Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

SFB Dancers in the Fjord Review

Recommended Posts

The Fjord Review has a number of short pieces on SFB dancers. A couple of these links I've posted before...


Julia Rowe



“I was fortunate that there’s a school about an hour away from where I grew up with very good ballet training. Because my parents were in the arts they knew about Marcia Dale Weary the director of the school, Central Pennsylvania Youth Ballet, so they enrolled me. I don’t think they expected it to stick.”

It did. By the time Rowe was 10 years old, she was spending 25 hours or more a week in the studio. “Pretty early on I decided that this was the career path I wanted. There was never a doubt in my mind that this was what I wanted to do.”
The connection to San Francisco Ballet was already forming, with several CPYB alumni going on to illustrious careers with the company. “Vanessa Zahorian was a legend there,” she notes, as was Tina LeBlanc: “the most clean, beautiful, interesting dancer. I kinda wanted to follow in their footsteps.”


Sasha De Sola



Aged ten she had made up her mind: “I told my parents, this is what I want to do. I want to become a professional ballet dancer and I think they were both like whatever, I’m sure that’s not going to happen, just keep studying. Luckily they both supported me and took me to more professional ballet studios in Orlando, and finally I went to the Kirov Academy in Washington, DC.”

De Sola trained at the Academy from grade 9 to 11 under Ludmila Morkovina, a student of Agrippina Vaganova herself. “I remember her coaching me and saying, in her tiny voice, Sashkina, you have to remember because this is what Vaganova told me directly and you have to pass it on.


Isabella Walsh



Angelo Greco



...and a Q&A with Wanting Zhao


Link to post
53 minutes ago, sandik said:

"Sashkina, you have to remember because this is what Vaganova told me directly and you have to pass it on."


That would get my attention.


Isn't that a great line? I like how Morkovina is reinforcing the oral traditions of the ballet, giving what she is teaching the weight of history. That may be lost on some kids, but others, probably the right ones, will perk up to that message.

I also liked Rowe's comments about Forsythe, “Working with Bill Forsythe was a really big turning point in my dancing just because the way he explains movement really clicked with me...And the way he appreciates dancers, and he is a total movement geek. He will sit in the studio and talk about movement and dancing and ballet for hours and hours. And I could listen to him talk all day.”

Link to post
  • Recently Browsing   0 members

    No registered users viewing this page.

  • Create New...