As we prepare for “All Balanchine”, May 11-14, Ballet Arizona’s company dancers share their thoughts about training and performing ballets choreographed by George Balanchine, the father of American Ballet. Take a peek behind the curtain and learn more about the physical, emotional and mental strength these performances demand and what it’s like to learn from one of George Balanchine’s protégés, Ib Andersen.

“Serenade” Choreography by George Balanchine. © The George Balanchine Trust. Photo by Rosalie O’Connor.

Balanchine is interesting. I never really know what to expect. And that’s pretty incredible. What I love about working with Ib on Balanchine in particular is that he captures and communicates the spirit of what Balanchine taught him to us. It’s incredible that we’re one step removed from quite possibly the greatest choreographer ever! – Michelle Vagi

Jillian Barrell and Nayon Iovino in “Rubies” Choreography by George Balanchine. © The George Balanchine Trust. Photo by Rosalie O’Connor.

So many of Balanchine’s ballets are so musical. The music becomes one with the dance making it so enjoyable to perform. – Jillian Barrell

Arianni Martin in “Walpurgisnacht” Choreography by George Balanchine. © The George Balanchine Trust. Photo by Alexander Iziliaev.

In Cuba, I had a completely classical training. So Balanchine is not only physically but mentally demanding for me. The dancer must concentrate and be very focused. At the same time, the choreography is very fast and you must keep the musicality. It’s actually a lot of fun to dance. But much more complicated for me than classical ballet. – Arianni Martin

Helio Lima and Arianni Martin in “Symphony in Three Movements” Choreography by George Balanchine. © The George Balanchine Trust. Photo by Alexander Iziliaev.

I’m really looking forward to “Square Dance” this season. It is so hard. And when you know you do it well, it’s a great feeling. The ballet itself is superfast, but when is it comes to the male solo, it’s almost like an adagio. Every movement is so long and so slow, but your body never stops. It’s challenging to keep control when you start so fast then need to slow your entire body down. – Helio Lima

Natalia Magnicaballi and Ilir Shtylla in “Stravinsky Violin Concerto”Choreography by George Balanchine. © The George Balanchine Trust. Photo by Rosalie O’Connor.

 I love Balanchine’s musicality and that he created so many ballets and they’re all so different. It transports you to a different world. That’s the great thing about the program we’re doing this year. Three different ballets with three different atmospheres. Yet they come from the same genius choreographer. They’re timeless and still challenging. – Natalia Magnicaballi

Roman Zavarov in “Apollo”. Choreography by George Balanchine. © The George Balanchine Trust. Photo by Rosalie O’Connor.

 I love the intricacy and challenge of the movements. Balanchine did so many interesting things that you don’t find in classical pieces. It’s quite different. It was perfect learning the role of “Apollo” from Ib. He was iconic in that role and is the best person to learn “Apollo” from. Every movement needed to be precise and perfect. It’s definitely my favorite Balanchine role. – Roman Zavarov

Mimi Tompkins and Randy Pacheco in “Walpurgisnacht” Choreography by George Balanchine. © The George Balanchine Trust. Photo by Alexander Iziliaev.

Dancing Balanchine ballets have pushed me to become a better dancer and explore my lengths. I enjoy this program immensely every year. What I like most about dancing Balanchine’s choreography is the movement. His choreography demands everything from you and each piece is so different. My favorite thing I am dancing in this rep is the second movement principle in “Western Symphony”. She is the ballerina in the group and it is quite comical. It’s actually a lot of fun to become this character that pokes fun at classical ballet. – Mimi Tompkins

Experience the enthralling choreography by the father of American Ballet, George Balanchine, for yourself May 11-14. Click here for more details.