New York City Ballet Promotes Nine Dancers

[Dale]

From the company:

NEW YORK CITY BALLET

PROMOTES NINE DANCERS

Ellen Bar, Antonio Carmena, Jason Fowler, Sterling Hyltin,

Rebecca Krohn, Sara Mearns, Amar Ramasar,

Johnathan Stafford, and Andrew Veyette Promoted to Soloist

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New York City Ballet announced that corps de ballet members Ellen Bar, Antonio Carmena, Jason Fowler, Sterling Hyltin, Rebecca Krohn, Sara Mearns, Amar Ramasar, Johnathan Stafford, and Andrew Veyette have been promoted to soloists. All of the promotions are effective immediately.

Peter Martins, NYCB’s Ballet Master in Chief, announced these promotions at the conclusion of the Company’s engagement at The John F. Kennedy Center for the Performing Arts in Washington, DC, which took place from March 1 through 5.

New York City Ballet’s 2006 spring season, featuring seven world premiere ballets as part of Company’s sixth Diamond Project festival, runs from April 25 through June 25 at the New York State Theater at Lincoln Center.

Ellen Bar was born in Houston, Texas. She began her ballet training at the age of seven with the School of American Ballet (SAB), the official school of New York City Ballet. Ms. Bar studied with Antonia Tumkovsky, Elise Reiman, Richard Rapp, Garielle Whittle and Hélène Dudin. She appeared in the children’s role of “Candy Cane” in the film version of George Balanchine’s The Nutcracker™, which was released in 1993. While at SAB, Ms. Bar was the recipient of the Anna Whitney Bass Scholarship for

Dancers with Outstanding Promise. In the fall of 1997, Ms. Bar was invited to become an apprentice with New York City Ballet, and joined the Company’s corps de ballet in June 1998. Ms. Bar has performed featured roles in George Balanchine’s Agon, Brahms-Schoenberg Quartet (first movement), Coppélia (“War & Discord”), The Four Temperaments, A Midsummer Night’s Dream (Hippolyta), Orpheus, Stars and Stripes (second campaign), Symphony in Three Movements, Tschaikovsky Suite No. 3 (“Elegie”), and La Valse. She has also appeared in featured roles in Peter Martins’ The Sleeping Beauty (Courage), Swan Lake (Russian and Princesses); and Christopher Wheeldon’s An American in Paris. Ms. Bar has also originated corps roles in works by Melissa Barak, Boris Eifman, Eliot Feld, Richard Tanner, and Helgi Tomasson.

Antonio Carmena was born and raised in Madrid, Spain. He began his dance training at age seven with the Royal Conservatory of Professional Dance in Madrid. While at the Conservatory, he studied with Virginia Valero and Antonio Almenara. In addition, he studied with Maria de Avila, Aurora Bosch, Ricardo Franco, Lazaro Carreno and Stanley Williams. After winning a Prix de Lausanne Scholarship, he came to New York City in 1997 to study at the School of American Ballet. He was invited to become an apprentice with New York City Ballet in October 1998 and joined the Company as a member of the corps de ballet in October 1999. Mr. Carmena has danced featured roles in David Allan’s Reunions; George Balanchine’s Chaconne, Emeralds from Jewels, George Balanchine’s The Nutcracker™ (Soldier and Chinese Tea), A Midsummer Night’s Dream (Oberon), Prodigal Son, La Sonnambula, Symphony in C (third movement), and La Valse; August Bournonville’s Flower Festival in Genzano Pas de Deux; Peter Martins’ Eight More, Fearful Symmetries, The Sleeping Beauty (Jesters), and Swan Lake (Neapolitan); and Jerome Robbins’ Dances at a Gathering, Fanfare (Trumpets), The Four Seasons (Winter and Fall), Interplay, N.Y. Export: Opus Jazz, and Piano Pieces. Mr. Carmena has also originated corps roles in ballets by Boris Eifman, Eliot Feld, Susan Stroman, Richard Tanner, Helgi Tomasson, and Christopher Wheeldon.

In 1996, Mr. Carmena was awarded the Gold Medal at the Third International

Competition in Havana, Cuba. In 1997, he received top honors at the Prix de Lausanne, as well as the “Prix des Telespectateurs” which was voted on by the television viewers of the Prix de Lausanne. He was awarded Grand Prix in the Seventh Eurovision Competition for Young Dancers, and in 1997, Mr. Carmena was named the “Most Outstanding Young Dancer” in the First International Dance Competition in Zaragoza, Spain.

Jason Fowler was born in Dallas, Texas, and began his ballet training at the age of 11, at the Dallas Ballet Academy where he studied dance for five years. In 1993, Mr. Fowler entered the School of American Ballet. He became an apprentice with New York City Ballet in August of 1995 and was invited to join the Company as a member of the corps de ballet in April of 1996. Mr. Fowler has danced featured roles in George Balanchine’s Agon, Chaconne, Divertimento No. 15, Episodes, George Balanchine’s The Nutcracker™ (Hot Chocolate and Host), A Midsummer Night’s Dream (Demetrius and Theseus), Scotch Symphony, Slaughter on Tenth Avenue, Union Jack, and La Valse; Boris Eifman’s Musagète; Peter Martins’ The Sleeping Beauty (Europe) and Swan Lake (Hungarian, Spanish and Russian); Jerome Robbins’ Concertino, The Four Seasons (Janus), Glass Pieces, The Goldberg Variations; and Christopher Wheeldon’s After The Rain. In addition, Mr. Fowler originated featured roles in Mauro Bigonzetti’s Vespro, Susan Stroman’s “The Blue Necklace” (Mr. Griffith) from Double Feature, Christopher Wheeldon’s Polyphonia and corps roles in Mr. Wheeldon’s Carnival of the Animals, Mercurial Manoeuvres, and Variations Sérieuses.

Sterling Hyltin was born in Amarillo, Texas. She began her dance training at the age of six at the Dallas Metropolitan Ballet, where she studied with Ann Etgen and Bill Atkinson. Ms. Hyltin entered the School of American Ballet in the fall of 2000. In October 2002, Ms. Hyltin became an apprentice with New York City Ballet, and in June 2003 she joined the Company as a member of the corps de ballet. Ms. Hyltin has danced

featured roles in George Balanchine’s Ballo della Regina, Divertimento No. 15, George Balanchine’s The Nutcracker™ (Dewdrop, Marzipan, Dolls), Harlequinade (Lead Alouette), A Midsummer Night’s Dream (Butterfly), Stars and Stripes, and Tarantella; Peter Martins’ Morgen, The Sleeping Beauty (Eloquence and White Cat), Swan Lake (Pas de Trois); and Jerome Robbins’ Fanfare (Flutes). Ms. Hyltin has also originated corps roles in works by Susan Stroman and Christopher Wheeldon. Ms. Hyltin is NYCB’s Janice Levin Dancer Honoree for 2005-2006.

Rebecca Krohn was born in Vestal, New York. In 1995, she entered the School of American Ballet, was invited to become an apprentice with New York City Ballet in the fall of 1998, and joined the Company as a member of the corps de ballet in spring 1999. Ms. Krohn has danced featured roles in George Balanchine’s Agon, Chaconne, The Four Temperaments, Movements for Piano and Orchestra, George Balanchine’s The Nutcracker™ (Coffee and Flowers), Prodigal Son, Raymonda Variations, and La Valse; Peter Martins’ The Sleeping Beauty (Generosity) and Swan Lake (Princesses and Russian); Angelin Preljocaj’s La Stravaganza; and Jerome Robbins’ The Cage, Fancy Free, Fanfare (Celli), and Glass Pieces. Ms. Krohn originated a featured role in the NYCB premiere of Robbins’ N.Y. Export: Opus Jazz and corps roles in ballets by Melissa Barak, Boris Eifman, Eliot Feld, Robert La Fosse, Susan Stroman, and Christopher Wheeldon.

Sara Mearns was born in Columbia, South Carolina, and began her dance training at the age of three with Ann Brodie at the Calvert-Brodie School of Dance, also in Columbia. At the age of 13, Ms. Mearns trained with Patricia McBride at Dance Place, the School of North Carolina Dance Theatre, in Charlotte, and continued her studies with Stanislav Issaev at the South Carolina Governor’s School for the Arts and Humanities in Greenville. Ms. Mearns entered the School of American Ballet in the fall of 2001. In the fall of 2003 Ms. Mearns became an apprentice with New York City Ballet. As an apprentice, Ms. Mearns danced a featured role in Michel Fokine’s

Chopiniana, performed by SAB as part of New York City Ballet’s winter 2004 season, and she originated corps roles in Peter Martins’ Chichester Psalms and Susan Stroman’s Double Feature. In June of 2004, Ms. Mearns joined the Company as a member of the corps de ballet. Since joining New York City Ballet, Ms. Mearns has performed featured roles in George Balanchine’s Brahms-Schoenberg Quartet and Western Symphony; Peter Martins’ Octet, Swan Lake (Odette/Odile); and Richard Tanner’s Sonatas and Interludes. Ms. Mearns is a 2003 recipient of SAB’s Mae L. Wien Award and a 2003 nominee for the Princess Grace Award.

Amar Ramasar was born in the Bronx, New York, and began his studies at the School of American Ballet in 1992. In addition, he has studied at the American Ballet Theatre Summer Program and The Rock School of the Pennsylvania Ballet. In July 2000, Mr. Ramasar was invited to become an apprentice with New York City Ballet, and in July 2001 he joined the Company as a member of the corps de ballet. Mr. Ramasar has danced featured roles in George Balanchine’s Agon, The Four Temperaments, George Balanchine’s The Nutcracker™ (Cavalier, Hot Chocolate, Mouse King, and Mother Ginger), and Tschaikovsky Piano Concerto No. 2; Jerome Robbins’ Concertino, Fancy Free, Fanfare (Percussion), The Goldberg Variations, and Interplay; Peter Martins’ Concerto for Two Solo Pianos, Fearful Symmetries, Guide to Strange Places, The Infernal Machine, The Sleeping Beauty (Puss in Boots), Thou Swell, and Swan Lake (Spanish and Russian); Christopher Wheeldon’s After the Rain and Polyphonia; and David Allan’s Reunions. He has also originated a featured role in Mr. Martins’ Chichester Psalms and corps roles in ballets by Melissa Barak, Boris Eifman, Susan Stroman, and Christopher Wheeldon. Mr. Ramasar received SAB’s Mae L. Wien Award in 2000.

Jonathan Stafford was born in Carlisle, Pennsylvania, and began his dance training at the age of eight with the Central Pennsylvania Youth Ballet, under the direction of Marcia Dale Weary. Mr. Stafford entered the School of American Ballet full time in the fall of 1997. Mr. Stafford was invited to become an apprentice with

New York City Ballet in October 1998 and joined the Company as a member of the corps de ballet in February 1999. Mr. Stafford has danced featured roles in George Balanchine’s Firebird, The Four Temperaments, Divertimento No. 15, George Balanchine’s The Nutcracker™ (Cavalier, Hot Chocolate, Host, and Mother Ginger), Emeralds from Jewels, A Midsummer Night’s Dream (Lysander), Orpheus, Symphony In C (first movement), and Tschaikovsky Piano Concerto No. 2; Peter Martins’ Octet, The Sleeping Beauty (Gold), Songs of the Auvergne, and Swan Lake (“Pas de Quatre” and Spanish); Jerome Robbins’ Fanfare (Double Bass), Interplay; and Christopher Wheeldon’s Polyphonia. Mr. Stafford has also originated corps roles in ballets by Boris Eifman, Eliot Feld, Susan Stroman, Richard Tanner, and Christopher Wheeldon. Mr. Stafford received the Martin E. Segal Award from the School of American Ballet in 1999. Mr. Stafford is the brother of NYCB soloist Abi Stafford.

Andrew Veyette was born in Denver, Colorado, and began his dance training at the age of nine, studying with Betty Downs at Dance Arts in Visalia, California. Mr. Veyette continued his studies at Westside Ballet in Santa Monica, California. While at Westside Ballet, Mr. Veyette trained with Yvonne Mounsey and was personally coached by Nader Hamed. Mr. Veyette entered the School of American Ballet in the fall of 1998. In the spring of 2000, Mr. Veyette became an apprentice with New York City Ballet, and later that season he joined the Company as a member of the corps de ballet. Mr. Veyette has danced featured roles in George Balanchine’s Agon, Brahms-Schoenberg Quartet (third movement), Divertimento No. 15, Donizetti Variations, The Four Temperaments, George Balanchine’s The Nutcracker™ (Cavalier, Hot Chocolate), Harlequinade (Harlequin), A Midsummer Night’s Dream (Lysander), Slaughter on Tenth Avenue, Stars and Stripes, and Tschaikovsky Piano Concerto No. 2; Peter Martins’ The Sleeping Beauty (Asia), Swan Lake (Benno and Spanish) and Zakouski; Jerome Robbins’ Fancy Free, Fanfare (Clarinets), Interplay, and N.Y. Export: Opus Jazz; and Christopher Wheeldon’s Polyphonia. Mr. Veyette also originated a featured role in Richard Tanner’s Soirée and corps roles in works by Boris Eifman, Susan Stroman and Christopher Wheeldon. While at SAB, he studied under the Janice Levin Scholarship, and was a recipient of the Mae L. Wien Award in 2000.

[AmandaNYC]

Congrats to all the dancers! To me, some are surprises, and others are definitely not. It is great to see Fowler's injury did not keep him back for long.

I know we all have our list of dancers who we think should be promoted, but I do think Riggins should not be overlooked, if even for sheer amount of featured dancing she does. Of course, there are other who fall into the category.

-amanda

[ViolinConcerto]

Congrats to all the dancers! To me, some are surprises, and others are definitely not. It is great to see Fowler's injury did not keep him back for long.

I know we all have our list of dancers who we think should be promoted, but I do think Riggins should not be overlooked, if even for sheer amount of featured dancing she does. Of course, there are other who fall into the category.

-amanda

I agree entirely about Riggins, and hasten to add SEAN SUOZZI as someone who should not have been ignored.

[carbro]

Thanks, Dale! I know many of us were eager for this news.

When a company announces a number of promotions, there are usually some names to which I can only say, "Huh????? " In this case, there's a suprise or two, but none of these was undeserved, IMO.

Congrats -- and merde! -- to them all.

[Kathleen O'Connell]

Wow -- nine promotions to soloist in one shot must be some kind of record! Anyway, I hope this means that we'll be seeing even more of all of these fine dancers in the future, not less (as is unfortunately sometimes the case).

[oberon]

Congratulations to all these excellent dancers; the promotions are well-deserved.

I know everyone can't be a soloist, but it is a pity that two such lovely & hard-working dancers as Amanda Edge and Carrie Lee Riggins were not included. On so many nights, these girls bring a bright focus to featured roles. In my book, they are stars

[Helene]

I haven't been able to see many of these dancers in featured roles, but I am very happy for Rebecca Krohn, who has caught and kept my eye corps and demi-soloist roles.

[KayDenmark]

Happy to see Ramasar moving up, and sorry to see that Craig Hall wasn't one of the chosen.

Hope none of the lucky nine slip into that "black hole" that sometimes swallows soloists - no longer in corps parts, but not quite ready for principal parts, and they're somehow never heard from again.

[Abby918]

I'm a big Ramasar fan and agree that his promotion was well-deserved. He always seems to be truly enjoying the moment each time he sets foot on stage. He dances with such joy and exudes such a positive energy....and what a great smile

I wonder if all of these promotions at one time is a sign of things to come with regards to a few of the more seasoned veterans stepping-down in the near future to make way for additional promotions to the principal level?? Reichlen is well on her way in my opinion.

[KayDenmark]

I wonder if all of these promotions at one time is a sign of things to come with regards to a few of the more seasoned veterans stepping-down in the near future to make way for additional promotions to the principal level??

At least six of the company's male principals - Woetzel, Hubbe, Askegård, Evans, Nilas Martins, and Philip Neal - would seem to be approaching the ages at which dancers often retire, so it would make sense for the company to groom their successors.

[Helene]

We've moved Robert Gottlieb's comments on the promotions to a separate thread found here and reopened this one to discuss Ballet Talkers reactions to and comments on the recent promotions.