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Promotion!! Cirio to Principal, Hoven to Soloist.

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The point is that those unscheduled debuts of soloists in new roles played a significant part in their rise to principal.

It's the 42nd Street experience -- I doubt they "go out there a nobody and come back here a star," but they are there when needed -- that counts.

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This type of situation is not uncommon in the ballet world. Joe Walsh left Houston Ballet as a principal, went to San Francisco Ballet as a soloist, and was promoted the same year. Kajiya and Matthews went to Houston Ballet as soloists and she was promoted after Nutcracker. He had to wait until June. We do not know why Whiteside had to do more principal roles. I know, from being in Boston, that Cirio has danced numerous classical roles, as well as Balanchine leads and contemporary roles, many more than his male soloist counterparts at ABT. Additionally, he has guested around the country and world, guestings that are not mentioned in his ABT bio for some reason. As ABT fans, it can be disappointing not to see favorites within in the company promoted. Imagine how SF dancers and fans felt or Houston dancers and fans felt with the aforementioned additions. This is the ballet world.

It is the ballet world. One might add the name of Simone Messmer to that list. First with SFBallet and then with Miami City. She was unhappy with the former, but seems to have found acceptance with the latter. David Hallberg probably ruffled more than a few feathers when he went to the Bolshoi. Osipova to the Royal. Joseph Phillips, Carla Korbes, Sterling Baca, etc. etc. Dancers need to go where they feel their careers will flourish the most. Some balletomanes and other company members will be happy about additions or promotions. Others may not feel the same. It's not an easy profession and nothing is guaranteed.

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