Houston Ballet first soloist Oliver Halkowich (right) in rehearsal with Justin Peck (second from left) (Lawrence Knox, courtesy Houston Ballet)
Houston Ballet will present an exciting new program starting tonight and running through Sunday, March 24: Come In, by Aszure Barton, and Dream Time, by Jiří Kylián, both company premieres, and Reflections by phenom Justin Peck. We caught up with HB first soloist Oliver Halkowich to get the scoop on what it was like in the studio with Peck.
Ballet Academy East student Stella MacDonald (Erin Baiano)
It's the rite of passage every young ballerina dreams of: getting her first pair of pointe shoes. But it's important to remember that a lot (and we mean a lot) of hard work and technique-honing leads up to this moment—not to mention getting the green light from your teacher. Dance Spirit turned to Jenna Lavin, former Miami City Ballet dancer and principal of the pre-professional division at Ballet Academy East in NYC, for three exercises meant to strengthen, train, and stabilize the muscles you'll be using once you're on pointe.
Delgado in George Balanchine's "Tschaikovsky Piano Concerto No. 2" (Alexander Iziliaev, courtesy Miami City Ballet)
Miami City Ballet principal Jeanette Delgado's dynamic, show-stopping presence and powerful, crisp technique have been wowing audiences for well over a decade. A Miami, FL, native, Delgado began training with Vivian Tobio, Liana Navarro, and Maria Victoria Gutierrez. At age 9, she received a scholarship to Miami City Ballet School and, in 2003, she earned the Princess Grace Award. That same year, Delgado became an apprentice with Miami City Ballet. In 2004 she was promoted to the corps, and in 2006 to soloist. She became a principal dancer in 2008. Catch her this month performing in the company's spring program. —Courtney Bowers
Colorado Ballet principal dancer Dana Benton's first pair of pointe shoes, kid's size 12—with all the darning worn off from dancing around on the carpet at home (courtesy Benton)
The mark of a truly skilled ballerina is her ability to make the pointe shoe look like a part of her body, an extension of her beautifully S-curved leg. It's hard to believe the shoe was ever foreign to her, or that she ever had that awkward first time on pointe. We asked six professional ballerinas to reminisce about that very first pair, and the memories—and photos—they shared are sure to make you smile.
San Francisco Ballet's Frances Chung in rehearsal (Erik Tomasson, courtesy San Francisco Ballet)
Even for natural turners, pirouettes from fifth can be a challenge. You need to take off from a small crossed position and stay straight over your supporting leg, from start to finish. "It's the hardest place to turn from, because you can't access your plié as much as you can from fourth," says Jennie Somogyi, former principal dancer with New York City Ballet and director of Jennie Somogyi Ballet Academy in Easton, PA. "I'm always telling my students to plié more!"
If you're struggling with pirouettes from fifth position or want to refine your approach, try these pro tips.