John Grigaitis, Courtesy ABT.

Two hundred is the new 30. Or at least it seems so for Marius Petipa, whose ballets are as active as ever as we celebrate his 200th birthday this year.

Nearly all major ballet companies dance Petipa's iconic ballets, which reflect his prolific creative output. And they are heavy hitters: Swan Lake, La Bayadère, Le Corsaire, Don Quixote, The Nutcracker, Paquita, The Pharaoh's Daughter, Raymonda and The Sleeping Beauty, to name just a few of the 50-plus ballets he choreographed. He also revived and reworked earlier productions of Coppélia, La Fille mal gardée and Giselle. During American Ballet Theatre's 2018 spring season, five out of its eight weeks will be attributable to Petipa, including the debut of artist in residence Alexei Ratmansky's newly reconstructed Harlequinade.

Gabe Stone Shayer and Misty Copeland in "The Sleeping Beauty." Photo by Doug Gifford, Courtesy ABT.

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Ballet Stars

La Fille Mal Gardée, or in English "The Wayward Daughter," is one of the oldest story ballets still in modern repertoire. The tale's enduring magic lies in themes of youth, following your heart and true love, along with playful bits of entertainment, like the clog dance and ribbon pas de deux. As Lise, Russian-born ballerina Valentina Kozlova captures the character's spirited innocence. Dancing alongside her as her beloved Colas is Chris Jensen, star of Switzerland's Basel Ballet. This clip of their ribbon pas de deux from Basel Ballet's 1986 film is as lighthearted and charming as it is technically brilliant.

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Ballet Training
Photo by Katherine Bibilouri, via VKIBC Facebook

Some may consider New York's Symphony Space a smaller theater, but big things were happening inside June 6–10. Just under 200 young dancers from all over the world were testing their luck at the Valentina Kozlova International Ballet Competition in hopes of receiving scholarships, medals and company contracts. Their jury? An international panel of company and school directors, chaired by Andris Liepa, that included State Ballet of Georgia's Nina Ananiashvili, Boston Ballet School's Peter Stark, Dance Theatre of Harlem's Virginia Johnson and Cincinnati Ballet' s Victoria Morgan.

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Kyle Froman for Dance Magazine.

As told to Madeline Schrock and Nancy Wozny.

We asked five frequent judges for their advice, their pet peeves and their approach to the scoring process.


Peter Stark

  • Head of the men's program at Boston Ballet School, associate director of Boston Ballet II
  • Valentina Kozlova IBC, Youth America Grand Prix

Igor Burlak, Courtesy Boston Ballet.

I am an advocate for competitions. I know there are people who are against them, but dancers can learn a lot when they're working one-to-one versus in a classroom setting. My mentor Bruce Marks, who was chair of the USA International Ballet Competition in Jackson for many years, said, “the process is the prize." It's true. As a coach, I've had dancers win and lose, but I certainly feel like the process of setting a goal and working on something is valuable.

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Whitney Jensen had her eye on the prize last July at the Varna International Ballet Competition. A student at Valentina Kozlova’s Conservatory of Dance in New York City, she became the first female and first American in the competition’s history to win the junior division’s Special Distinction Grand Prix award. She also took home the Ballet International Award, given for highest achievement in ballet classics. “I wasn’t expecting to win at all,” says Jensen. “I was just hoping to make it to the second or third round!”


Natural talent runs in the family—her two older sisters are both Broadway dancers. But Jensen’s determination has also guided her growth. Born in a Salt Lake City suburb, she began dancing at her mother’s studio at 6, training in ballet, jazz, tap and hip hop. At 8, she began focusing strictly on ballet with Jacqueline Colledge; at 11, she switched to Ballet West Academy. That same year she competed in Youth America Grand Prix, where she saw a Kozlova student perform.


“Valentina’s training had a certain finesse I’d never seen before,” explains Jensen. “I knew it could get me somewhere.” Jensen spent that summer studying with Kozlova, and the following school year she flew to New York every other weekend before moving to the city at age 13. “I love Valentina’s focus on artistry every day in class,” Jensen says.


A typical day for Jensen begins when her alarm goes off at 5:30 am. She heads out to a 6:30 scripture class at her church at Lincoln Center, then does school work online for three or four hours before a private lesson with Kozlova at 12:30. “I like privates because they are so personal and specific—we can spend hours on a tendu, an arm movement or head movement!” Jensen says. From 2:00 to 5:00 pm, she has a break used for studying, then returns to the studio for classes and rehearsal from 5:00 to 8:45 pm.


Jensen lights up when rehearsing contemporary work, like the new piece set on Kozlova’s students by former Ailey dancer Carlos Dos Santos. But she loves ballet’s historical roots and dreams of dancing in the classics. Her favorite variation, the Black Swan, was among her winning repertoire at Varna.


Both Kozlova and Jensen see great benefits in competitions. “When I compete, I reach a goal faster and feel more fulfilled than when I’m just taking class every day,” says Jensen. But like many teachers, Kozlova worries that competitions can focus too much on tricks at the expense of artistry. “The judges at Varna, especially Vladimir Vasiliev, were surprised to see an American dancer with such Russian artistry and port de bras,” says Kozlova.


 After Varna, Jensen was invited to perform the Sugar Plum Fairy for the Hungarian National Ballet’s Nutcracker. “It gave me a feel for what it’s like to be a professional,” she says. Although Jensen has an offer to join the company when she turns 17, and probably many more offers to follow, the teenager clearly states that she’s not quite ready to go pro. “I’m still young and have a lot to work on. I’m nowhere near perfect!”

Jen Peters dances with Jennifer Muller/The Works and writes on dance in NYC.

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