![]() Sterling Hyltin began her dance training at the age of six at the Dallas Metropolitan Ballet. She was appointed to the faculty in 1998. Her repertory included several principal roles in works by George Balanchine, Jerome Robbins, and Peter Martins. In 1997, she joined the School of American Ballet as a guest teacher upon retirement from New York City Ballet. ![]() Killian became a member of the New York City Ballet in 1981 and was promoted to Soloist in 1989. SAB students will demonstrate some of the ballet’s most iconic sections to bring Killian’s and Hyltin’s discussion points to life.įollowing early ballet study in Pennsylvania with Marcia Dale Weary, Katrina Killian began her SAB training with the 1977 Summer Course and was subsequently enrolled in SAB’s Winter Term from 1979 to 1981. Recently retired New York City Ballet principal dancer Sterling Hyltin will join her in conversation, having performed the ballet several times over her career. The ballet, featuring brisk footwork and a wistfully romantic pas de deux, held a significant role in Katrina Killian’s career at New York City Ballet. Scotch Symphony is Balanchine’s homage to the grandeur and freshness of the Scottish highlands, set to Mendelssohn’s early romantic symphony inspired by the composer’s 1829 visit to Scotland. Register for this session nowīalanchine’s Scotch Symphony Scotch Symphony at SAB’s 2017 Workshop Performances Photo by Paul Kolnikįeaturing live demonstrations by students of the School of American Ballet He is currently Co-Director of Dance at The Metropolitan Opera. Trusnovec was Associate Rehearsal Director, was featured in the 2004 PBS Great Performances: Acts of Ardor and the 2013 Paul Taylor in Paris, and served as Director of Worldwide Licensing and as a repetiteur of Mr. For over two decades, Michael was a Principal Dancer with the Paul Taylor Dance Company, creating over 25 roles with, and appearing in more than 70 dances choreographed by Mr. Hailed by the New York Times as “one of the world’s most luminous dancers,” Michael Trusnovec grew up dancing on Long Island and earned a BFA in Dance Performance from Southern Methodist University. ![]() In 2005 she was invited to judge and teach for the burgeoning Youth America Grand Prix in both the regional and final Competitions, and has been with the organization ever since. Saland has been a freelance instructor traveling to teach in NY, San Francisco, Los Angeles, Kansas City, Buenos Aires, Copenhagen, Madrid, Mallorca, Mexico and Canada. Since finishing her performance career, Ms. Before moving to Seattle in the fall of 1993, she taught movement for student actors at Playwrights’ Horizons and helped develop a body-awareness class for actors with theater teacher Caymichael Patten. In a 21year career with City Ballet, she was showcased in leading roles under Balanchine’s direction, as well as principal roles in Jerome Robbins’ repertoire. Three years later she was invited by George Balanchine to join the New York City Ballet for the remarkable Stravinsky Festival. Stephanie Saland was born in Brooklyn and entered The School of American Ballet just before her 15th birthday. Balanchine then choreographed the second section for New York City Ballet, with an additional solo for Paul Taylor, who was then a member of the Graham company and later developed his own technique and choreographic identity. Since 1961, NYCB has performed its section alone, without the solo created for Taylor. ![]() Balanchine invited modern dance titan Martha Graham to choreograph the first section for her company. With Stephanie Saland and Michael TrusnovecĮpisodes was created in homage to Anton von Webern’s complete orchestral works. ![]() In 2017, he led New York City Ballet’s four-person interim artistic leadership team and was named Artistic Director of both New York City Ballet and the School of American Ballet in February 2019.īalanchine’s Episodes Episodes at New York City Ballet, Photo by Paul Kolnik Stafford served as Ballet Master for New York City Ballet. Stafford joined SAB’s permanent faculty in 2007 and was named the School’s first Professional Placement Manager in 2015. After retiring from dancing in 2014, Mr. He joined New York City Ballet in 1999, was promoted to soloist in 2006 and principal dancer in 2007. After attending two summer courses at SAB, he enrolled full time in 1997. Jonathan Stafford began his ballet training at Central Pennsylvania Youth Ballet. To complement the sparkling score, he created a work of prodigious ingenuity featuring a regal cast of dancers. Jonathan Stafford and Debra Austin danced this ballet at different points in its history, and now they continue to shape its performances through their roles as Artistic Director of New York City Ballet and Ballet Master for Carolina Ballet. 15 at SAB’s 2013 Workshop Performances Photo by Paul Kolnikīalanchine considered Mozart’s Divertimento No. ![]()
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