Atlanta Ballet Names New Artistic Director
Among the flurry of ballet retirements in the past year, some dancers have been able to jump straight into leadership positions. Carla Körbes became associate artistic director of L.A. Dance Project. Julie Kent took charge of American Ballet Theatre's summer intensive program. But San Francisco Ballet's Gennadi Nedvigin didn't even have a chance to announce his retirement before news broke today that he will become the new artistic director of Atlanta Ballet. The Bolshoi-trained principal dancer, who joined SFB in 1997 and was promoted to principal in 2000, has recently begun teaching, coaching and staging works (particularly those of SFB resident choreographer Yuri Possokhov), around the world. In 2014, he set Possokhov's Classical Symphony on Atlanta Ballet. Now, he'll take charge of the company, joining the Joffrey's Ashley Wheater and Boston Ballet's Mikko Nissinen as the third former SFB dancer currently leading a major American company.
Gennadi Nedvigin rehearsing Classical Symphony at Atlanta Ballet. Photo by Charlie McCullers, courtesy Atlanta Ballet.
Atlanta Ballet's current director, John McFall, announced his retirement seven months ago after a 20-year tenure. He will leave after the close of the season on June 1st, and Nedvigin will take over on August 1st, after retiring from SFB with a performance of John Cranko's Onegin in May. As a dancer known for building dramatic tension in roles like Lensky and Albrecht, it will be interesting to see where he takes a company whose repertory is less focused on these heavy classics.
Nedvigin with Maria Kochetkova & Clara Blanco in Cranko's Onegin. Photo by Erik Tomasson.
What do Percy Jackson, Princess Diana and Tina Turner have in common? They're all characters on Broadway this season. Throw in Michelle Dorrance's choreographic debut, Henry VIII's six diva-licious wives and the 1990s angst of Alanis Morissette, and the 2019–20 season is shaping up to be an exciting mix of past-meets-pop-culture-present.
Here's a look at the musicals hitting Broadway in the coming months. We're biding our time until opening night!
If you think becoming a trainee or apprentice is the only path to gaining experience in a dance company environment, think again.
The University of Arizona, located in the heart of Tucson, acclimates dancers to the pace and rigor of company life while offering all the academic opportunities of a globally-ranked university. If you're looking to get a head-start on your professional dance career—or to just have a college experience that balances company-level training and repertory with rigorous academics—the University of Arizona's undergraduate and graduate programs have myriad opportunites to offer:
Yes, we realize it's only August. But we can't help but to already be musing about all the incredible dance happenings of 2019.
We're getting ready for our annual Readers' Choice feature, and we want to hear from you about the shows you can't stop thinking about, the dance videos that blew your mind and the artists you discovered this year who everyone should know about.
Ah, stretching. It seems so simple, and is yet so complicated.
For example: You don't want to overstretch, but you're not going to see results if you don't stretch enough. You want to focus on areas where you're tight, but you also can't neglect other areas or else you'll be imbalanced. You were taught to hold static stretches growing up, but now everyone is telling you never to hold a stretch longer than a few seconds?
Considering how important stretching correctly is for dancers, it's easy to get confused or overwhelmed. So we came up with 10 common stretching scenarios, and gave you the expert low-down.