A little over a month ago Roberto Bolle gave his final bow with American Ballet Theatre, though thankfully he's not saying goodbye to ballet altogether. After 10 years dancing as a principal with ABT while guesting around the world and at his home company La Scala Ballet, he's now planning to focus on his own galas and projects in Italy. A frequent face in those galas is Polina Semionova, a principal guest with Staatsballett Berlin (and also a former principal with ABT). Semionova and Bolle have danced together for years, and while Bolle is renown for his partnerships with many ballerinas, the two make an exceptionally elegant duo. Here they dance Vladimir Burmeister's Black Swan Pas de Deux at the 2007 Tchaikovsky Gala in Milan.


Tall, muscular and striking, both artists have an instant aura of nobility onstage. As Odile, Semionova captivates her prince with alluring, sustained energy in the adagio section of Burmeister's pas de deux, which is more lyrical than the familiar Petipa version and uses different music. (Fun fact: It's actually the original Act III pas de deux music from Swan Lake's 1877 Moscow premiere, now more associated with Balanchine's Tschaikovsky Pas de Deux). At 4:00, at the adagio's climax, Semionova jumps into Bolle's arms and he swings her in a backbend over his shoulder, then seamlessly lowers her into a fish. In their respective variations, Bolle soars in slow motion leaps and silky pirouettes, while Semionova commands the stage with regal, though menacing, port de bras. As the coda begins, the various character dancers are under Von Rothbart's spell, surrounding Odile as she fouettés, adding even more drama and energy to the ballerina's stunning feat. 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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