If you've been waiting with bated breath for the ballet emoji that is due to hit iPhones everywhere this September, we might have something even better to add tutus to your texts in the meantime—these cute new ballerina iMessage stickers, now available for download from the App Store.
Members of the Paris Opéra Ballet give a surprise performance on an Air France flight from Shanghai to Paris. Courtesy Air France.
Just imagine: you're settling in for a long international flight, when suddenly Tchaikovsky's Swan Lake starts playing on the intercom—and a group of feather-clad ballerinas bourrée down the aisle. That's exactly what happened last week to Air France customers on a Paris-bound flight from Shanghai, when 10 members of the Paris Opéra Ballet gave a impromptu performance throughout the plane's cabins.
Aran Bell in Swan Lake. Photo by Gene Schiavone, Courtesy ABT.
Most years, American Ballet Theatre closes its spring Met season with a sweet surprise: company promotions. Artistic director Kevin McKenzie just announced that two members of the corps de ballet—Aran Bell and Joo Won Ahn—are being promoted to soloist, effective September 1.
Gemma Bond in the studio with ABT's Cassandra Trenary. Jim Lafferty.
If like us you're already mourning the end of American Ballet Theatre's marathon Met season, don't fear. The company just announced the lineup for its fall season, and there's a lot to look forward to.
Running October 16-27 at Lincoln Center's David H. Koch Theater, ABT's fall lineup includes world premieres by choreographers Twyla Tharp and Gemma Bond. While Tharp has been creating for ABT since 1976 (the company's Met season included a trio of her works), corps dancer Gemma Bond will be making her choreographic debut for ABT's main company. The season also shines a spotlight on principal Herman Cornejo, who will be celebrating his 20th anniversary with the company.
2019 YoungArts finalist Kali Kleiman. Photo by Em Watson, Courtesy YoungArts.
If you're looking for something to add to your summer to-do list alongside "wash smelly ballet bag," or "burn heinous recital costume," consider adding "apply to prestigious national arts competition" as a line item. Now through October 11, the National YoungArts Foundation is accepting applications for its annual YoungArts competition.
Peter Boal in class a New York City Center. Courtesy of PNB
"People have so much fear associated with arabesque turns," says Peter Boal, artistic director of Pacific Northwest Ballet. Here, he shares images and ideas to help you confidently master this advanced pirouette. "It's a real accomplishment when you can put it all together."
New Miami City Ballet corps member Itzkan Barbosa and her mother Miriam Barbosa pose atop a mountain of Itzkan's pointe shoes. Photo by Alexander Iziliaev, courtesy of Miriam Barbosa
On the morning of May 1, Miriam Barbosa posted a photo of her daughter, Itzkan, on Facebook. The image itself is striking—Itzkan stands smiling on pointe in front of Miami City Ballet, where she has spent the last year as a pre-professional student, perched atop a mountain of old pointe shoes of all different sizes. But it's the story behind the picture that's inspired so many people to comment their congratulations and appreciation. The photo contains every single one of Itzkan's pointe shoes, from her very first pair up until the moment she got her first professional contract as a corps member with MCB last month.The imagenot only calls attention to the hard work and dedication necessary for young dancers to achieve their dreams, but to the sacrifices parents make to help them get there.
Suzanne Farrell works with Sara Mearns during a rehearsal of George Balanchine's "Diamonds." Rosalie O'Connor, Courtesy NYCB.
In a large practice studio inside Lincoln Center's Koch Theater, Suzanne Farrell watches quietly as New York City Ballet principals Sara Mearns and Russell Janzen work through a series of supported poses. As Janzen kneels to face her, Mearns brushes through to croisé arabesque, extending her leg high behind her. "I wouldn't penché there," says Farrell, gently. "You can, but I wouldn't."
"I get so excited here," says Mearns with a laugh. The three are slowly working through the pas de deux of "Diamonds," the ballet George Balanchine created on Farrell and Jacques D'Amboise in 1967 that makes up the third act of his full-length Jewels.
"I know," Farrell says. "But it's more exciting if the arabesque turn afterwards is sustained."