The story of Giselle has emotional power in the way it blurs the lines between good and evil. Myrtha, Queen of the Wilis, is often considered the villainess, but her character is far more complex than the bad guys in most ballets. A wounded spirit determined to protect her companions the only way she knows how, Myrtha is ethereal, yet ruthless. Every ballerina must meet the challenge of the role in her own way. Martine van Hamel, a former American Ballet Theatre principal, brings the opposing forces of Myrtha's nature into harmonious balance in this 1977 clip.



Van Hamel's approach to Myrtha is not severe, but rather deliberate and assured; she creates the character in the way she moves through space rather than through expressions or gestures. When she enters at 3:12, she creates the illusion of floating, her feet fluttering while she holds the rest of her body perfectly still. Throughout the variation, power emanates from her lifted and expansive décoletté. She moves without any hard edges, continuously radiating energy after she makes a position. Although Myrtha soon reveals her brutal tactics, van Hamel creates a being with a nobility worthy of audiences' empathy through this first solo. Happy #ThrowbackThursday!

Ballet Careers
Lenai Alexis Wilkerson. Christopher Duggan, Courtesy Michelle Tabnick Public Relations.

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. Lenai Alexis Wilkerson graduated from University of Southern California with a BFA in dance (dance performance concentration) and a political science minor in 2019.

As Lenai Alexis Wilkerson looked at colleges, she wanted a school that would prepare her for two totally different professions: dancing and law. "I knew, pretty much when I was 16, that I wanted to go to law school," she says. "So I wanted the opportunity to have a dual college experience, where I could have a conservatory training style within a university and I could focus equally on my academics." When she auditioned for the inaugural class of University of Southern California's Glorya Kaufman School of Dance, she knew it was the right fit.

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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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News
Nicolas Pelletier in Carmina Burana. Francisco Estevez, Courtesy Colorado Ballet.

Last week, Colorado Ballet interrupted Nutcracker rehearsals for an exciting announcement: Four dancers were being promoted. Though all made the jump from the company's corps de ballet, Nicolas Pelletier ascended directly to the rank of soloist, while Sean Omandam, Emily Speed and Melissa Zoebisch were promoted to demi-soloist. This news comes hot on the heels of last August's promotion of Francisco Estevez to principal.

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Courtesy School of Pennsylvania Ballet

While many of us are deep in Nutcracker duties, The School of Pennsylvania Ballet director James Payne has been looking further ahead, finalizing preparations for the school's summer intensive programs. In January, he and his staff will embark on a 24-city audition tour to scour the country for the best young dancers, deciding whether or not to offer them a spot—maybe even a scholarship—in the school's rigorous 5-week intensive focused on high-caliber ballet instruction. Though he'll be evaluating aspirants, he urges that as a student, you should be equally selective in choosing programs that could galvanize your training—and possibly even your career.

We got Payne's advice on strategizing your summer intensive plan before the audition cycle kicks in:

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