Ballet Master Katita Waldo described the preparation of The Kingdom of the Shades from La Bayadère, Act II, and in particular, her work with the corps de ballet. She discussed the impact on both principals and corps of working with legendary ballerina, Natalia Makarova. She gave an animated description of being a member of the corps, from the exacting discipline required to the extraordinary sense of esprit that emerged through the process. She emphasized the challenges of working in the historic, classical idiom.

Choreographer Val Caniparoli spoke eloquently about his development as a choreographer, from his early years as a student and young dancer to his work in myriad companies around the world. He offered heartfelt advice to emerging choreographers, urging them to fill their time with learning experiences. Assembling his team for the production of the world premiere of Tears provided an opportunity for him to elaborate on his collaborative style with both his dancers and his designers.

Principal dancer Rubén Martín Cintas entertained the audience in a wide-ranging conversation that included discussion of his long career as a dancer, his emerging career as a teacher, and his work with the company’s varied choreographers. He offered insights into the ballet Tears, created by Val Caniparoli, which received its world premiere that evening. He mentioned the excellent training in his own experience that has prepared him to teach his craft.

At The Hamburg Ballet’s request during its run of John Neuemeier’s A Midsummer Night’s Dream, Principal Dancer Yuan Yuan Tan talks about her experiences working with artistic director Neumeier. Tan, who danced the title role in the U.S. premiere of Neumeier’s The Little Mermaid, discusses her first exposure to Neumeier’s work as a young student; the process of learning, rehearsing, and performing The Little Mermaid; how the role changed her as an artist, and how it prepared her to perform other ballets by this highly theatrical choreographer.

Lloyd Riggins, principal dancer and ballet master with the Hamburg Ballet, related the journey of his career from its beginnings in Florida, USA, to Europe and eventually to the Hamburg Ballet, and he observed some differences in training and style between American and European companies. He explained choreographer John Neumeier’s thematic approach to telling the Midsummer Night’s Dream story, and how he used the classical Mendelssohn score to accompany the human characters, while using a contemporary score by Gyorgy Ligety to present the fairyland characters and a street organ for the “rustics”.

Soloist Sasha De Sola talks about her love for the classics, the fine points of dancing Giselle’s Romantic style of classicism, and her surprise promotion to soloist in 2012 while on tour in London, the challenges of touring, her development as an artist, and her definition of “working smart,” her advice to young dancers.

In her role as Ballet Master, Anita Paciotti spoke about Alexei Ratmansky's Shostakovich Trilogy to receive its west-coast premiere on Program 5, emphasizing the wide variety to be found in the music. In the discussion about the ballet Giselle, Anita drew on her experience in interpreting character roles to describe “Berthe”, mother of Giselle, a role which she created in Helgi Tomasson’s 1999 production. She emphasized the challenge to the contemporary dancer of embodying the Romantic style.

Soloist Jennifer Stahl discusses the magic of the ballet Giselle. She talks about the art of dancing in the corps as a wili, and offers her thoughts about performing the role of Myrtha. Jennifer also gives us some behind-the-scenes information about how ballerinas customize their pointe shoes.

Soloist Jennifer Stahl discusses the magic of the ballet Giselle. She talks about the art of dancing in the corps as a wili, and offers her thoughts about performing the role of Myrtha. Jennifer also gives us some behind-the-scenes information about how ballerinas customize their pointe shoes.

Helgi Tomasson created his production of Giselle in 1999, basing on the historic Petipa production. He discusses his personal history with the ballet, from the four productions in which he danced the role of Albrecht to his own approach, influenced by his work with Anton Dolin. Also touched on: his work as a choreographer and role as artistic director.