Posted on the PNB site:

PNB Press Release: Korbes, Griffiths, and Anspach join company

Thanks, harpergroup!

I don't know the other dancers, but I sure do envy the Seattlites (wd?) who will have the pleasure of following Ms. Korbes' career.

Ben Griffiths is an SAB alum along with Korbes. PNB is certainly gaining some very talented dancers!

Karla was made a soloist with NYCB shortly before he departure fromt the company. [gossip snip]

MAJINSKY: Please check your email mailbox.

Tobi Tobias has a fascinating vignette titled "Rare Bird" on Carla Korbes being coached in Emeralds by Violette Verdy. It is 7th from the top in a posting of short essays in her Seeing Things series:

http://www.artsjournal.com/tobias/archives..._around_n.shtml

A quote from the last paragraph:
...When the Balanchine Foundation videotapes Violette Verdy coaching the role she created so memorably in the “Emeralds” section of Jewels, Körbes (ably supported by James Fayette) learns the pas de deux from scratch. Within minutes of having been instructed in the steps and partnering, she’s dancing as if the choreography belonged to her, releasing herself into the yearning, evocative phrases of the Fauré score so that the music seems to surround her like an invisible veil of perfume. Towards the end of the session, Verdy says to Körbes, “I don’t see dancers like you too often. How old are you?” “Twenty-two,” Körbes tells her. Verdy: “When it happens, it’s going to be magnificent.”

Looks like something special coming up in Jewels later this season!

Today it was announced that Carla Korbes has joined The Winger, a blog that NYCB dancer Kristin Sloan started and now includes other dancers, including ABT's David Hallberg. The first post is a stunning photo:
http://phontographer.com/winger/archives/carla/

Thanks for letting us know about Carla Korbes, drb.

Is there any word on company promotions/additions for the 2006-2007 season?

Peter Boal said in a post-performance Q&A that promotions would be announced at the beginning of the new season, which begins 16 September.

The only news so far, which was in the program for the school show last month, is that they've hired Sokvannara Sar as an apprentice. He just finished at the PNB school, and danced the role of the ballet master in Konservatoriet.

And Adrienne Diaz, another graduating member of the Professional Division, was also asked to join the Company, according to the School Performance program.

Thanks Helene and sandik for responding to my inquiry.

I guess we'll just have to wait until September to see if there are other additions/promotions for the 2006/2007 season.

Thank you so much for catching my omission -- I'm embarrassed!

Sar was on everyone's mind after the day's performance, starring as Oberon in the Scherzo from A Midsummer Night's Dream and as the Dancing Master in Konservatoriat. Diaz, sadly, didn't dance, and the annoucement was a small blip in the program.

Oh, did you see Sar in Midsummer? Kendall Britt danced Oberon in the 3:30 performance. He did a lovely job with the shifting accents -- he made the role very specific, which is a tough job even for an experienced performer. He's going to Ballet Memphis, and I'm sorry not to be able to follow his development here.

I did see the early performance as well; my friend's daughter was in one of the Level III groups.

I agree about Kendall Britt's interpretation in the later performance. He was so vividly directing everything that was going on around him on stage. It was a very dramatic performance. I wish he was able to join PNB. Memphis is getting a terrific dancer.

I missed this on my first reading, but the postcard I received advertising the Season Opening Gala said that dancer promotions would be announced during the performance that evening. Full text:

Pacific Northwest Ballet is "rolling out the red carpet" on the
2006-2007 Season!

Kick off the Season with a preview performance featuring a world
premiere by PNB's own Paul Gibson, three PNB premieres, a performance
by soprano Jane Eaglen and the return of Swan Lake. Come celebrate with
PNB as we "paint the town red" and Peter Boal announces the promotions
of new Principal dancers!

"Dancers" plural? Very interesting.

He did say at one of the earlier Jewels Q&A's that there would be a few promotions, but then at a later one, he said "a couple" and mentioned that there wasn't a lot of turnover among Principal Dancers to leave space for promotions to that level.

There are so many deserving dancers, and the soloist ranks in particular are very thin at five.

I keep thinking that they will increase the number of soloists, but it's held steady for the last couple of years. I know that, pragmatically, there are several corps members who are soloists in all but name, but I would imagine that they might like the name as well as the roles!

At Friday's $5 Friday Rehearsal Peter said there will be 2 principal dancer promotions made at the Gala Perfromance.

That's what I've been told -- so who wants to speculate on the promotions?

Körbes and...

There are two other soloists who I think have earned it, and it's going to be disappointing to learn that at least one of them will not be. Unless, of course, there are two promotions to Principal and one to Goddess, in which case everyone is covered.

But what about promotions to Soloist?

My understanding is that there will be two promotions to principal, and that is all. And if they both come from the soloist rank, that will leave the category pretty attenuated.

Bummer.

The latest is that on the Classical KING-FM commercials for the gala opening this Saturday, PNB is advertising that Boal will announce two new Principals at it.

The "announce the winners" aspect of the International Wagner Competition a few weeks ago was a bit hit with the audience, but that also included an Audience Award, and I don't think Peter Boal is letting us make personnel decisions

They certainly seem to be making a great deal out of these announcements -- it's been in a lot of their press.



No, I imagine not, though I'm sure we all have opinions!

Judging from conversations I've had this summer, if this was the case, PNB would have no Corps.

Peter also spoke at the Conversation last Sunday to the effect that often members of the company have reached a point where they deserve a promotion, but there is no room in the budget. This, unfortunately, is the reality of ballet in American companies. He did, however, leave open the possibility that there would be more promotions later in the season.

On another note, I forgot to mention something about the last $5 Friday. Rasta Thomas is back and rehearsing for Fancy Free.

No kidding.

I guess I'm the first one home from PNB's Opening Gala, so I'll spread the news:

Just before the third selection, excerpts from Swan Lake, Peter Boal made the announcement that was hinted by the casting: Casey Herd and Carla Körbes were named Principal Dancers!!!!!

to both dancers for well-deserved promotions. Boal's speech was short and sweet, and he lauded each individually. Apart from his fantastic skills as a solo dancer, Herd has been making ballerinas look terrific for years, and tonight was no exception: he partnered Körbes in a sublime White Swan pas de deux.

If their names appear on the cast list for Swan Lake this February, usually about 10 days before opening night for week one, it is time to book a last-minute flight to Seattle.

I am so gratified to know that if I can't see her regularly (which I regret), Carla is getting her due. Congratulations to her and to Mr. Herd.

Thanks for the good news, Helene!

I thought it was a bit odd that Boal actually never said their names -- he said they were being promoted, and that they were the next performers, but he never said their names. I doubt it was intentional, but it made the whole thing seem very hush-hush!

The closest Boal got was when describing how he discovered her in Brazil, he referred to her as "Carlita."

But that is closer than naming by name, it is endearing .
Congratulations to PNB for promoting Carla. Congratulations to Seattle: this is somewhat akin to the Seahawks beating the Jets and the Giants in a football double-header! We sulking NYers know something of the wonders of Carla; could you please tell us something about Mr. Herd? The East-o-centric demographics of BT shouldn't deprive him of his due on such an important day.
Helene, in an earlier post you mentioned that there might be two promotions to Principal and one to Goddess. Any word on the latter? That is the only rank above Assoluta, and there's been only one in the history of ballet.

I think it's more like the Yankees getting Babe Ruth in a trade from Boston.

Alas, Mr. Boal and PNB don't agree with the rank of Goddess, or Körbes would have been one, leaving room for two other promotions to Principal. But in a way I'm glad that Herd was recognized, if not alone, with one of the most beautiful dancers I've ever seen, and as the only dancer who came up the ranks the way he has.

Casey Heard is a tall, dark, and handsome dancer of quite extraordinary range, particularly given his height. Cast as the cavalier early on, his partnering has become richer and more ardent over the years -- in a very intensely physicalized way, not through lots of facial emoting or "acting" -- leading to two knock-out/grand slam/quad lutz interpretations last season in two polar opposite roles: partnering Kari Brunson in Susan Marshall's Kiss and Körbes in Emeralds. If he's ever been intimidated by a partner, I've never seen him show it, and there were a number of terrific and experienced partners at PNB as he was coming up the ranks and to whom he was compared.

Often the most convincing partners look a bit lost in the more virtuoso variations, particularly the tall men with long legs, but Herd is terrific in those parts as well, showing an agility that belies his height. He didn't get a chance to show us that side last night, since he and Körbes danced the White Swan Pas de Deux only. I think the breakthrough in this respect was when Russell cast him in 4th Movement of Brahms-Schoenberg Quartet. He danced with Carrie Imler, and keeping up with her is no easy feat. But I think that role is key to one he will dance for the first time (at least with the Company) on Thursday's regular season opening: the Rhumba sailor in Fancy Free. He's in the cast with mega-wattage -- Jonathan Porretta and guest Rasta Thomas -- and I think this is telling.

Interesting that your view of Herd is grounded in his work as a partner -- my first distinct memories of him are in solo bits, where his physicality gave him an extra push that made him stand out. (a moment in Kent Stowell's Silver Linings -- I can't remember the name of the song but it's a male romp where Herd gave just that much more to the high points of his part. Anatomically it's about quickness and power, which translates in more colloquial terms to something like a punch, a bit like a flashbulb going off.) He's certainly got skills as a partner, and he seems to be developing a rapport with Korbes that I look forward to seeing this season, but the "picture" in my head is still an individual one.

It's probably because tall corps men who can partner get cast in Principal roles faster and get more exposure that way. It looks like the same is happening for Karel Cruz.

I remember some years ago at a post performance Q&A session where Francia and Casey Herd happened to be the speakers. At one point there was a slightly stiff interaction btwn them (if I remember right) where Francia spoke about Casey while he was present. She said something like: "Casey, you have a marvelous future. You could be one of the top dancers in the company, if you decide you want that." It was clear to me that she was encouraging him to stick with it, and I surmised that he was going thru a period of doubt.

Clearly Francia had her usual good eye for talent. He's certainly become an inspiring dancer for me. I like his confident "guy's guy" presence (yes, I'm a guy). His performance in Kiss last year is still very much with me. (And BTW, I too think of him in "solo bits"......must be a Sandy-thing )

P.S. I can also remember years ago that, to my eye, Casey often looked awkward and somewhat "clunky". I always loved his power, but he somehow lacked grace I thought. That awkwardness is sure gone now.......you betcha!

It's so interesting to watch dancers become confident on stage -- willing to stand there and, in effect, say "look at me." It's particularly fascinating to see that in the the transition between corps and solo roles. I do remember some awkwardness at first -- like many people, I think he was trying to rely on his technique to see him through the performative stuff, but he's made such strides since that time.

Here is today's press release from PNB:

CARLA KÖRBES AND CASEY HERD PROMOTED TO PRINCIPAL DANCERS

SEATTLE — Carla Körbes and Casey Herd have been promoted from Soloists to Principal Dancers with Pacific
Northwest Ballet, it was announced at last evening’s 2006 Opening Gala by Artistic Director Peter Boal. Mr. Boal’s announcement was immediately followed by Ms. Körbes’ and Mr. Herd’s first appearance as Principal Dancers, in a performance of the White Swan pas de deux from Kent Stowell’s Swan Lake.

Mr. Boal comments about Ms. Körbes: “Eleven years ago I met a 14 year-old ballet student in Porto Alegre, Brazil. She spoke only Portuguese. Through an interpreter I told her and her parents that I thought she possessed exquisite gifts as a dancer and as an artist. I asked her family to consider allowing “Carlita” to move to the U.S. to study at New York’s School of American Ballet. It has been a pleasure to watch Carla’s technique and presence blossom over a decade.”

He added, “The past year has been particularly rewarding for all of us at PNB as we have watched Carla triumph in role after role. We are all proud to promote her to the rank of Principal and look forward to a long future with our newest ballerina.”

Mr. Boal comments about Mr. Herd: “Over the past two years I have had the pleasure of encountering so many gifted and accomplished dancers at PNB. I have watched Casey Herd emerge as one of our strongest leading men. His range has always impressed – from the cocky swagger of his sailor in Jerome Robbin’s Fancy Free to the quiet and complete adoration he gives to his partner in Kent Stowell’s Swan Lake. His combination of classical line, soaring jumps, gallant partnering, and powerful acting have earned him this well-deserved promotion to the rank of Principal.”

Carla Körbes was born in Porto Alegre, Brazil, and began her ballet training at age five with local teachers. At age eleven, she began studying at Ballet Vera Bublitz. In 1996, Peter Boal danced with her as a guest artist of the school and encouraged her to come to New York to study at the School of American Ballet. For academic year 1997–1998, her tuition was paid by Alexandra Danilova so that she could continue studying at the School of American Ballet. In 1999, she was the Mae. L. Wien Award recipient and was made an apprentice with New York City Ballet. She joined the company as a member of the corps de ballet in 2000 and was the Janice Levin Dancer Honoree for 2001–2002. She was promoted to soloist in 2005 and later that year joined Pacific Northwest Ballet as a Soloist.

Since joining Pacific Northwest Ballet, Ms. Körbes has danced leading roles in George Balanchine's Concerto Barocco, Diamonds, Emeralds, La Valse, and Symphony in Three Movements; Val Caniparoli's The Bridge; Ulysses Dove's Red Angels; Nacho Duato's Jardí Tancat; William Forsythe's Artifact II; Ronald Hynd's The Sleeping Beauty (Lilac Fairy, Gold and Silver pas de trois); Jerome Robbins' In the Night; Kent Stowell's Hail to the Conquering Hero and Nutcracker (Clara, Flora, Peacock); Richard Tanner's Ancient Airs and Dances; and Twyla Tharp's Nine Sinatra Songs; and most recently, in Sonia Dawnkins’ Ripple Mechanics at PNB performances at Jacob’s Pillow in August 2006 and Seattle’s Bumbershoot Arts Festival in September 2006. At New York City Ballet, Ms. Körbes danced leading and featured roles in Balanchine's Divertimento No. 15, Episodes, A Midsummer Night's Dream (Titania, Helena), and Serenade; Peter Martins' Concerto for Two Solo Pianos, Sinfonia, The Sleeping Beauty, and Swan Lake; and Robbins' Antique Epigraphs, Fanfare, The Four Seasons, I'm Old Fashioned, and Interplay. She originated leading roles in Albert Evans' Haiku, Martins' Chichester Psalms, Susan Stroman's Double Feature, Richard Tanner's Soiree, and Christopher Wheeldon's An American in Paris and Shambards.

In 2002, Ms. Körbes performed Richard Tanner's Ancient Airs and Dances for the nationally televised PBS Live from Lincoln Center broadcast, "New York City Ballet's Diamond Project: Ten Years of New Choreography."

In addition to her performances with New York City Ballet and Pacific Northwest Ballet, Ms. Körbes has
performed with Peter Boal and Company. Casey Herd is from Salt Lake City, Utah. He trained at the Ballet West Academy and Kirov Academy and attended summer courses at Pacific Northwest Ballet School in 1993 and 1994. He was a finalist in the 1996 Paris International Ballet Competition. In 1997, he joined American Ballet Theatre, and in 1999, he joined Pacific Northwest Ballet as a member of the corps de ballet. He was promoted to Soloist in 2002.

Casey Herd is from Salt Lake City, Utah. He trained at the Ballet West Academy and Kirov attended summer courses at Pacific Northwest Ballet School in 1993 and 1994. He was a finalist International Ballet Competition. In 1997, he joined American Ballet Theatre, and in 1999, he Northwest Ballet as a member of the corps de ballet. He was promoted to Soloist in 2002.

Mr. Herd has performed leading roles in George Balanchine's Agon, Brahms-Schoenberg Quartet, Concerto Barocco, Emeralds, The Four Temperaments, A Midsummer Night's Dream (Titania's Cavalier, Theseus), Symphony in C, Symphony in Three Movements, Theme and Variations, and Western Symphony; Todd Bolender's Souvenirs; Donald Byrd's Subtext Rage; Val Caniparoli's The Bridge, Lambarena, and Torque; Nacho Duato's Jardí Tancat; William Forsythe's Artifact II and In the middle, somewhat elevated; Paul Gibson's The Piano Dance; Ronald Hynd's The Merry Widow (Count Danilo) and The Sleeping Beauty; Susan Marshall's Kiss; Kirk Peterson's Amazed in Burning Dreams; Marius Petipa's Le Corsaire Pas de Trois, Don Quixote, and Paquita; Christopher Stowell's Zaïs; Kent Stowell's Carmen, Carmina Burana, Delicate Balance, Dumbarton Oaks, Pas de Deux Campagnolo, Quaternary, Silver Lining, Swan Lake, and The Tragedy of Romeo and Juliet (Romeo); Richard Tanner's Ancient Airs and Dances; Lynne Taylor- Corbett's Mercury and The Quilt; Twyla Tharp's Nine Sinatra Songs; and Glen Tetley's Voluntaries and The Rite of Spring. He originated a featured role in Nicolo Fonte's Almost Tango.