I have a question. Why do people love to bring up and give credit to Paris Opera for David's training when he only studied there for 1 year? Shouldn't Ballet Arizona School, and most specifically his teacher Kee Juan Han, receive most of the credit?
For the same reason that SAB is given credit for training say, Ashley Bouder or Adrian Danchig-Waring, both of whom were students there for about a year before entering NYCB as apprentices? And Bouder and Danchig-Waring aren't particularly unusual in this regard: they were just the first two "one and done" dancers I found moving through the dancer bios on NYCB's website. It seems that many (if not most?) NYCB dancers attended SAB for only a year or two.
That being said, 1) yes, a dancer's important early teachers should be given credit! (and which credit the NYCB website very graciously accords them); POB does look mighty prestigious on the bio nonetheless ; and 3) I'd be interested to know the extent to which Hallberg's dancing really was formed by his time at POB. Any thoughts?
I have to admit that I'm completely enraptured by POB's exquisitely pliant and expressive feet ... it's about all I can look at when I watch them dance and I barely notice anything else.