Lyrical dance poses with 2 people1/9/2024 ![]() ![]() Photo by xmbphotography, courtesy TWB.Īs Terpsichore in Balanchine’s Apollo this summer, The Washington Ballet’s Adelaide Clauss mesmerized the audience-as well as Apollo-with adroit, sharp-edged dancing coupled with a flirtatious allure. Laura Cappelle Adelaide Clauss Adelaide Clauss as Odette in Julie Kent and Victor Barbee’s Swan Lake. The road to becoming the French company’s first Black étoile may be long, but Diop has all the makings of a trailblazer. This fall at the internal concours de promotion, he was promoted to the highest corps rank, sujet. Under heavy scrutiny, Diop’s joyful elegance won over the audience, a feat he repeated as Solor and as Don Quixote’s Basilio. The following year, Diop, who was still a quadrille-the lowest corps rank-was given the last-minute opportunity to replace an injured principal as Romeo in Nureyev’s Romeo and Juliet. In 2020, he was among a group of Black employees who pushed for progress around racial issues at the institution. Born to a French mother and a Senegalese father, the young corps member-who trained at the Paris Opéra Ballet School, but credits a summer intensive with Alvin Ailey American Dance Theater as a personal breakthrough-has handled every challenge with grace in his four years with the Paris Opéra. Yet not only did Diop recover, but he improved as the evening went on, with supple elevation in Solor’s treacherous variations and unaffected poise. For a split second, early in Guillaume Diop’s first performance as Solor in La Bayadère last season, a flash of panic registered on his expressive face as the 22-year-old struggled to keep French star Dorothée Gilbert balanced in his arms. Photo by Julien Benhamou, courtesy POB.īecoming the face of diversity at a venerable institution like the Paris Opéra Ballet is no small burden to bear-and can magnify the pressure of a high-profile debut. Guillermo Perez Guillaume Diop Guillaume Diop as Basilio in Rudolf Nureyev’s Don Quixote. For the season ahead, he’s learning Jerome Robbins’ Afternoon of a Faun and is set to perform Martha Graham’s Diversion of Angels, in which he spread his first-timer’s wings at Jacob’s Pillow last summer. Just this fall he took the lead in John Cranko’s Romeo and Juliet. His knack for characterization has also heightened the father’s solemnity in Prodigal Son and put youthful vigor into an old legend through Prince Ivan in Firebird.Ĭanton, Ohio–born and trained, Catazaro spent a year each at Ballet Academy East and MCB School fine-tuning Balanchine-style technique, which sped him, after joining the company in 2019, to featured roles in “Emeralds” and Stravinsky Violin Concerto. ![]() Catazaro credits his Swan Queen, principal soloist Samantha Hope Galler, with inspiring him to build, through a diligent work ethic, dramatic dimension. His carriage-at over 6′ 2″, he stands tall in the corps of Miami City Ballet-adds nobility and romantic magnitude to his portrayals, a combination that has earned him a bouquet of eye-catching roles, with Prince Siegfried in Alexei Ratmansky’s Swan Lake at the forefront. Steady strength and lyrical pliability put a bloom on Cameron Catazaro’s dancing. Photo by Alexander Iziliaev, courtesy MCB. It’s a star vehicle, and Veiga is a star. - Margaret Fuhrer Cameron Catazaro Cameron Catazaro (right) as Prince Ivan in Jerome Robbins and George Balanchine’s Firebird. But Doña Perón, the company’s first commissioned full-length work, gives her room to expand into her artistry. Veiga has been a standout since joining Ballet Hispánico in 2017. ![]()
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