Did the role mature the dancer?

[kfw]

In the "Highlights, Lowpoints, Disappointments" thread, Michael writes:

Carbro I disagree about Janie Taylor being anyhow bland in Square Dance. She has quietly become a finished classical dancer, one of the most fascinating and beautiful to watch of her generation. So Blond but such a Sylph. The wildness is under control - It's become merely the extraordinary color which characterizes her dancing. Her suddenly maturing, after last Spring's absence, was more unpredictable

Prior to seeing her in Divertimento #15 in DC. this year, I’d only seen Taylor in the Lew Christensen Pas de deux City Ballet danced in 1999. I remember being thrilled by the wild quality Michael cites, as well struck by her poise at such a young age. Thinking of her in Divertimento now, I find myself wondering what accounts for the maturation Michael mentions; specifically, did being cast in this ballet, which is known for its decorousness and its exquisite perfume, help develop that classical quality?

I know that Balanchine would sometimes cast corps dancers in principal’s roles in order to mature them, and if I’m not mistaken Martins has continued the tradition. So I'm curious: who remembers particular dancers being dramatically shaped and matured by a role? Have certain certain ballets historically been used to mature dancers by bringing out this or that quality? Are there historically significant examples of dancers blossoming after being cast in a challenging role, or of already celebrated dancers developing new facets through new roles?

[Leigh Witchel]

The first one that pops to mind is Alexandra Ansanelli is Wheeldon's Polyphonia. We've discussed it here before, but he added flashes of darkness to her persona that was for me the point where she started to become a ballerina.

[atm711]

Two ballerinas come to mind--Maria Tallchief and Farrell. Tallchief fits into the 'wildness' category; there was a wonderful freedom to her dancing in her soloist days. Instead of being all over the place, Balanchine reined in all this energy, and it was startling to see her Eurydice----she started to become a ballerina with this role. This was completed the following year with 'Firebird'. For me, there have always been two Farrells---pre and post Bejart. She left a soloist and came back a ballerina.

[carbro]

Here's an example from just a few months ago: Misty Copeland in Amazed in Burning Dreams. http://ballettalk.invisionzone.com/index.php?showtopic=17909.

In this case, however, it is unfortunate that the bloom opened before our eyes in a contemporary piece. If she were in a company with a rep less based in the 19th century, this exciting side of her would gain nourishment from richer soil.