Boston Ballet School pre-professional students in pas de deux class

Igor Burlak, Courtesy Boston Ballet

Get Ready for World Ballet School Day, Streaming July 7


Mark your calendars!

This Tuesday, July 7, join pre-professional dancers across the globe in an inaugural live-stream event celebrating World Ballet School Day 2020. Made "by students for students," the event aims to bring young generations of dancers together in an international recognition of the unifying power of ballet, dance and the art world at large. The program, featuring dancers from a dozen internationally renowned ballet academies and organizations, will be broadcasted online on the WBSD website at 7 am EDT and will be available for viewers on-demand for one month following the premiere.


Students around the world will participate in discussions and showcase their training on this online platform, with special attention given to the effect of COVID-19 shutdown on young artists. The event will also feature performance footage, including the premiere of a new work choreographed by Didy Veldman focusing on physical restriction—a familiar sensation for dancers worldwide during the pandemic. Students from The Royal Ballet School, San Francisco Ballet School, Canada's National Ballet School, Paris Opéra Ballet School, The Royal Danish Ballet School and the Dutch National Ballet Academy worked together with Veldman over Zoom to create the new work. She and UK–based company BalletBoyz then compiled each dancer's video into the finished product for the upcoming broadcast.

The WBSD collaboration, conceived by English National Ballet School director Viviana Durante, has a wide reach, featuring 12 schools and institutions from three different continents. Participating organizations include:

The Australian Ballet School
Boston Ballet School
Dutch National Ballet Academy
English National Ballet School
Canada's National Ballet School
Palucca University of Dance Dresden
Paris Opéra Ballet School
Prix de Lausanne
Royal Ballet School
Royal Danish Ballet School
San Francisco Ballet School
New Zealand School of Dance

A group of three girls and four boys in blue and black leotards and unitards pose in various modern shapes onstage in front of a black background.

Boston Ballet School in Lia CIrio's the peppermint wind.

Liza Voll, Courtesy Boston Ballet


"World Ballet School Day provides students from across the globe the opportunity to connect and unite through the common language of dance," says Boston Ballet School director Margaret Tracey. "Their passion and commitment to training brings together the next generation of artists who will lead us into a more hopeful future." For more information, visit the WBSD website, and share your experience on social media with #WorldBalletSchoolDay.

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After 25 Years, Victoria Morgan to Step Down as Cincinnati Ballet's Artistic Director

Last month, Victoria Morgan announced that she will step down as Cincinnati Ballet's artistic director at the conclusion of the 2021-22 season. The organization's board of trustees has formed a committee to conduct a national search for her replacement.

Prior to coming to Cincinnati Ballet in 1997, the Salt Lake City native was a principal dancer with San Francisco Ballet and Ballet West, as well as resident choreographer for the San Francisco Opera. She graduated magna cum laude from University of Utah, where she also earned her MFA, and has judged several international ballet competitions.

Entering her 25th and final season as director, Morgan has accomplished a lot at Cincinnati Ballet, not the least erasing the $800,000 in company debt she inherited at the outset of her tenure. To right the organization's financial ship she had to make tough choices early on—the first task the company's executive committee gave her was to release a third of the company's dancers. In her continuing effort to overhaul how the organization did business, in 2008 she became both the artistic director and CEO and set about building the company's now $14.5 million endowment. For the 2016–17 season, with the arrival of new company president and CEO Scott Altman, Morgan returned to being full-time artistic director and helped lead the realization of the organization's new $31 million home, the Margaret and Michael Valentine Center for Dance.

A champion of female choreographers, Morgan has also choreographed numerous ballets for the company, including world premieres of King Arthur's Camelot and The Nutcracker. She has also helped orchestrate several company collaborations, including 2013's Frampton and Cincinnati Ballet Live and joint productions with BalletMet.

Pointe caught up with Morgan to talk about her recent announcement.

Victoria Morgan is shown from the side standing on stage right, turning to smile at a line of costumed dancers to her left during bows. She wears a patterned green dress with chunky green high heels and holds a red rose in her hand.

Peter Mueller, Courtesy Cincinnati Ballet

Why leave Cincinnati Ballet now?

It's been an amazing run and I have seen it all. I am not sure where I would go from here. I also feel there is a required stimulus and infusion of new ideas and energy that always needs to be a part of a growing, evolving and exciting arts organization.

What made you happiest at Cincinnati Ballet?

The people, from the devotion of patrons and donors to learning from and feeling the pride in work from the staff. It has also been so satisfying for me to choreograph on and watch so many dancers evolve in their dance careers and lives.

Were there things you wanted to do for the company that you weren't able to?

There were other collaborations I wanted us to explore and choreographers I wanted us to work with. It takes quite an investment to make those happen.

Your legacy includes actively creating opportunities for female choreographers. What motivated that?

I started realizing, in a profound way, the gender inequities in our art form. Because I was in a leadership position, I thought I could do something about this and try to get to a 50-50 balance of male and female choreographers. It took a little time to find women to step forward, but it happened. Now there are many more prominent female choreographers, including our resident choreographer Jennifer Archibald, and I am proud of that.

If you could handpick your successor, what qualities would you look for?

Somebody creative, charged up, and who can be visionary. Someone who has had a high-level experience in our art form. A leader who is demanding but also kind and supportive, and who opens doors to find new ideas while still embracing Cincinnati Ballet's philosophies.

What do you feel will be one of the biggest challenges for the new artistic director?

The important cause of DEIA (diversity, equity, inclusion, accessibility). Whoever steps into that position has to have awareness of the culture of today's conversation.

Do you plan to keep choreographing?

I am not being proactive about it, but if the opportunity presents itself, it would be fun.

What's next?

I feel my next calling is bringing movement to the biggest segment of our population, baby boomers. I want to be part of an initiative that makes moving and wellness enjoyable and enlivens people.

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