Ballet Arizona’s
Administrative Staff
Executive Leadership
Daniela Cardim
Artistic Director
Cardim began her celebrated career as a dancer at Ballet of Municipal Theatre of Rio de Janeiro in 1994, becoming a soloist in 1995 and performing lead roles in ballets such as Giselle, L'après-midi d'un Faune (Nijinsky) and Suite en Blanc (Lifar). She then joined the Dutch National Ballet in 1999, rising to distinction in the company, and subsequently performing a vast repertoire including key roles in Choreatium (Massine), Sleeping Beauty and Romeo and Juliet. Her professional dance training includes the Studio Eliana Karin in Rio de Janeiro, the Académie De Danse Classique Princesse Grace in Monaco, and contemporary dance training at Ballet Cristina Helena in Belo Horizonte, Brazil.
While still a student, Cardim began choreographing and soon proved herself to be an exceptional talent and visionary. Her first works for the Dutch National Ballet, including 3 Movements for Cello & Piano (2006), Zaahir (2007), In Space (2008) and Two Octaves Below Middle C (2009), garnered her swift recognition in the dance world. She was also one of six choreographers selected to attend the prestigious New York Choreographic Institute in 2008, where she worked with composer Jude Vaclavik. By 2015, Dance Europe Magazine lauded Cardim as a “New Name to Watch.” Her recent works, such as Reset, Stabat Mater and Baroque Encounters, have now made Cardim a celebrated name.
Over the course of her career, Cardim has choreographed works for a myriad of internationally recognized ballet companies, including Ballet of Municipal Theatre of Rio de Janeiro, São Paulo Dance Company (Brazil), Dutch National Ballet Junior Company - Junior and Main Companies (Netherlands), West Australian Ballet, Poznan Opera Ballet (Poland), Birmingham Royal Ballet, New English Ballet Theatre, English National Ballet School and Elmhurst Ballet School (United Kingdom). Ballet Arizona is thrilled to bring this caliber of talent to its stages.
Additionally, Cardim has worked as a ballet teacher and mentor for student dancers, including mentoring young choreographers at The Royal Ballet School and creating works for their Summer Intensive programs. She also taught students at Studio Eliana Karin and open classes at Central School of Ballet and English National Ballet. Cardim served as a guest ballet teacher at Studio Wayne McGregor, Rambert Dance Company, Akram Khan Company and Swedish Ballet School in Gothenburg.
After retiring as a dancer in 2010, Cardim completed an honors bachelor’s in arts management at London South Bank University graduating with a first-class degree. Since 2013, Cardim has served in a variety of leadership roles at the New English Ballet Theatre in London starting as a project manager, followed by a promotion to company and general manager in 2014, and to assistant director in 2022.
Daniela Cardim
Artistic Director
Cardim began her celebrated career as a dancer at Ballet of Municipal Theatre of Rio de Janeiro in 1994, becoming a soloist in 1995 and performing lead roles in ballets such as Giselle, L'après-midi d'un Faune (Nijinsky) and Suite en Blanc (Lifar). She then joined the Dutch National Ballet in 1999, rising to distinction in the company, and subsequently performing a vast repertoire including key roles in Choreatium (Massine), Sleeping Beauty and Romeo and Juliet. Her professional dance training includes the Studio Eliana Karin in Rio de Janeiro, the Académie De Danse Classique Princesse Grace in Monaco, and contemporary dance training at Ballet Cristina Helena in Belo Horizonte, Brazil.
While still a student, Cardim began choreographing and soon proved herself to be an exceptional talent and visionary. Her first works for the Dutch National Ballet, including 3 Movements for Cello & Piano (2006), Zaahir (2007), In Space (2008) and Two Octaves Below Middle C (2009), garnered her swift recognition in the dance world. She was also one of six choreographers selected to attend the prestigious New York Choreographic Institute in 2008, where she worked with composer Jude Vaclavik. By 2015, Dance Europe Magazine lauded Cardim as a “New Name to Watch.” Her recent works, such as Reset, Stabat Mater and Baroque Encounters, have now made Cardim a celebrated name.
Over the course of her career, Cardim has choreographed works for a myriad of internationally recognized ballet companies, including Ballet of Municipal Theatre of Rio de Janeiro, São Paulo Dance Company (Brazil), Dutch National Ballet Junior Company - Junior and Main Companies (Netherlands), West Australian Ballet, Poznan Opera Ballet (Poland), Birmingham Royal Ballet, New English Ballet Theatre, English National Ballet School and Elmhurst Ballet School (United Kingdom). Ballet Arizona is thrilled to bring this caliber of talent to its stages.
Additionally, Cardim has worked as a ballet teacher and mentor for student dancers, including mentoring young choreographers at The Royal Ballet School and creating works for their Summer Intensive programs. She also taught students at Studio Eliana Karin and open classes at Central School of Ballet and English National Ballet. Cardim served as a guest ballet teacher at Studio Wayne McGregor, Rambert Dance Company, Akram Khan Company and Swedish Ballet School in Gothenburg.
After retiring as a dancer in 2010, Cardim completed an honors bachelor’s in arts management at London South Bank University graduating with a first-class degree. Since 2013, Cardim has served in a variety of leadership roles at the New English Ballet Theatre in London starting as a project manager, followed by a promotion to company and general manager in 2014, and to assistant director in 2022.
Daniela Cardim
Artistic Director
Cardim began her celebrated career as a dancer at Ballet of Municipal Theatre of Rio de Janeiro in 1994, becoming a soloist in 1995 and performing lead roles in ballets such as Giselle, L'après-midi d'un Faune (Nijinsky) and Suite en Blanc (Lifar). She then joined the Dutch National Ballet in 1999, rising to distinction in the company, and subsequently performing a vast repertoire including key roles in Choreatium (Massine), Sleeping Beauty and Romeo and Juliet. Her professional dance training includes the Studio Eliana Karin in Rio de Janeiro, the Académie De Danse Classique Princesse Grace in Monaco, and contemporary dance training at Ballet Cristina Helena in Belo Horizonte, Brazil.
While still a student, Cardim began choreographing and soon proved herself to be an exceptional talent and visionary. Her first works for the Dutch National Ballet, including 3 Movements for Cello & Piano (2006), Zaahir (2007), In Space (2008) and Two Octaves Below Middle C (2009), garnered her swift recognition in the dance world. She was also one of six choreographers selected to attend the prestigious New York Choreographic Institute in 2008, where she worked with composer Jude Vaclavik. By 2015, Dance Europe Magazine lauded Cardim as a “New Name to Watch.” Her recent works, such as Reset, Stabat Mater and Baroque Encounters, have now made Cardim a celebrated name.
Over the course of her career, Cardim has choreographed works for a myriad of internationally recognized ballet companies, including Ballet of Municipal Theatre of Rio de Janeiro, São Paulo Dance Company (Brazil), Dutch National Ballet Junior Company - Junior and Main Companies (Netherlands), West Australian Ballet, Poznan Opera Ballet (Poland), Birmingham Royal Ballet, New English Ballet Theatre, English National Ballet School and Elmhurst Ballet School (United Kingdom). Ballet Arizona is thrilled to bring this caliber of talent to its stages.
Additionally, Cardim has worked as a ballet teacher and mentor for student dancers, including mentoring young choreographers at The Royal Ballet School and creating works for their Summer Intensive programs. She also taught students at Studio Eliana Karin and open classes at Central School of Ballet and English National Ballet. Cardim served as a guest ballet teacher at Studio Wayne McGregor, Rambert Dance Company, Akram Khan Company and Swedish Ballet School in Gothenburg.
After retiring as a dancer in 2010, Cardim completed an honors bachelor’s in arts management at London South Bank University graduating with a first-class degree. Since 2013, Cardim has served in a variety of leadership roles at the New English Ballet Theatre in London starting as a project manager, followed by a promotion to company and general manager in 2014, and to assistant director in 2022.
Jami Kozemczak
Executive Director
Jami Kozemczak was appointed Executive Director for Ballet Arizona in May 2022, after having served as the Director of Development since 2015. Kozemczak works to advance the organization through a people-centered leadership model that focuses on building culture, expanding programs, and increasing revenue generation. During her tenure, the organization has successfully implemented a culture of philanthropy that permeates throughout the organization. She has secured more than $44 million in contributed revenue during her time at Ballet Arizona, and increased earned revenue by 29% in her first year as Executive Director.
Kozemczak has 14 years of experience in arts non-profit management includes fundraising, public relations, communications, donor relations, and marketing. Beginning her career as a marketing professional, she quickly transitioned to fundraising after discovering her true vocation was connecting donors to their passion. Jami holds a Bachelor’s Degree in Political Science from Arizona State University. Jami’s volunteer work centers on mentorship; she has served on the AFP Professional Mentoring Program Committee for the past 6 years and has a passion for helping individuals invest in themselves and their future.
Jami Kozemczak
Executive Director
Jami Kozemczak was appointed Executive Director for Ballet Arizona in May 2022, after having served as the Director of Development since 2015. Kozemczak works to advance the organization through a people-centered leadership model that focuses on building culture, expanding programs, and increasing revenue generation. During her tenure, the organization has successfully implemented a culture of philanthropy that permeates throughout the organization. She has secured more than $44 million in contributed revenue during her time at Ballet Arizona, and increased earned revenue by 29% in her first year as Executive Director.
Kozemczak has 14 years of experience in arts non-profit management includes fundraising, public relations, communications, donor relations, and marketing. Beginning her career as a marketing professional, she quickly transitioned to fundraising after discovering her true vocation was connecting donors to their passion. Jami holds a Bachelor’s Degree in Political Science from Arizona State University. Jami’s volunteer work centers on mentorship; she has served on the AFP Professional Mentoring Program Committee for the past 6 years and has a passion for helping individuals invest in themselves and their future.
Jami Kozemczak
Executive Director
Jami Kozemczak was appointed Executive Director for Ballet Arizona in May 2022, after having served as the Director of Development since 2015. Kozemczak works to advance the organization through a people-centered leadership model that focuses on building culture, expanding programs, and increasing revenue generation. During her tenure, the organization has successfully implemented a culture of philanthropy that permeates throughout the organization. She has secured more than $44 million in contributed revenue during her time at Ballet Arizona, and increased earned revenue by 29% in her first year as Executive Director.
Kozemczak has 14 years of experience in arts non-profit management includes fundraising, public relations, communications, donor relations, and marketing. Beginning her career as a marketing professional, she quickly transitioned to fundraising after discovering her true vocation was connecting donors to their passion. Jami holds a Bachelor’s Degree in Political Science from Arizona State University. Jami’s volunteer work centers on mentorship; she has served on the AFP Professional Mentoring Program Committee for the past 6 years and has a passion for helping individuals invest in themselves and their future.
Administrative
Alexandra Sarver
Director of Operations
Alexandra Sarver
Director of Operations
Alexandra Sarver
Director of Operations
Ellen Bialek
Executive Assistant
Ellen Bialek
Executive Assistant
Ellen Bialek
Executive Assistant
Alejandra Cavazos
Human Resources Assistant
Alejandra Cavazos
Human Resources Assistant
Alejandra Cavazos
Human Resources Assistant
Artistic
Daniela Cardim
Artistic Director
Cardim began her celebrated career as a dancer at Ballet of Municipal Theatre of Rio de Janeiro in 1994, becoming a soloist in 1995 and performing lead roles in ballets such as Giselle, L'après-midi d'un Faune (Nijinsky) and Suite en Blanc (Lifar). She then joined the Dutch National Ballet in 1999, rising to distinction in the company, and subsequently performing a vast repertoire including key roles in Choreatium (Massine), Sleeping Beauty and Romeo and Juliet. Her professional dance training includes the Studio Eliana Karin in Rio de Janeiro, the Académie De Danse Classique Princesse Grace in Monaco, and contemporary dance training at Ballet Cristina Helena in Belo Horizonte, Brazil.
While still a student, Cardim began choreographing and soon proved herself to be an exceptional talent and visionary. Her first works for the Dutch National Ballet, including 3 Movements for Cello & Piano (2006), Zaahir (2007), In Space (2008) and Two Octaves Below Middle C (2009), garnered her swift recognition in the dance world. She was also one of six choreographers selected to attend the prestigious New York Choreographic Institute in 2008, where she worked with composer Jude Vaclavik. By 2015, Dance Europe Magazine lauded Cardim as a “New Name to Watch.” Her recent works, such as Reset, Stabat Mater and Baroque Encounters, have now made Cardim a celebrated name.
Over the course of her career, Cardim has choreographed works for a myriad of internationally recognized ballet companies, including Ballet of Municipal Theatre of Rio de Janeiro, São Paulo Dance Company (Brazil), Dutch National Ballet Junior Company - Junior and Main Companies (Netherlands), West Australian Ballet, Poznan Opera Ballet (Poland), Birmingham Royal Ballet, New English Ballet Theatre, English National Ballet School and Elmhurst Ballet School (United Kingdom). Ballet Arizona is thrilled to bring this caliber of talent to its stages.
Additionally, Cardim has worked as a ballet teacher and mentor for student dancers, including mentoring young choreographers at The Royal Ballet School and creating works for their Summer Intensive programs. She also taught students at Studio Eliana Karin and open classes at Central School of Ballet and English National Ballet. Cardim served as a guest ballet teacher at Studio Wayne McGregor, Rambert Dance Company, Akram Khan Company and Swedish Ballet School in Gothenburg.
After retiring as a dancer in 2010, Cardim completed an honors bachelor’s in arts management at London South Bank University graduating with a first-class degree. Since 2013, Cardim has served in a variety of leadership roles at the New English Ballet Theatre in London starting as a project manager, followed by a promotion to company and general manager in 2014, and to assistant director in 2022.
Daniela Cardim
Artistic Director
Cardim began her celebrated career as a dancer at Ballet of Municipal Theatre of Rio de Janeiro in 1994, becoming a soloist in 1995 and performing lead roles in ballets such as Giselle, L'après-midi d'un Faune (Nijinsky) and Suite en Blanc (Lifar). She then joined the Dutch National Ballet in 1999, rising to distinction in the company, and subsequently performing a vast repertoire including key roles in Choreatium (Massine), Sleeping Beauty and Romeo and Juliet. Her professional dance training includes the Studio Eliana Karin in Rio de Janeiro, the Académie De Danse Classique Princesse Grace in Monaco, and contemporary dance training at Ballet Cristina Helena in Belo Horizonte, Brazil.
While still a student, Cardim began choreographing and soon proved herself to be an exceptional talent and visionary. Her first works for the Dutch National Ballet, including 3 Movements for Cello & Piano (2006), Zaahir (2007), In Space (2008) and Two Octaves Below Middle C (2009), garnered her swift recognition in the dance world. She was also one of six choreographers selected to attend the prestigious New York Choreographic Institute in 2008, where she worked with composer Jude Vaclavik. By 2015, Dance Europe Magazine lauded Cardim as a “New Name to Watch.” Her recent works, such as Reset, Stabat Mater and Baroque Encounters, have now made Cardim a celebrated name.
Over the course of her career, Cardim has choreographed works for a myriad of internationally recognized ballet companies, including Ballet of Municipal Theatre of Rio de Janeiro, São Paulo Dance Company (Brazil), Dutch National Ballet Junior Company - Junior and Main Companies (Netherlands), West Australian Ballet, Poznan Opera Ballet (Poland), Birmingham Royal Ballet, New English Ballet Theatre, English National Ballet School and Elmhurst Ballet School (United Kingdom). Ballet Arizona is thrilled to bring this caliber of talent to its stages.
Additionally, Cardim has worked as a ballet teacher and mentor for student dancers, including mentoring young choreographers at The Royal Ballet School and creating works for their Summer Intensive programs. She also taught students at Studio Eliana Karin and open classes at Central School of Ballet and English National Ballet. Cardim served as a guest ballet teacher at Studio Wayne McGregor, Rambert Dance Company, Akram Khan Company and Swedish Ballet School in Gothenburg.
After retiring as a dancer in 2010, Cardim completed an honors bachelor’s in arts management at London South Bank University graduating with a first-class degree. Since 2013, Cardim has served in a variety of leadership roles at the New English Ballet Theatre in London starting as a project manager, followed by a promotion to company and general manager in 2014, and to assistant director in 2022.
Daniela Cardim
Artistic Director
Cardim began her celebrated career as a dancer at Ballet of Municipal Theatre of Rio de Janeiro in 1994, becoming a soloist in 1995 and performing lead roles in ballets such as Giselle, L'après-midi d'un Faune (Nijinsky) and Suite en Blanc (Lifar). She then joined the Dutch National Ballet in 1999, rising to distinction in the company, and subsequently performing a vast repertoire including key roles in Choreatium (Massine), Sleeping Beauty and Romeo and Juliet. Her professional dance training includes the Studio Eliana Karin in Rio de Janeiro, the Académie De Danse Classique Princesse Grace in Monaco, and contemporary dance training at Ballet Cristina Helena in Belo Horizonte, Brazil.
While still a student, Cardim began choreographing and soon proved herself to be an exceptional talent and visionary. Her first works for the Dutch National Ballet, including 3 Movements for Cello & Piano (2006), Zaahir (2007), In Space (2008) and Two Octaves Below Middle C (2009), garnered her swift recognition in the dance world. She was also one of six choreographers selected to attend the prestigious New York Choreographic Institute in 2008, where she worked with composer Jude Vaclavik. By 2015, Dance Europe Magazine lauded Cardim as a “New Name to Watch.” Her recent works, such as Reset, Stabat Mater and Baroque Encounters, have now made Cardim a celebrated name.
Over the course of her career, Cardim has choreographed works for a myriad of internationally recognized ballet companies, including Ballet of Municipal Theatre of Rio de Janeiro, São Paulo Dance Company (Brazil), Dutch National Ballet Junior Company - Junior and Main Companies (Netherlands), West Australian Ballet, Poznan Opera Ballet (Poland), Birmingham Royal Ballet, New English Ballet Theatre, English National Ballet School and Elmhurst Ballet School (United Kingdom). Ballet Arizona is thrilled to bring this caliber of talent to its stages.
Additionally, Cardim has worked as a ballet teacher and mentor for student dancers, including mentoring young choreographers at The Royal Ballet School and creating works for their Summer Intensive programs. She also taught students at Studio Eliana Karin and open classes at Central School of Ballet and English National Ballet. Cardim served as a guest ballet teacher at Studio Wayne McGregor, Rambert Dance Company, Akram Khan Company and Swedish Ballet School in Gothenburg.
After retiring as a dancer in 2010, Cardim completed an honors bachelor’s in arts management at London South Bank University graduating with a first-class degree. Since 2013, Cardim has served in a variety of leadership roles at the New English Ballet Theatre in London starting as a project manager, followed by a promotion to company and general manager in 2014, and to assistant director in 2022.
María Simonetti
Rehearsal Director, School Director
From: Buenos Aires, Argentina
A native of Buenos Aires, Ms. Simonetti trained as a dancer at Teatro Colon and danced with La Joven Guardia of Ballet Nacional de Cuba before becoming assistant to Laura Alonso and Regisseur (stage director) for Cuballet. She was on the faculties of the Magda Aunon School of Ballet, Pittsburgh’s Point Park College, and the Baltimore School for the Arts before becoming ballet mistress for the esteemed Hubbard Street Dance Chicago in 1995. As assistant to choreographer Daniel Ezralow she helped create the multi-media production Mandala for a South American tour; Torino Notte di Stelle, an arts special for Italian national television (RAI Uno); choreography for Pope John Paul II’s celebration of International Youth Day; and Aeros, an innovative showcase for the Romanian National Gymnastics Team. On her own, Ms. Simonetti staged Lady Lost Found, for the Bratislava Dance Theatre in Slovakia, and the pas de six from Bournonville’s Napoli for the National Ballet of Greece. She became rehearsal director for Ballet Arizona in 1997 but continues her active career as a visiting artist. She returns to Hubbard Street Dance Chicago every summer as a guest teacher and was engaged in 2006 in a similar role by Montreal’s Les Grands Ballets Canadiens.
María Simonetti
Rehearsal Director, School Director
From: Buenos Aires, Argentina
A native of Buenos Aires, Ms. Simonetti trained as a dancer at Teatro Colon and danced with La Joven Guardia of Ballet Nacional de Cuba before becoming assistant to Laura Alonso and Regisseur (stage director) for Cuballet. She was on the faculties of the Magda Aunon School of Ballet, Pittsburgh’s Point Park College, and the Baltimore School for the Arts before becoming ballet mistress for the esteemed Hubbard Street Dance Chicago in 1995. As assistant to choreographer Daniel Ezralow she helped create the multi-media production Mandala for a South American tour; Torino Notte di Stelle, an arts special for Italian national television (RAI Uno); choreography for Pope John Paul II’s celebration of International Youth Day; and Aeros, an innovative showcase for the Romanian National Gymnastics Team. On her own, Ms. Simonetti staged Lady Lost Found, for the Bratislava Dance Theatre in Slovakia, and the pas de six from Bournonville’s Napoli for the National Ballet of Greece. She became rehearsal director for Ballet Arizona in 1997 but continues her active career as a visiting artist. She returns to Hubbard Street Dance Chicago every summer as a guest teacher and was engaged in 2006 in a similar role by Montreal’s Les Grands Ballets Canadiens.
María Simonetti
Rehearsal Director, School Director
From: Buenos Aires, Argentina
A native of Buenos Aires, Ms. Simonetti trained as a dancer at Teatro Colon and danced with La Joven Guardia of Ballet Nacional de Cuba before becoming assistant to Laura Alonso and Regisseur (stage director) for Cuballet. She was on the faculties of the Magda Aunon School of Ballet, Pittsburgh’s Point Park College, and the Baltimore School for the Arts before becoming ballet mistress for the esteemed Hubbard Street Dance Chicago in 1995. As assistant to choreographer Daniel Ezralow she helped create the multi-media production Mandala for a South American tour; Torino Notte di Stelle, an arts special for Italian national television (RAI Uno); choreography for Pope John Paul II’s celebration of International Youth Day; and Aeros, an innovative showcase for the Romanian National Gymnastics Team. On her own, Ms. Simonetti staged Lady Lost Found, for the Bratislava Dance Theatre in Slovakia, and the pas de six from Bournonville’s Napoli for the National Ballet of Greece. She became rehearsal director for Ballet Arizona in 1997 but continues her active career as a visiting artist. She returns to Hubbard Street Dance Chicago every summer as a guest teacher and was engaged in 2006 in a similar role by Montreal’s Les Grands Ballets Canadiens.
Lisbet Companioni
Ballet Mistress
From: Camagüey, Cuba
A native of Camagüey, Cuba, Lisbet Companioni began her career in ballet as a member of Ballet de Camagüey under the direction of its cofounder, Fernando Alonso. Her repertoire as a dancer includes Don Quixote, Dracula, La Bayadère, La Fille mal gardée, Napoli, and The Three Musketeers. In 2001, Lisbet joined Ballet Arizona as a dancer and originated featured roles in Ib Andersen’s 2B, Elevations, Mosaik and Play. Her modern repertoire includes soloist roles in Twyla Tharp’s Sinatra Suite, The Golden Section and Company B. Her interest in Balanchine ballets grew as she added George Balanchine’s Agon, Apollo, Allegro Brillante, Serenade, and Theme and Variations to her repertory. Lisbet has always had a passion for teaching and coaching dancers and is also a faculty member at The School of Ballet Arizona. Ms. Companioni retired from the stage in 2008 to become Ballet Arizona’s Ballet Mistress.
Lisbet Companioni
Ballet Mistress
From: Camagüey, Cuba
A native of Camagüey, Cuba, Lisbet Companioni began her career in ballet as a member of Ballet de Camagüey under the direction of its cofounder, Fernando Alonso. Her repertoire as a dancer includes Don Quixote, Dracula, La Bayadère, La Fille mal gardée, Napoli, and The Three Musketeers. In 2001, Lisbet joined Ballet Arizona as a dancer and originated featured roles in Ib Andersen’s 2B, Elevations, Mosaik and Play. Her modern repertoire includes soloist roles in Twyla Tharp’s Sinatra Suite, The Golden Section and Company B. Her interest in Balanchine ballets grew as she added George Balanchine’s Agon, Apollo, Allegro Brillante, Serenade, and Theme and Variations to her repertory. Lisbet has always had a passion for teaching and coaching dancers and is also a faculty member at The School of Ballet Arizona. Ms. Companioni retired from the stage in 2008 to become Ballet Arizona’s Ballet Mistress.
Lisbet Companioni
Ballet Mistress
From: Camagüey, Cuba
A native of Camagüey, Cuba, Lisbet Companioni began her career in ballet as a member of Ballet de Camagüey under the direction of its cofounder, Fernando Alonso. Her repertoire as a dancer includes Don Quixote, Dracula, La Bayadère, La Fille mal gardée, Napoli, and The Three Musketeers. In 2001, Lisbet joined Ballet Arizona as a dancer and originated featured roles in Ib Andersen’s 2B, Elevations, Mosaik and Play. Her modern repertoire includes soloist roles in Twyla Tharp’s Sinatra Suite, The Golden Section and Company B. Her interest in Balanchine ballets grew as she added George Balanchine’s Agon, Apollo, Allegro Brillante, Serenade, and Theme and Variations to her repertory. Lisbet has always had a passion for teaching and coaching dancers and is also a faculty member at The School of Ballet Arizona. Ms. Companioni retired from the stage in 2008 to become Ballet Arizona’s Ballet Mistress.
David Krensing
Ballet Master, Summer Intensive Coordinator
A Minnesota native and former Principal Dancer with Philadelphia Ballet, then known as Pennsylvania Ballet, David performed numerous leading classical, contemporary and modern dance roles by renowned choreographers, such as Alvin Ailey, Sir Fredrick Ashton, George Balanchine, John Butler, John Cranko, Agnes DeMille, William Forsythe, Jose Limon, Lar Lubovitch, Peter Martins, Jerome Robbins, Ben Stevenson, Paul Taylor, Twyla Tharp, Hans Van Manen. Additional performance credits include world premieres by Ib Andersen, Jorma Elo, Trey McIntyre, Kevin O’ Day, David Parsons, Antony Rizzi, Dwight Rhoden and Christopher Wheeldon.
He has toured the United States and Europe, with Pennsylvania Ballet and as an independent artist, and has been featured domestically and internationally in both company-produced and independent productions with artists from New York City Ballet, American Ballet Theatre, San Francisco Ballet, Frankfort Ballet, Paul Taylor Dance Company, Dance Theater of Harlem, Cedar Lake Contemporary Ballet, and Martha Graham Dance Company, among others. He has taught for professional dance companies, colleges and universities including The University of Arizona, The University of the Arts, Stephens College, The Washington Ballet, Ballet BC, BalletX, Ballet Idaho, and Trey McIntyre Projects.
Mr. Krensing holds a Bachelor of Fine Arts from Stephens College in Columbia, MO, and a Master of Fine Arts from The University of Arizona in Tucson, AZ. In addition to his Ballet Master duties, he is a faculty member at The School of Ballet Arizona.
David Krensing
Ballet Master, Summer Intensive Coordinator
A Minnesota native and former Principal Dancer with Philadelphia Ballet, then known as Pennsylvania Ballet, David performed numerous leading classical, contemporary and modern dance roles by renowned choreographers, such as Alvin Ailey, Sir Fredrick Ashton, George Balanchine, John Butler, John Cranko, Agnes DeMille, William Forsythe, Jose Limon, Lar Lubovitch, Peter Martins, Jerome Robbins, Ben Stevenson, Paul Taylor, Twyla Tharp, Hans Van Manen. Additional performance credits include world premieres by Ib Andersen, Jorma Elo, Trey McIntyre, Kevin O’ Day, David Parsons, Antony Rizzi, Dwight Rhoden and Christopher Wheeldon.
He has toured the United States and Europe, with Pennsylvania Ballet and as an independent artist, and has been featured domestically and internationally in both company-produced and independent productions with artists from New York City Ballet, American Ballet Theatre, San Francisco Ballet, Frankfort Ballet, Paul Taylor Dance Company, Dance Theater of Harlem, Cedar Lake Contemporary Ballet, and Martha Graham Dance Company, among others. He has taught for professional dance companies, colleges and universities including The University of Arizona, The University of the Arts, Stephens College, The Washington Ballet, Ballet BC, BalletX, Ballet Idaho, and Trey McIntyre Projects.
Mr. Krensing holds a Bachelor of Fine Arts from Stephens College in Columbia, MO, and a Master of Fine Arts from The University of Arizona in Tucson, AZ. In addition to his Ballet Master duties, he is a faculty member at The School of Ballet Arizona.
David Krensing
Ballet Master, Summer Intensive Coordinator
A Minnesota native and former Principal Dancer with Philadelphia Ballet, then known as Pennsylvania Ballet, David performed numerous leading classical, contemporary and modern dance roles by renowned choreographers, such as Alvin Ailey, Sir Fredrick Ashton, George Balanchine, John Butler, John Cranko, Agnes DeMille, William Forsythe, Jose Limon, Lar Lubovitch, Peter Martins, Jerome Robbins, Ben Stevenson, Paul Taylor, Twyla Tharp, Hans Van Manen. Additional performance credits include world premieres by Ib Andersen, Jorma Elo, Trey McIntyre, Kevin O’ Day, David Parsons, Antony Rizzi, Dwight Rhoden and Christopher Wheeldon.
He has toured the United States and Europe, with Pennsylvania Ballet and as an independent artist, and has been featured domestically and internationally in both company-produced and independent productions with artists from New York City Ballet, American Ballet Theatre, San Francisco Ballet, Frankfort Ballet, Paul Taylor Dance Company, Dance Theater of Harlem, Cedar Lake Contemporary Ballet, and Martha Graham Dance Company, among others. He has taught for professional dance companies, colleges and universities including The University of Arizona, The University of the Arts, Stephens College, The Washington Ballet, Ballet BC, BalletX, Ballet Idaho, and Trey McIntyre Projects.
Mr. Krensing holds a Bachelor of Fine Arts from Stephens College in Columbia, MO, and a Master of Fine Arts from The University of Arizona in Tucson, AZ. In addition to his Ballet Master duties, he is a faculty member at The School of Ballet Arizona.
Nayon Iovino
Resident Choreographer
From: Goiania, Brazil
Nayon began dancing at age 10 under the instruction of Gisela Vaz at Studio Dancarte Brazil. At age 17, he was awarded a full scholarship to begin training with The Washington School of Ballet with Kee Juan Han and Carlos Valcárcel. In 2009 he joined Houston Ballet II and was featured in Stanton Welch’s Fingerprints, Blue, Long and Winding Road, Red Earth and Tales of Texas. In 2010 Nayon joined The Washington Ballet where he performed soloist roles in Septime Webre’s The Nutcracker, The Great Gatsby, and in Twyla Tharp’s Sinatra Songs, Push Comes to Shove and Surfer at the River Rocks. His accomplishments include finalist at the 2008 Youth America Grand Prix, the bronze medal at the 2009 Youth America Grand Prix and in 2012 he was awarded the gold medal at the World Ballet Competition in Orlando. As a guest artist, he has performed with Terra Brazil touring throughout Germany and France. Nayon joined Ballet Arizona in 2012. Since joining Ballet Arizona in 2012 Nayon has performed in George Balanchine’s “Rubies” (from Jewels) at The Chicago Dancing Festival and Balanchine’s Serenade and Stravinsky Violin Concerto at Ballet Under the Stars.
Nayon Iovino
Resident Choreographer
From: Goiania, Brazil
Nayon began dancing at age 10 under the instruction of Gisela Vaz at Studio Dancarte Brazil. At age 17, he was awarded a full scholarship to begin training with The Washington School of Ballet with Kee Juan Han and Carlos Valcárcel. In 2009 he joined Houston Ballet II and was featured in Stanton Welch’s Fingerprints, Blue, Long and Winding Road, Red Earth and Tales of Texas. In 2010 Nayon joined The Washington Ballet where he performed soloist roles in Septime Webre’s The Nutcracker, The Great Gatsby, and in Twyla Tharp’s Sinatra Songs, Push Comes to Shove and Surfer at the River Rocks. His accomplishments include finalist at the 2008 Youth America Grand Prix, the bronze medal at the 2009 Youth America Grand Prix and in 2012 he was awarded the gold medal at the World Ballet Competition in Orlando. As a guest artist, he has performed with Terra Brazil touring throughout Germany and France. Nayon joined Ballet Arizona in 2012. Since joining Ballet Arizona in 2012 Nayon has performed in George Balanchine’s “Rubies” (from Jewels) at The Chicago Dancing Festival and Balanchine’s Serenade and Stravinsky Violin Concerto at Ballet Under the Stars.
Nayon Iovino
Resident Choreographer
From: Goiania, Brazil
Nayon began dancing at age 10 under the instruction of Gisela Vaz at Studio Dancarte Brazil. At age 17, he was awarded a full scholarship to begin training with The Washington School of Ballet with Kee Juan Han and Carlos Valcárcel. In 2009 he joined Houston Ballet II and was featured in Stanton Welch’s Fingerprints, Blue, Long and Winding Road, Red Earth and Tales of Texas. In 2010 Nayon joined The Washington Ballet where he performed soloist roles in Septime Webre’s The Nutcracker, The Great Gatsby, and in Twyla Tharp’s Sinatra Songs, Push Comes to Shove and Surfer at the River Rocks. His accomplishments include finalist at the 2008 Youth America Grand Prix, the bronze medal at the 2009 Youth America Grand Prix and in 2012 he was awarded the gold medal at the World Ballet Competition in Orlando. As a guest artist, he has performed with Terra Brazil touring throughout Germany and France. Nayon joined Ballet Arizona in 2012. Since joining Ballet Arizona in 2012 Nayon has performed in George Balanchine’s “Rubies” (from Jewels) at The Chicago Dancing Festival and Balanchine’s Serenade and Stravinsky Violin Concerto at Ballet Under the Stars.
Matthew Kasper
Principal Conductor
From: Ballet Arizona
Known for his passionate and refined performances of the American, Ballet and Classical repertoire, American conductor Matthew Kasper has made himself a staple of artistic life wherever he has landed. With an ability to connect the American music of the last century with its traditional European roots, Kasper has a wide range of repertoire in his grasp and a particular passion for bringing to the forefront works by composers such as Ives, Weill, Copland, and Jessie Montgomery among others.
Kasper’s versatility has made itself apparent in the wide range of programs he has conducted to overwhelming acclaim as Resident Conductor of The Phoenix Symphony. With over 250 performances including many subscription, pops, educational, chamber orchestra and family concerts, Kasper has become a fixture for audiences in and around Phoenix. Some of the highlights of his tenure have included performances of Beethoven’s Ninth Symphony, Ives’ Second Symphony, Handel’s Messiah and two years as conductor for the prestigious Bösendorfer Piano Competition. Kasper’s indelible effect on the community and his ability to create dynamic and sensitive performances led him to be promoted from Assistant to Resident Conductor by the orchestra in 2018.
Many other arts institutions in the U.S. and abroad have noticed Kasper’s passionate and unceasing performances as well as his ability to connect to the broader community. This is apparent in the Solti Foundation U.S. awarding Kasper a prestigious Career Assistance award in 2020 as well as numerous guest and cover-conducting appearances in the U.S., Asia and Europe. Recent seasons included successful debuts with the Rochester Philharmonic, the Tucson Symphony and the Evergreen (Taiwan) Symphony. Kasper has also appeared with the Orchestre Symphonique et Lyrique de Nancy, Opera National de Lorraine, Queens Symphony Orchestra, The Phoenix Symphony and the Salt River Ballet. Matthew has served as cover conductor for The Cleveland Orchestra, the San Diego Symphony, The Phoenix Symphony, Arizona Musicfest and the Queens Symphony.
Equally comfortable in the pit as he is on stage, Kasper has recently been appointed to the position of Principal Conductor of Ballet Arizona after stepping in for a last-minute rehearsal and conducting two of the company’s productions, including Tchaikovsky’s The Nutcracker and Prokofiev’s Romeo & Juliet, during the 21-22 season. As an opera conductor, Kasper is comfortable with the standard repertoire as well as new works. He has worked on many productions in the U.S. and abroad, including world premiere productions of operas by Gerald Barry and Bruce Saylor as well as productions of Mozart’s Magic Flute, Puccini’s Sour Angelica, Poulenc’s Dialogues of the Carmelites, Britten’s Owen Wingrave, Bernstein’s Candide and others.
In his final season as Resident Conductor of The Phoenix Symphony, Kasper is thrilled to conduct a varied schedule of performances including a subscription week with piano phenom, Eric Lu on a program of Strauss, Schumann and Beethoven. He is also slated to conduct productions of Prokofiev’s Cinderella, Tchaikovsky’s The Nutcracker and a Balanchine program featuring Glazunov, Fauré, and Hindemith, with Ballet Arizona and he will return to conduct the Tucson Symphony.
A passionate advocate for expanding access to music for children in the U.S., Kasper has been honored to serve as Artistic and General Director of the Phoenix Youth Symphony Orchestras since 2020. During this tenure, Kasper has worked hard to form meaningful collaborations for the benefit of the organization’s young musicians. This includes a conducting fellowship with Arizona State University and full ballet productions of Tchaikovsky’s Swan Lake and The Sleeping Beauty with The School of Ballet Arizona, masterclasses and coaching with musicians from the Phoenix Chamber Music Society and many others. Matthew believes music should be available to all children and is working hard to forge relationships to help make that a reality in Phoenix.
An accomplished violinist, Kasper was a member of the Chicago Civic Orchestra and holds degrees in violin performance from Queens College’s Aaron Copland School of Music where he was a student of Burton Kaplan and the Chicago College of Performing Arts where his teacher was Shmuel Ashkenasi. Kasper also studied chamber music with Marcy Rosen, Daniel Phillips, Robert Chen and Roger Chase. Additionally, Kasper holds a Master’s degree in Orchestral Conducting from Queens College’s Aaron Copland School of Music where he was a scholarship student of Maurice Peress. Additional conducting studies took place as a scholarship student at the prestigious Pierre Monteux School for Conductors, where his principal teacher was Michael Jinbo.
Originally from Madison, Wisconsin, Kasper currently resides in Phoenix with his wife Rebecca, son Theodore, daughters Fiona and Magnolia, and their golden retriever Bear.
Matthew Kasper
Principal Conductor
From: Ballet Arizona
Known for his passionate and refined performances of the American, Ballet and Classical repertoire, American conductor Matthew Kasper has made himself a staple of artistic life wherever he has landed. With an ability to connect the American music of the last century with its traditional European roots, Kasper has a wide range of repertoire in his grasp and a particular passion for bringing to the forefront works by composers such as Ives, Weill, Copland, and Jessie Montgomery among others.
Kasper’s versatility has made itself apparent in the wide range of programs he has conducted to overwhelming acclaim as Resident Conductor of The Phoenix Symphony. With over 250 performances including many subscription, pops, educational, chamber orchestra and family concerts, Kasper has become a fixture for audiences in and around Phoenix. Some of the highlights of his tenure have included performances of Beethoven’s Ninth Symphony, Ives’ Second Symphony, Handel’s Messiah and two years as conductor for the prestigious Bösendorfer Piano Competition. Kasper’s indelible effect on the community and his ability to create dynamic and sensitive performances led him to be promoted from Assistant to Resident Conductor by the orchestra in 2018.
Many other arts institutions in the U.S. and abroad have noticed Kasper’s passionate and unceasing performances as well as his ability to connect to the broader community. This is apparent in the Solti Foundation U.S. awarding Kasper a prestigious Career Assistance award in 2020 as well as numerous guest and cover-conducting appearances in the U.S., Asia and Europe. Recent seasons included successful debuts with the Rochester Philharmonic, the Tucson Symphony and the Evergreen (Taiwan) Symphony. Kasper has also appeared with the Orchestre Symphonique et Lyrique de Nancy, Opera National de Lorraine, Queens Symphony Orchestra, The Phoenix Symphony and the Salt River Ballet. Matthew has served as cover conductor for The Cleveland Orchestra, the San Diego Symphony, The Phoenix Symphony, Arizona Musicfest and the Queens Symphony.
Equally comfortable in the pit as he is on stage, Kasper has recently been appointed to the position of Principal Conductor of Ballet Arizona after stepping in for a last-minute rehearsal and conducting two of the company’s productions, including Tchaikovsky’s The Nutcracker and Prokofiev’s Romeo & Juliet, during the 21-22 season. As an opera conductor, Kasper is comfortable with the standard repertoire as well as new works. He has worked on many productions in the U.S. and abroad, including world premiere productions of operas by Gerald Barry and Bruce Saylor as well as productions of Mozart’s Magic Flute, Puccini’s Sour Angelica, Poulenc’s Dialogues of the Carmelites, Britten’s Owen Wingrave, Bernstein’s Candide and others.
In his final season as Resident Conductor of The Phoenix Symphony, Kasper is thrilled to conduct a varied schedule of performances including a subscription week with piano phenom, Eric Lu on a program of Strauss, Schumann and Beethoven. He is also slated to conduct productions of Prokofiev’s Cinderella, Tchaikovsky’s The Nutcracker and a Balanchine program featuring Glazunov, Fauré, and Hindemith, with Ballet Arizona and he will return to conduct the Tucson Symphony.
A passionate advocate for expanding access to music for children in the U.S., Kasper has been honored to serve as Artistic and General Director of the Phoenix Youth Symphony Orchestras since 2020. During this tenure, Kasper has worked hard to form meaningful collaborations for the benefit of the organization’s young musicians. This includes a conducting fellowship with Arizona State University and full ballet productions of Tchaikovsky’s Swan Lake and The Sleeping Beauty with The School of Ballet Arizona, masterclasses and coaching with musicians from the Phoenix Chamber Music Society and many others. Matthew believes music should be available to all children and is working hard to forge relationships to help make that a reality in Phoenix.
An accomplished violinist, Kasper was a member of the Chicago Civic Orchestra and holds degrees in violin performance from Queens College’s Aaron Copland School of Music where he was a student of Burton Kaplan and the Chicago College of Performing Arts where his teacher was Shmuel Ashkenasi. Kasper also studied chamber music with Marcy Rosen, Daniel Phillips, Robert Chen and Roger Chase. Additionally, Kasper holds a Master’s degree in Orchestral Conducting from Queens College’s Aaron Copland School of Music where he was a scholarship student of Maurice Peress. Additional conducting studies took place as a scholarship student at the prestigious Pierre Monteux School for Conductors, where his principal teacher was Michael Jinbo.
Originally from Madison, Wisconsin, Kasper currently resides in Phoenix with his wife Rebecca, son Theodore, daughters Fiona and Magnolia, and their golden retriever Bear.
Matthew Kasper
Principal Conductor
From: Ballet Arizona
Known for his passionate and refined performances of the American, Ballet and Classical repertoire, American conductor Matthew Kasper has made himself a staple of artistic life wherever he has landed. With an ability to connect the American music of the last century with its traditional European roots, Kasper has a wide range of repertoire in his grasp and a particular passion for bringing to the forefront works by composers such as Ives, Weill, Copland, and Jessie Montgomery among others.
Kasper’s versatility has made itself apparent in the wide range of programs he has conducted to overwhelming acclaim as Resident Conductor of The Phoenix Symphony. With over 250 performances including many subscription, pops, educational, chamber orchestra and family concerts, Kasper has become a fixture for audiences in and around Phoenix. Some of the highlights of his tenure have included performances of Beethoven’s Ninth Symphony, Ives’ Second Symphony, Handel’s Messiah and two years as conductor for the prestigious Bösendorfer Piano Competition. Kasper’s indelible effect on the community and his ability to create dynamic and sensitive performances led him to be promoted from Assistant to Resident Conductor by the orchestra in 2018.
Many other arts institutions in the U.S. and abroad have noticed Kasper’s passionate and unceasing performances as well as his ability to connect to the broader community. This is apparent in the Solti Foundation U.S. awarding Kasper a prestigious Career Assistance award in 2020 as well as numerous guest and cover-conducting appearances in the U.S., Asia and Europe. Recent seasons included successful debuts with the Rochester Philharmonic, the Tucson Symphony and the Evergreen (Taiwan) Symphony. Kasper has also appeared with the Orchestre Symphonique et Lyrique de Nancy, Opera National de Lorraine, Queens Symphony Orchestra, The Phoenix Symphony and the Salt River Ballet. Matthew has served as cover conductor for The Cleveland Orchestra, the San Diego Symphony, The Phoenix Symphony, Arizona Musicfest and the Queens Symphony.
Equally comfortable in the pit as he is on stage, Kasper has recently been appointed to the position of Principal Conductor of Ballet Arizona after stepping in for a last-minute rehearsal and conducting two of the company’s productions, including Tchaikovsky’s The Nutcracker and Prokofiev’s Romeo & Juliet, during the 21-22 season. As an opera conductor, Kasper is comfortable with the standard repertoire as well as new works. He has worked on many productions in the U.S. and abroad, including world premiere productions of operas by Gerald Barry and Bruce Saylor as well as productions of Mozart’s Magic Flute, Puccini’s Sour Angelica, Poulenc’s Dialogues of the Carmelites, Britten’s Owen Wingrave, Bernstein’s Candide and others.
In his final season as Resident Conductor of The Phoenix Symphony, Kasper is thrilled to conduct a varied schedule of performances including a subscription week with piano phenom, Eric Lu on a program of Strauss, Schumann and Beethoven. He is also slated to conduct productions of Prokofiev’s Cinderella, Tchaikovsky’s The Nutcracker and a Balanchine program featuring Glazunov, Fauré, and Hindemith, with Ballet Arizona and he will return to conduct the Tucson Symphony.
A passionate advocate for expanding access to music for children in the U.S., Kasper has been honored to serve as Artistic and General Director of the Phoenix Youth Symphony Orchestras since 2020. During this tenure, Kasper has worked hard to form meaningful collaborations for the benefit of the organization’s young musicians. This includes a conducting fellowship with Arizona State University and full ballet productions of Tchaikovsky’s Swan Lake and The Sleeping Beauty with The School of Ballet Arizona, masterclasses and coaching with musicians from the Phoenix Chamber Music Society and many others. Matthew believes music should be available to all children and is working hard to forge relationships to help make that a reality in Phoenix.
An accomplished violinist, Kasper was a member of the Chicago Civic Orchestra and holds degrees in violin performance from Queens College’s Aaron Copland School of Music where he was a student of Burton Kaplan and the Chicago College of Performing Arts where his teacher was Shmuel Ashkenasi. Kasper also studied chamber music with Marcy Rosen, Daniel Phillips, Robert Chen and Roger Chase. Additionally, Kasper holds a Master’s degree in Orchestral Conducting from Queens College’s Aaron Copland School of Music where he was a scholarship student of Maurice Peress. Additional conducting studies took place as a scholarship student at the prestigious Pierre Monteux School for Conductors, where his principal teacher was Michael Jinbo.
Originally from Madison, Wisconsin, Kasper currently resides in Phoenix with his wife Rebecca, son Theodore, daughters Fiona and Magnolia, and their golden retriever Bear.
Michael Korsch
Resident Lighting Designer
From: Ballet Arizona
Michael Korsch is a lighting, projection, and scenic designer based in Philadelphia, PA, where he earned his BA in theatre from Temple University. He has worked with numerous directors and choreographers, creating hundreds of visual designs for dance, theatre, and other live performances throughout North and South America, Europe, Asia, Australia, and New Zealand. Michael has been the resident lighting designer for Complexions Contemporary Ballet since 1998, and Ballet Arizona since 2001. In addition, Michael has created designs for Alvin Ailey American Dance Theater, American Ballet Theatre, Aspen Santa Fe Ballet, Backhausdance, BalletMet, Ballet Nice Méditerranée, Ballet West, BalletX, Carolina Ballet, Charlotte Ballet, Cincinnati Ballet, Cleveland Play House, Czech National Ballet, DanceBrazil, Dance Theatre of Harlem, Dayton Contemporary Dance Company, Disney Creative Entertainment, English National Ballet, FELA! The Concert, Houston Ballet, Hubbard Street Dance Chicago, MOMIX, Oakland Ballet, Pacific Northwest Ballet, Philadelphia Ballet, Pittsburgh Ballet Theatre, Royal Danish Ballet, Sacramento Ballet, San Francisco Ballet, Staatsballett Berlin, and Washington Ballet, among others.
Michael Korsch
Resident Lighting Designer
From: Ballet Arizona
Michael Korsch is a lighting, projection, and scenic designer based in Philadelphia, PA, where he earned his BA in theatre from Temple University. He has worked with numerous directors and choreographers, creating hundreds of visual designs for dance, theatre, and other live performances throughout North and South America, Europe, Asia, Australia, and New Zealand. Michael has been the resident lighting designer for Complexions Contemporary Ballet since 1998, and Ballet Arizona since 2001. In addition, Michael has created designs for Alvin Ailey American Dance Theater, American Ballet Theatre, Aspen Santa Fe Ballet, Backhausdance, BalletMet, Ballet Nice Méditerranée, Ballet West, BalletX, Carolina Ballet, Charlotte Ballet, Cincinnati Ballet, Cleveland Play House, Czech National Ballet, DanceBrazil, Dance Theatre of Harlem, Dayton Contemporary Dance Company, Disney Creative Entertainment, English National Ballet, FELA! The Concert, Houston Ballet, Hubbard Street Dance Chicago, MOMIX, Oakland Ballet, Pacific Northwest Ballet, Philadelphia Ballet, Pittsburgh Ballet Theatre, Royal Danish Ballet, Sacramento Ballet, San Francisco Ballet, Staatsballett Berlin, and Washington Ballet, among others.
Michael Korsch
Resident Lighting Designer
From: Ballet Arizona
Michael Korsch is a lighting, projection, and scenic designer based in Philadelphia, PA, where he earned his BA in theatre from Temple University. He has worked with numerous directors and choreographers, creating hundreds of visual designs for dance, theatre, and other live performances throughout North and South America, Europe, Asia, Australia, and New Zealand. Michael has been the resident lighting designer for Complexions Contemporary Ballet since 1998, and Ballet Arizona since 2001. In addition, Michael has created designs for Alvin Ailey American Dance Theater, American Ballet Theatre, Aspen Santa Fe Ballet, Backhausdance, BalletMet, Ballet Nice Méditerranée, Ballet West, BalletX, Carolina Ballet, Charlotte Ballet, Cincinnati Ballet, Cleveland Play House, Czech National Ballet, DanceBrazil, Dance Theatre of Harlem, Dayton Contemporary Dance Company, Disney Creative Entertainment, English National Ballet, FELA! The Concert, Houston Ballet, Hubbard Street Dance Chicago, MOMIX, Oakland Ballet, Pacific Northwest Ballet, Philadelphia Ballet, Pittsburgh Ballet Theatre, Royal Danish Ballet, Sacramento Ballet, San Francisco Ballet, Staatsballett Berlin, and Washington Ballet, among others.
Rosalie O’Connor
Company Photographer
Rosalie O’Connor
Company Photographer
Rosalie O’Connor
Company Photographer
Ib Andersen
Artistic Director Emeritus
From: Copenhagen, Denmark
Following a brilliant career performing on the world’s greatest ballet stages, Ib Andersen was named Artistic Director of Ballet Arizona and The School of Ballet Arizona in 2000. Born in Copenhagen, he was introduced to ballroom dance at a young age. Then, at age 7 he was accepted into the School of the Royal Danish Ballet. He joined the Royal Danish Ballet at age 16 and became a principal dancer at age 20 — the youngest principal in the company’s history.
Mr. Andersen’s career and reputation flourished in Europe, bringing him to the attention of the director of New York City Ballet (NYCB), George Balanchine. Andersen joined NYCB in 1980and during his first three months he learned 35 ballets and demonstrated a remarkable affinity for the Balanchine style and technique. This led Balanchine to create principal roles for him in Ballade, Davidsbündlertänze, and Mozartiana. Jerome Robbins and Peter Martins also created roles for Andersen’s unique style.
In 1987, while Andersen was still with NYCB, the Royal Danish Ballet gave him his first choreographic commission, for which he created 1-2-3—1-2. When he retired as a principal from NYCB in 1990, Andersen began a second career as a guest ballet master for companies worldwide. He staged ballets by August Bournonville, Michel Fokine, Jerome Robbins, and others; most notably, George Balanchine. Mr. Andersen’s affinity for Balanchine’s works led to his appointment as a Balanchine Repetiteur; one of a handful of artists worldwide authorized by The George Balanchine Trust to stage the master’s pieces.
Mr. Andersen’s career has been consistently marked by success, and his rise to Artistic Director is no exception. After a tenure as Ballet Master with Pittsburgh Ballet Theatre, Andersen accepted the position of Artistic Director for Ballet Arizona. He now directs the Company in a demanding repertory that combines both classical and contemporary ballets; including works he creates specifically for the dancers. In 2010 Ballet Arizona enjoyed the national spotlight when it presented Andersen’s Diversions at the Ballet Across America festival hosted at the prestigious Kennedy Center in Washington, D.C.
In May 2012 Ib created a world premiere “site-specific” work, Topia, which was performed at the Desert Botanical Garden at sunset to sold-out audiences. Due to popular demand, Topia will return to the Garden May 14- June 1, 2013
During the 2011-2012 Season Ib Andersen’s world premiere of Cinderella met with resounding success; garnering rave reviews and record-setting attendance. In February 2012 Ballet Arizona made its New York City debut at the Joyce Theatre performing Andersen’s Play. The New York engagement was lauded by The New York Times, Financial Times and The New York Post which all praised Andersen’s choreography and the work he has done with Ballet Arizona.
In the 2013-2014 season, Ib and the company transitioned into a brand new facility, “The Center for Dance” which included the Dorrance Theatre, a black box theatre seating 299. In 2015, Andersen presented August Bournonville’s 1842 classic, Napoli, a United States premiere featuring authentic sets and costumes imported from Copenhagen. It was undoubtedly Andersen’s eye for detail and exacting coaching that led Alastair Macaulay, lead dance critic for the New York Times, to proclaim “This company has become one of America’s finest…”.
Ballet Arizona triumphantly returned to the Desert Botanical Garden in 2016 for the first of five years of performances, where Ib presented Round— a ballet created for a 360-degree stage, to be viewed by audiences from all sides. The New York Times lead dance critic Alastair Macaulay traveled to Arizona to experience the work, and in his review proclaimed Ballet Arizona “…one of the most enterprising companies anywhere.”
Ib Andersen
Artistic Director Emeritus
From: Copenhagen, Denmark
Following a brilliant career performing on the world’s greatest ballet stages, Ib Andersen was named Artistic Director of Ballet Arizona and The School of Ballet Arizona in 2000. Born in Copenhagen, he was introduced to ballroom dance at a young age. Then, at age 7 he was accepted into the School of the Royal Danish Ballet. He joined the Royal Danish Ballet at age 16 and became a principal dancer at age 20 — the youngest principal in the company’s history.
Mr. Andersen’s career and reputation flourished in Europe, bringing him to the attention of the director of New York City Ballet (NYCB), George Balanchine. Andersen joined NYCB in 1980and during his first three months he learned 35 ballets and demonstrated a remarkable affinity for the Balanchine style and technique. This led Balanchine to create principal roles for him in Ballade, Davidsbündlertänze, and Mozartiana. Jerome Robbins and Peter Martins also created roles for Andersen’s unique style.
In 1987, while Andersen was still with NYCB, the Royal Danish Ballet gave him his first choreographic commission, for which he created 1-2-3—1-2. When he retired as a principal from NYCB in 1990, Andersen began a second career as a guest ballet master for companies worldwide. He staged ballets by August Bournonville, Michel Fokine, Jerome Robbins, and others; most notably, George Balanchine. Mr. Andersen’s affinity for Balanchine’s works led to his appointment as a Balanchine Repetiteur; one of a handful of artists worldwide authorized by The George Balanchine Trust to stage the master’s pieces.
Mr. Andersen’s career has been consistently marked by success, and his rise to Artistic Director is no exception. After a tenure as Ballet Master with Pittsburgh Ballet Theatre, Andersen accepted the position of Artistic Director for Ballet Arizona. He now directs the Company in a demanding repertory that combines both classical and contemporary ballets; including works he creates specifically for the dancers. In 2010 Ballet Arizona enjoyed the national spotlight when it presented Andersen’s Diversions at the Ballet Across America festival hosted at the prestigious Kennedy Center in Washington, D.C.
In May 2012 Ib created a world premiere “site-specific” work, Topia, which was performed at the Desert Botanical Garden at sunset to sold-out audiences. Due to popular demand, Topia will return to the Garden May 14- June 1, 2013
During the 2011-2012 Season Ib Andersen’s world premiere of Cinderella met with resounding success; garnering rave reviews and record-setting attendance. In February 2012 Ballet Arizona made its New York City debut at the Joyce Theatre performing Andersen’s Play. The New York engagement was lauded by The New York Times, Financial Times and The New York Post which all praised Andersen’s choreography and the work he has done with Ballet Arizona.
In the 2013-2014 season, Ib and the company transitioned into a brand new facility, “The Center for Dance” which included the Dorrance Theatre, a black box theatre seating 299. In 2015, Andersen presented August Bournonville’s 1842 classic, Napoli, a United States premiere featuring authentic sets and costumes imported from Copenhagen. It was undoubtedly Andersen’s eye for detail and exacting coaching that led Alastair Macaulay, lead dance critic for the New York Times, to proclaim “This company has become one of America’s finest…”.
Ballet Arizona triumphantly returned to the Desert Botanical Garden in 2016 for the first of five years of performances, where Ib presented Round— a ballet created for a 360-degree stage, to be viewed by audiences from all sides. The New York Times lead dance critic Alastair Macaulay traveled to Arizona to experience the work, and in his review proclaimed Ballet Arizona “…one of the most enterprising companies anywhere.”
Ib Andersen
Artistic Director Emeritus
From: Copenhagen, Denmark
Following a brilliant career performing on the world’s greatest ballet stages, Ib Andersen was named Artistic Director of Ballet Arizona and The School of Ballet Arizona in 2000. Born in Copenhagen, he was introduced to ballroom dance at a young age. Then, at age 7 he was accepted into the School of the Royal Danish Ballet. He joined the Royal Danish Ballet at age 16 and became a principal dancer at age 20 — the youngest principal in the company’s history.
Mr. Andersen’s career and reputation flourished in Europe, bringing him to the attention of the director of New York City Ballet (NYCB), George Balanchine. Andersen joined NYCB in 1980and during his first three months he learned 35 ballets and demonstrated a remarkable affinity for the Balanchine style and technique. This led Balanchine to create principal roles for him in Ballade, Davidsbündlertänze, and Mozartiana. Jerome Robbins and Peter Martins also created roles for Andersen’s unique style.
In 1987, while Andersen was still with NYCB, the Royal Danish Ballet gave him his first choreographic commission, for which he created 1-2-3—1-2. When he retired as a principal from NYCB in 1990, Andersen began a second career as a guest ballet master for companies worldwide. He staged ballets by August Bournonville, Michel Fokine, Jerome Robbins, and others; most notably, George Balanchine. Mr. Andersen’s affinity for Balanchine’s works led to his appointment as a Balanchine Repetiteur; one of a handful of artists worldwide authorized by The George Balanchine Trust to stage the master’s pieces.
Mr. Andersen’s career has been consistently marked by success, and his rise to Artistic Director is no exception. After a tenure as Ballet Master with Pittsburgh Ballet Theatre, Andersen accepted the position of Artistic Director for Ballet Arizona. He now directs the Company in a demanding repertory that combines both classical and contemporary ballets; including works he creates specifically for the dancers. In 2010 Ballet Arizona enjoyed the national spotlight when it presented Andersen’s Diversions at the Ballet Across America festival hosted at the prestigious Kennedy Center in Washington, D.C.
In May 2012 Ib created a world premiere “site-specific” work, Topia, which was performed at the Desert Botanical Garden at sunset to sold-out audiences. Due to popular demand, Topia will return to the Garden May 14- June 1, 2013
During the 2011-2012 Season Ib Andersen’s world premiere of Cinderella met with resounding success; garnering rave reviews and record-setting attendance. In February 2012 Ballet Arizona made its New York City debut at the Joyce Theatre performing Andersen’s Play. The New York engagement was lauded by The New York Times, Financial Times and The New York Post which all praised Andersen’s choreography and the work he has done with Ballet Arizona.
In the 2013-2014 season, Ib and the company transitioned into a brand new facility, “The Center for Dance” which included the Dorrance Theatre, a black box theatre seating 299. In 2015, Andersen presented August Bournonville’s 1842 classic, Napoli, a United States premiere featuring authentic sets and costumes imported from Copenhagen. It was undoubtedly Andersen’s eye for detail and exacting coaching that led Alastair Macaulay, lead dance critic for the New York Times, to proclaim “This company has become one of America’s finest…”.
Ballet Arizona triumphantly returned to the Desert Botanical Garden in 2016 for the first of five years of performances, where Ib presented Round— a ballet created for a 360-degree stage, to be viewed by audiences from all sides. The New York Times lead dance critic Alastair Macaulay traveled to Arizona to experience the work, and in his review proclaimed Ballet Arizona “…one of the most enterprising companies anywhere.”
Production
Michael Panvini
Director of Production
From: Ballet Arizona
Ballet Arizona’s Director of Production for over 14 years, Michael Panvini dropped out of college and moved to the “Big Apple” in 1983 to begin his career as a freelance electrician/lighting technician, working on over 100 Off-Broadway and Off-Off-Broadway productions from the age of 20 years old.
Rising quickly through the ranks of Off-Broadway and graduating to national tours, he was Head Electrician for touring Broadway musicals (A Chorus Line, Singin’ in the Rain) and The Magic of David Copperfield, until moving into the world of ballet as Lighting Supervisor for Dance Theatre of Harlem, followed by Joffrey Ballet. In 1993, Michael began a 15-year tenure with Columbia Artists Management, Inc. as a tour Production Manager, touring North America with dozens of ballet, folk dance, and opera companies from around the world until joining Ballet Arizona in January 2008.
Michael Panvini
Director of Production
From: Ballet Arizona
Ballet Arizona’s Director of Production for over 14 years, Michael Panvini dropped out of college and moved to the “Big Apple” in 1983 to begin his career as a freelance electrician/lighting technician, working on over 100 Off-Broadway and Off-Off-Broadway productions from the age of 20 years old.
Rising quickly through the ranks of Off-Broadway and graduating to national tours, he was Head Electrician for touring Broadway musicals (A Chorus Line, Singin’ in the Rain) and The Magic of David Copperfield, until moving into the world of ballet as Lighting Supervisor for Dance Theatre of Harlem, followed by Joffrey Ballet. In 1993, Michael began a 15-year tenure with Columbia Artists Management, Inc. as a tour Production Manager, touring North America with dozens of ballet, folk dance, and opera companies from around the world until joining Ballet Arizona in January 2008.
Michael Panvini
Director of Production
From: Ballet Arizona
Ballet Arizona’s Director of Production for over 14 years, Michael Panvini dropped out of college and moved to the “Big Apple” in 1983 to begin his career as a freelance electrician/lighting technician, working on over 100 Off-Broadway and Off-Off-Broadway productions from the age of 20 years old.
Rising quickly through the ranks of Off-Broadway and graduating to national tours, he was Head Electrician for touring Broadway musicals (A Chorus Line, Singin’ in the Rain) and The Magic of David Copperfield, until moving into the world of ballet as Lighting Supervisor for Dance Theatre of Harlem, followed by Joffrey Ballet. In 1993, Michael began a 15-year tenure with Columbia Artists Management, Inc. as a tour Production Manager, touring North America with dozens of ballet, folk dance, and opera companies from around the world until joining Ballet Arizona in January 2008.
Laura Cadieux
Stage Manager
From: Ballet Arizona
Laura Cadieux has been stage-managing for Ballet Arizona since 2009. During her tenure, she has had the privilege to work with acclaimed choreographers Alexei Ratmansky, Christopher Wheeldon and Alejandro Cerrudo, and be involved in the creation of Ballet Arizona full-length premieres including Juan Gabriel, Cinderella, Napoli, Firebird, La Bayadere, The Sleeping Beauty and An Evening at the Desert Botanical Gardens. Notably, Mrs. Cadieux traveled with Ballet Arizona to help the company present work at Ballet Across America II at the Kennedy Center, Chicago Dancing Festival and the Company residency at the Joyce Theatre.
Laura has also worked for a variety of theatres and dance companies including Kansas City Repertory Theater, Arkansas Repertory Theatre, Lyric Opera of Kansas City, The Coterie, Albany Berkshire Ballet and Wylliams/Henry Contemporary Dance Company. Laura’s love of the performing arts keeps her excited to continue honing her craft and bringing the best of stage magic to the audience.
A Missouri native, Laura holds a Bachelor of Fine Arts from Stephens College in Columbia, MO and a Master of Fine Arts from the University of Missouri-Kansas City in Kansas City, MO. In addition to her professional credentials, Laura is a wife and mother to two beautiful children and cherishes her family.
Laura Cadieux
Stage Manager
From: Ballet Arizona
Laura Cadieux has been stage-managing for Ballet Arizona since 2009. During her tenure, she has had the privilege to work with acclaimed choreographers Alexei Ratmansky, Christopher Wheeldon and Alejandro Cerrudo, and be involved in the creation of Ballet Arizona full-length premieres including Juan Gabriel, Cinderella, Napoli, Firebird, La Bayadere, The Sleeping Beauty and An Evening at the Desert Botanical Gardens. Notably, Mrs. Cadieux traveled with Ballet Arizona to help the company present work at Ballet Across America II at the Kennedy Center, Chicago Dancing Festival and the Company residency at the Joyce Theatre.
Laura has also worked for a variety of theatres and dance companies including Kansas City Repertory Theater, Arkansas Repertory Theatre, Lyric Opera of Kansas City, The Coterie, Albany Berkshire Ballet and Wylliams/Henry Contemporary Dance Company. Laura’s love of the performing arts keeps her excited to continue honing her craft and bringing the best of stage magic to the audience.
A Missouri native, Laura holds a Bachelor of Fine Arts from Stephens College in Columbia, MO and a Master of Fine Arts from the University of Missouri-Kansas City in Kansas City, MO. In addition to her professional credentials, Laura is a wife and mother to two beautiful children and cherishes her family.
Laura Cadieux
Stage Manager
From: Ballet Arizona
Laura Cadieux has been stage-managing for Ballet Arizona since 2009. During her tenure, she has had the privilege to work with acclaimed choreographers Alexei Ratmansky, Christopher Wheeldon and Alejandro Cerrudo, and be involved in the creation of Ballet Arizona full-length premieres including Juan Gabriel, Cinderella, Napoli, Firebird, La Bayadere, The Sleeping Beauty and An Evening at the Desert Botanical Gardens. Notably, Mrs. Cadieux traveled with Ballet Arizona to help the company present work at Ballet Across America II at the Kennedy Center, Chicago Dancing Festival and the Company residency at the Joyce Theatre.
Laura has also worked for a variety of theatres and dance companies including Kansas City Repertory Theater, Arkansas Repertory Theatre, Lyric Opera of Kansas City, The Coterie, Albany Berkshire Ballet and Wylliams/Henry Contemporary Dance Company. Laura’s love of the performing arts keeps her excited to continue honing her craft and bringing the best of stage magic to the audience.
A Missouri native, Laura holds a Bachelor of Fine Arts from Stephens College in Columbia, MO and a Master of Fine Arts from the University of Missouri-Kansas City in Kansas City, MO. In addition to her professional credentials, Laura is a wife and mother to two beautiful children and cherishes her family.
Zachary Cooper
Technical Director
Zachary Cooper joined Ballet Arizona in the Spring of 2021 after a tenure as Technical Director at the two-time Tony-winning Eugene O’Neill Theater Center in Waterford, CT and has worked professionally in theatrical production for nearly a decade.
Originally from Wisconsin, Zac attended Lawrence University, University of Wisconsin-Parkside, and the National Theater Institute and worked with the Fireside Dinner Theater in Fort Atkinson, WI and Skylight Music Theater in Milwaukee, WI. In addition to time spent behind the stage, Zac maintains years of training as an actor, director, and playwright which he constantly uses to inform his technical work. While at the O’Neill Theater, Zac worked with grant recipients of the Jerome Robbins Foundation and Jim Henson Foundation while overseeing and contributing to the Young Playwright’s Festival, the National Puppetry Conference, the National Musical Theater Conference, the National Playwright’s Conference, and the Cabaret & Performance Conference.
Zachary Cooper
Technical Director
Zachary Cooper joined Ballet Arizona in the Spring of 2021 after a tenure as Technical Director at the two-time Tony-winning Eugene O’Neill Theater Center in Waterford, CT and has worked professionally in theatrical production for nearly a decade.
Originally from Wisconsin, Zac attended Lawrence University, University of Wisconsin-Parkside, and the National Theater Institute and worked with the Fireside Dinner Theater in Fort Atkinson, WI and Skylight Music Theater in Milwaukee, WI. In addition to time spent behind the stage, Zac maintains years of training as an actor, director, and playwright which he constantly uses to inform his technical work. While at the O’Neill Theater, Zac worked with grant recipients of the Jerome Robbins Foundation and Jim Henson Foundation while overseeing and contributing to the Young Playwright’s Festival, the National Puppetry Conference, the National Musical Theater Conference, the National Playwright’s Conference, and the Cabaret & Performance Conference.
Zachary Cooper
Technical Director
Zachary Cooper joined Ballet Arizona in the Spring of 2021 after a tenure as Technical Director at the two-time Tony-winning Eugene O’Neill Theater Center in Waterford, CT and has worked professionally in theatrical production for nearly a decade.
Originally from Wisconsin, Zac attended Lawrence University, University of Wisconsin-Parkside, and the National Theater Institute and worked with the Fireside Dinner Theater in Fort Atkinson, WI and Skylight Music Theater in Milwaukee, WI. In addition to time spent behind the stage, Zac maintains years of training as an actor, director, and playwright which he constantly uses to inform his technical work. While at the O’Neill Theater, Zac worked with grant recipients of the Jerome Robbins Foundation and Jim Henson Foundation while overseeing and contributing to the Young Playwright’s Festival, the National Puppetry Conference, the National Musical Theater Conference, the National Playwright’s Conference, and the Cabaret & Performance Conference.
Jessica Muñoz
Head Electrician/Assistant Technical Director
From: Ballet Arizona
Jessica is the Head Electrician/Assistant Technical Director of Ballet Arizona and has worked with the Company since the summer of 2018. She first began learning about and working in production while attending Arizona State University where she graduated with a Bachelor of Fine Arts in Dance Education in 2015.
After graduating, Jessica accepted a production internship at Dance Place, a dance theatre space in Washington D.C. During her time at Dance Place, Jessica was able to work with both local artists from the D.C. Maryland, Virginia, area as well as traveling artists who were part of the National Performance Network (NPN). The following year, Jessica worked one summer as a production apprentice for the American Dance Festival in Durham, North Carolina, under Bessy award-winning lighting designer David Ferri, where she got to work with nationally and internationally renowned dance artists and companies. After teaching dance in a public middle school for two years, Jessica returned to the world of production which led her to joining Ballet Arizona.
Jessica Muñoz
Head Electrician/Assistant Technical Director
From: Ballet Arizona
Jessica is the Head Electrician/Assistant Technical Director of Ballet Arizona and has worked with the Company since the summer of 2018. She first began learning about and working in production while attending Arizona State University where she graduated with a Bachelor of Fine Arts in Dance Education in 2015.
After graduating, Jessica accepted a production internship at Dance Place, a dance theatre space in Washington D.C. During her time at Dance Place, Jessica was able to work with both local artists from the D.C. Maryland, Virginia, area as well as traveling artists who were part of the National Performance Network (NPN). The following year, Jessica worked one summer as a production apprentice for the American Dance Festival in Durham, North Carolina, under Bessy award-winning lighting designer David Ferri, where she got to work with nationally and internationally renowned dance artists and companies. After teaching dance in a public middle school for two years, Jessica returned to the world of production which led her to joining Ballet Arizona.
Jessica Muñoz
Head Electrician/Assistant Technical Director
From: Ballet Arizona
Jessica is the Head Electrician/Assistant Technical Director of Ballet Arizona and has worked with the Company since the summer of 2018. She first began learning about and working in production while attending Arizona State University where she graduated with a Bachelor of Fine Arts in Dance Education in 2015.
After graduating, Jessica accepted a production internship at Dance Place, a dance theatre space in Washington D.C. During her time at Dance Place, Jessica was able to work with both local artists from the D.C. Maryland, Virginia, area as well as traveling artists who were part of the National Performance Network (NPN). The following year, Jessica worked one summer as a production apprentice for the American Dance Festival in Durham, North Carolina, under Bessy award-winning lighting designer David Ferri, where she got to work with nationally and internationally renowned dance artists and companies. After teaching dance in a public middle school for two years, Jessica returned to the world of production which led her to joining Ballet Arizona.
Leonor Texidor
Costume Director
Leonor Texidor
Costume Director
Leonor Texidor
Costume Director
Cecilia Acosta
Costume Shop Staff
Cecilia Acosta
Costume Shop Staff
Cecilia Acosta
Costume Shop Staff
Niurka Ceballos Rodríguez
Niurka Ceballos Rodríguez
Flor Loya
Costume Shop Staff
Flor Loya
Costume Shop Staff
Flor Loya
Costume Shop Staff
Kaler Pilar Navazo
Wardrobe Supervisor
Kaler Pilar Navazo
Wardrobe Supervisor
Kaler Pilar Navazo
Wardrobe Supervisor
Edna Orlanes
Costume Shop Staff
Edna Orlanes
Costume Shop Staff
Edna Orlanes
Costume Shop Staff
Vera Solodovnikova
Costume Shop Staff
Vera Solodovnikova
Costume Shop Staff
Vera Solodovnikova
Costume Shop Staff
Iris Weng
Costume Shop Staff
Iris Weng
Costume Shop Staff
Iris Weng
Costume Shop Staff
Manuela Zavala
Manuela Zavala
Additional Stagehands provided by IATSE Local #336
Philanthropy
Steven Henderson
Director of Philanthropy
Steven Henderson
Director of Philanthropy
Steven Henderson
Director of Philanthropy
Alana Davis
Philanthropy Events & Volunteer Manager
Alana Davis
Philanthropy Events & Volunteer Manager
Alana Davis
Philanthropy Events & Volunteer Manager
Elyse Salisz
Associate Director of Philanthropy
Elyse Salisz
Associate Director of Philanthropy
Elyse Salisz
Associate Director of Philanthropy
Gabriella Titolo
Annual Fund Coordinator
Gabriella Titolo
Annual Fund Coordinator
Gabriella Titolo
Annual Fund Coordinator
Sasha Vincett
Corporate & Foundations Manager
Sasha Vincett
Corporate & Foundations Manager
Sasha Vincett
Corporate & Foundations Manager
Grant Consultant – Good Works Grant Writing
Marketing and Box Office
Averi Gutierrez
Director of Marketing
Averi Gutierrez
Director of Marketing
Averi Gutierrez
Director of Marketing
Mirranda Eid
Box Office Representative
Mirranda Eid
Box Office Representative
Mirranda Eid
Box Office Representative
Stephen McDonough
Box Office Manager
Stephen McDonough
Box Office Manager
Stephen McDonough
Box Office Manager
Renée Rodríguez
Digital Marketing Coordinator
Renée Rodríguez
Digital Marketing Coordinator
Renée Rodríguez
Digital Marketing Coordinator
Charlie Webb
Box Office Representative
Charlie Webb
Box Office Representative
Charlie Webb
Box Office Representative
Community Engagement
Claire Schmaltz
Director of Community Engagement
Claire Schmaltz
Director of Community Engagement
Claire Schmaltz
Director of Community Engagement
Eva Bighorse
Teaching Artist, Native American Hoop Dance
Eva Bighorse
Teaching Artist, Native American Hoop Dance
Eva Bighorse
Teaching Artist, Native American Hoop Dance
Debbie Braganza
Teaching Artist, Dance for Parkinson's Disease
From: Phoenix, Arizona
Debbie Braganza started dancing as a child in Lubbock Texas. She trained in ballet, modern, tap and jazz. She studied dance at the University of Texas at Austin. She was a member of UT’s dance company, Dance Repertory Theater, where she performed works by Woody McGriff, Deborah Hay and Yacov Sharir. She studied on scholarship with the Mark Morris Dance Group at Jacob’s Pillow Dance Festival and School and has performed at the American College Dance Festival and Jacob’s Pillow. She was the Rehearsal Director for Ballet Lubbock, where she taught adult and children’s ballet classes.
Debbie completed the Mark Morris Dance for PD training in 2010 and started teaching classes sponsored by the Muhammad Ali Parkinson Center. In 2014, the program expanded to Ballet Arizona. She continues professional development training in Brooklyn with founders David Leventhal and Misty Owens.
As a member of the PD community, Debbie has brought the PD dance classes to support groups throughout the valley. She was invited to teach special PD Dance classes as a part of the Davis Phinney Victory Summit, Tremble Clefs Music Therapy Retreat and the Annual Walk the Fight for Parkinson’s. Most recently she organized a National Dance Day Event at Ballet Arizona adapted for the PD dancers.
This is Ms. Braganza’s seventh year teaching at The School of Ballet Arizona.
Debbie Braganza
Teaching Artist, Dance for Parkinson's Disease
From: Phoenix, Arizona
Debbie Braganza started dancing as a child in Lubbock Texas. She trained in ballet, modern, tap and jazz. She studied dance at the University of Texas at Austin. She was a member of UT’s dance company, Dance Repertory Theater, where she performed works by Woody McGriff, Deborah Hay and Yacov Sharir. She studied on scholarship with the Mark Morris Dance Group at Jacob’s Pillow Dance Festival and School and has performed at the American College Dance Festival and Jacob’s Pillow. She was the Rehearsal Director for Ballet Lubbock, where she taught adult and children’s ballet classes.
Debbie completed the Mark Morris Dance for PD training in 2010 and started teaching classes sponsored by the Muhammad Ali Parkinson Center. In 2014, the program expanded to Ballet Arizona. She continues professional development training in Brooklyn with founders David Leventhal and Misty Owens.
As a member of the PD community, Debbie has brought the PD dance classes to support groups throughout the valley. She was invited to teach special PD Dance classes as a part of the Davis Phinney Victory Summit, Tremble Clefs Music Therapy Retreat and the Annual Walk the Fight for Parkinson’s. Most recently she organized a National Dance Day Event at Ballet Arizona adapted for the PD dancers.
This is Ms. Braganza’s seventh year teaching at The School of Ballet Arizona.
Debbie Braganza
Teaching Artist, Dance for Parkinson's Disease
From: Phoenix, Arizona
Debbie Braganza started dancing as a child in Lubbock Texas. She trained in ballet, modern, tap and jazz. She studied dance at the University of Texas at Austin. She was a member of UT’s dance company, Dance Repertory Theater, where she performed works by Woody McGriff, Deborah Hay and Yacov Sharir. She studied on scholarship with the Mark Morris Dance Group at Jacob’s Pillow Dance Festival and School and has performed at the American College Dance Festival and Jacob’s Pillow. She was the Rehearsal Director for Ballet Lubbock, where she taught adult and children’s ballet classes.
Debbie completed the Mark Morris Dance for PD training in 2010 and started teaching classes sponsored by the Muhammad Ali Parkinson Center. In 2014, the program expanded to Ballet Arizona. She continues professional development training in Brooklyn with founders David Leventhal and Misty Owens.
As a member of the PD community, Debbie has brought the PD dance classes to support groups throughout the valley. She was invited to teach special PD Dance classes as a part of the Davis Phinney Victory Summit, Tremble Clefs Music Therapy Retreat and the Annual Walk the Fight for Parkinson’s. Most recently she organized a National Dance Day Event at Ballet Arizona adapted for the PD dancers.
This is Ms. Braganza’s seventh year teaching at The School of Ballet Arizona.
Haley Cantarella
Community Engagement Coordinator
Haley Cantarella
Community Engagement Coordinator
Haley Cantarella
Community Engagement Coordinator
Michelle Reissig
Teaching Artist, Adaptive Dance for Down Syndrome & DanceAZ
From: Phoenix, Arizona
Michelle has experience dancing, choreographing, and working with students from a diverse range of ages and abilities. She has participated in Boston Ballet’s Adaptive Dance Teacher Training and will be working regularly with Miss Kay throughout the year. This is Michelle’s first year teaching in the Adaptive Dance Program.
Michelle Reissig
Teaching Artist, Adaptive Dance for Down Syndrome & DanceAZ
From: Phoenix, Arizona
Michelle has experience dancing, choreographing, and working with students from a diverse range of ages and abilities. She has participated in Boston Ballet’s Adaptive Dance Teacher Training and will be working regularly with Miss Kay throughout the year. This is Michelle’s first year teaching in the Adaptive Dance Program.
Michelle Reissig
Teaching Artist, Adaptive Dance for Down Syndrome & DanceAZ
From: Phoenix, Arizona
Michelle has experience dancing, choreographing, and working with students from a diverse range of ages and abilities. She has participated in Boston Ballet’s Adaptive Dance Teacher Training and will be working regularly with Miss Kay throughout the year. This is Michelle’s first year teaching in the Adaptive Dance Program.
Andrea Rosas
Community Engagement Assistant
Andrea Rosas
Community Engagement Assistant
Andrea Rosas
Community Engagement Assistant
Keri Sullivan
Teaching Artist, DanceAZ
Keri Sullivan
Teaching Artist, DanceAZ
Keri Sullivan
Teaching Artist, DanceAZ
The School of Ballet Arizona
María Simonetti
Rehearsal Director, School Director
From: Buenos Aires, Argentina
A native of Buenos Aires, Ms. Simonetti trained as a dancer at Teatro Colon and danced with La Joven Guardia of Ballet Nacional de Cuba before becoming assistant to Laura Alonso and Regisseur (stage director) for Cuballet. She was on the faculties of the Magda Aunon School of Ballet, Pittsburgh’s Point Park College, and the Baltimore School for the Arts before becoming ballet mistress for the esteemed Hubbard Street Dance Chicago in 1995. As assistant to choreographer Daniel Ezralow she helped create the multi-media production Mandala for a South American tour; Torino Notte di Stelle, an arts special for Italian national television (RAI Uno); choreography for Pope John Paul II’s celebration of International Youth Day; and Aeros, an innovative showcase for the Romanian National Gymnastics Team. On her own, Ms. Simonetti staged Lady Lost Found, for the Bratislava Dance Theatre in Slovakia, and the pas de six from Bournonville’s Napoli for the National Ballet of Greece. She became rehearsal director for Ballet Arizona in 1997 but continues her active career as a visiting artist. She returns to Hubbard Street Dance Chicago every summer as a guest teacher and was engaged in 2006 in a similar role by Montreal’s Les Grands Ballets Canadiens.
María Simonetti
Rehearsal Director, School Director
From: Buenos Aires, Argentina
A native of Buenos Aires, Ms. Simonetti trained as a dancer at Teatro Colon and danced with La Joven Guardia of Ballet Nacional de Cuba before becoming assistant to Laura Alonso and Regisseur (stage director) for Cuballet. She was on the faculties of the Magda Aunon School of Ballet, Pittsburgh’s Point Park College, and the Baltimore School for the Arts before becoming ballet mistress for the esteemed Hubbard Street Dance Chicago in 1995. As assistant to choreographer Daniel Ezralow she helped create the multi-media production Mandala for a South American tour; Torino Notte di Stelle, an arts special for Italian national television (RAI Uno); choreography for Pope John Paul II’s celebration of International Youth Day; and Aeros, an innovative showcase for the Romanian National Gymnastics Team. On her own, Ms. Simonetti staged Lady Lost Found, for the Bratislava Dance Theatre in Slovakia, and the pas de six from Bournonville’s Napoli for the National Ballet of Greece. She became rehearsal director for Ballet Arizona in 1997 but continues her active career as a visiting artist. She returns to Hubbard Street Dance Chicago every summer as a guest teacher and was engaged in 2006 in a similar role by Montreal’s Les Grands Ballets Canadiens.
María Simonetti
Rehearsal Director, School Director
From: Buenos Aires, Argentina
A native of Buenos Aires, Ms. Simonetti trained as a dancer at Teatro Colon and danced with La Joven Guardia of Ballet Nacional de Cuba before becoming assistant to Laura Alonso and Regisseur (stage director) for Cuballet. She was on the faculties of the Magda Aunon School of Ballet, Pittsburgh’s Point Park College, and the Baltimore School for the Arts before becoming ballet mistress for the esteemed Hubbard Street Dance Chicago in 1995. As assistant to choreographer Daniel Ezralow she helped create the multi-media production Mandala for a South American tour; Torino Notte di Stelle, an arts special for Italian national television (RAI Uno); choreography for Pope John Paul II’s celebration of International Youth Day; and Aeros, an innovative showcase for the Romanian National Gymnastics Team. On her own, Ms. Simonetti staged Lady Lost Found, for the Bratislava Dance Theatre in Slovakia, and the pas de six from Bournonville’s Napoli for the National Ballet of Greece. She became rehearsal director for Ballet Arizona in 1997 but continues her active career as a visiting artist. She returns to Hubbard Street Dance Chicago every summer as a guest teacher and was engaged in 2006 in a similar role by Montreal’s Les Grands Ballets Canadiens.
David Krensing
Ballet Master, Summer Intensive Coordinator
A Minnesota native and former Principal Dancer with Philadelphia Ballet, then known as Pennsylvania Ballet, David performed numerous leading classical, contemporary and modern dance roles by renowned choreographers, such as Alvin Ailey, Sir Fredrick Ashton, George Balanchine, John Butler, John Cranko, Agnes DeMille, William Forsythe, Jose Limon, Lar Lubovitch, Peter Martins, Jerome Robbins, Ben Stevenson, Paul Taylor, Twyla Tharp, Hans Van Manen. Additional performance credits include world premieres by Ib Andersen, Jorma Elo, Trey McIntyre, Kevin O’ Day, David Parsons, Antony Rizzi, Dwight Rhoden and Christopher Wheeldon.
He has toured the United States and Europe, with Pennsylvania Ballet and as an independent artist, and has been featured domestically and internationally in both company-produced and independent productions with artists from New York City Ballet, American Ballet Theatre, San Francisco Ballet, Frankfort Ballet, Paul Taylor Dance Company, Dance Theater of Harlem, Cedar Lake Contemporary Ballet, and Martha Graham Dance Company, among others. He has taught for professional dance companies, colleges and universities including The University of Arizona, The University of the Arts, Stephens College, The Washington Ballet, Ballet BC, BalletX, Ballet Idaho, and Trey McIntyre Projects.
Mr. Krensing holds a Bachelor of Fine Arts from Stephens College in Columbia, MO, and a Master of Fine Arts from The University of Arizona in Tucson, AZ. In addition to his Ballet Master duties, he is a faculty member at The School of Ballet Arizona.
David Krensing
Ballet Master, Summer Intensive Coordinator
A Minnesota native and former Principal Dancer with Philadelphia Ballet, then known as Pennsylvania Ballet, David performed numerous leading classical, contemporary and modern dance roles by renowned choreographers, such as Alvin Ailey, Sir Fredrick Ashton, George Balanchine, John Butler, John Cranko, Agnes DeMille, William Forsythe, Jose Limon, Lar Lubovitch, Peter Martins, Jerome Robbins, Ben Stevenson, Paul Taylor, Twyla Tharp, Hans Van Manen. Additional performance credits include world premieres by Ib Andersen, Jorma Elo, Trey McIntyre, Kevin O’ Day, David Parsons, Antony Rizzi, Dwight Rhoden and Christopher Wheeldon.
He has toured the United States and Europe, with Pennsylvania Ballet and as an independent artist, and has been featured domestically and internationally in both company-produced and independent productions with artists from New York City Ballet, American Ballet Theatre, San Francisco Ballet, Frankfort Ballet, Paul Taylor Dance Company, Dance Theater of Harlem, Cedar Lake Contemporary Ballet, and Martha Graham Dance Company, among others. He has taught for professional dance companies, colleges and universities including The University of Arizona, The University of the Arts, Stephens College, The Washington Ballet, Ballet BC, BalletX, Ballet Idaho, and Trey McIntyre Projects.
Mr. Krensing holds a Bachelor of Fine Arts from Stephens College in Columbia, MO, and a Master of Fine Arts from The University of Arizona in Tucson, AZ. In addition to his Ballet Master duties, he is a faculty member at The School of Ballet Arizona.
David Krensing
Ballet Master, Summer Intensive Coordinator
A Minnesota native and former Principal Dancer with Philadelphia Ballet, then known as Pennsylvania Ballet, David performed numerous leading classical, contemporary and modern dance roles by renowned choreographers, such as Alvin Ailey, Sir Fredrick Ashton, George Balanchine, John Butler, John Cranko, Agnes DeMille, William Forsythe, Jose Limon, Lar Lubovitch, Peter Martins, Jerome Robbins, Ben Stevenson, Paul Taylor, Twyla Tharp, Hans Van Manen. Additional performance credits include world premieres by Ib Andersen, Jorma Elo, Trey McIntyre, Kevin O’ Day, David Parsons, Antony Rizzi, Dwight Rhoden and Christopher Wheeldon.
He has toured the United States and Europe, with Pennsylvania Ballet and as an independent artist, and has been featured domestically and internationally in both company-produced and independent productions with artists from New York City Ballet, American Ballet Theatre, San Francisco Ballet, Frankfort Ballet, Paul Taylor Dance Company, Dance Theater of Harlem, Cedar Lake Contemporary Ballet, and Martha Graham Dance Company, among others. He has taught for professional dance companies, colleges and universities including The University of Arizona, The University of the Arts, Stephens College, The Washington Ballet, Ballet BC, BalletX, Ballet Idaho, and Trey McIntyre Projects.
Mr. Krensing holds a Bachelor of Fine Arts from Stephens College in Columbia, MO, and a Master of Fine Arts from The University of Arizona in Tucson, AZ. In addition to his Ballet Master duties, he is a faculty member at The School of Ballet Arizona.
Gillmer Duran
Upper Division Student Liaison
From: Barquisimeto, Venezuela
Originally from Barquisimeto, Venezuela, Gillmer Duran began dancing Venezuelan folk dances and continued his formal ballet training at age 21 at the Fundación Arte Nuevo. He danced professionally with Ballet Metropolitano, Ballet Nuevo Mundo, National Ballet of Caracas, Tulsa Ballet Theatre, and eight consecutive seasons with Eugene Ballet Company. He worked with choreographers such as Vicente Nebrada, Nicolo Fonte, Robert Battle, Mauricio Wainrott, Edwaard Liang, Jessica Lang and Toni Pimble, among others.
His versatility and intuition allowed him to perform a variety of classical, neoclassical and contemporary roles. In June of 2010, he began teaching ballet as a way to inspire the new generations of dancers and to share his passion for dance. In October of 2010, he was appointed as Alaska Dance Theatre’s Artistic Director and Resident Choreographer. In 2011, Duran received the Fermin Toro University Award for his career and continued to teach ballet in the east coast. He has taught master classes for several schools and has created choreography for Eugene Ballet, Alaska Dance Theatre, Ballet Des Moines, and Northwest Arkansas Ballet Theatre.
In July of 2023 he obtained his Bachelor in Fine Arts from Saint Mary’s College of California. He is currently a full-time faculty at the School of Ballet Arizona and this is his fifth-year teaching at the Arizona School for the Arts.
Gillmer Duran
Upper Division Student Liaison
From: Barquisimeto, Venezuela
Originally from Barquisimeto, Venezuela, Gillmer Duran began dancing Venezuelan folk dances and continued his formal ballet training at age 21 at the Fundación Arte Nuevo. He danced professionally with Ballet Metropolitano, Ballet Nuevo Mundo, National Ballet of Caracas, Tulsa Ballet Theatre, and eight consecutive seasons with Eugene Ballet Company. He worked with choreographers such as Vicente Nebrada, Nicolo Fonte, Robert Battle, Mauricio Wainrott, Edwaard Liang, Jessica Lang and Toni Pimble, among others.
His versatility and intuition allowed him to perform a variety of classical, neoclassical and contemporary roles. In June of 2010, he began teaching ballet as a way to inspire the new generations of dancers and to share his passion for dance. In October of 2010, he was appointed as Alaska Dance Theatre’s Artistic Director and Resident Choreographer. In 2011, Duran received the Fermin Toro University Award for his career and continued to teach ballet in the east coast. He has taught master classes for several schools and has created choreography for Eugene Ballet, Alaska Dance Theatre, Ballet Des Moines, and Northwest Arkansas Ballet Theatre.
In July of 2023 he obtained his Bachelor in Fine Arts from Saint Mary’s College of California. He is currently a full-time faculty at the School of Ballet Arizona and this is his fifth-year teaching at the Arizona School for the Arts.
Gillmer Duran
Upper Division Student Liaison
From: Barquisimeto, Venezuela
Originally from Barquisimeto, Venezuela, Gillmer Duran began dancing Venezuelan folk dances and continued his formal ballet training at age 21 at the Fundación Arte Nuevo. He danced professionally with Ballet Metropolitano, Ballet Nuevo Mundo, National Ballet of Caracas, Tulsa Ballet Theatre, and eight consecutive seasons with Eugene Ballet Company. He worked with choreographers such as Vicente Nebrada, Nicolo Fonte, Robert Battle, Mauricio Wainrott, Edwaard Liang, Jessica Lang and Toni Pimble, among others.
His versatility and intuition allowed him to perform a variety of classical, neoclassical and contemporary roles. In June of 2010, he began teaching ballet as a way to inspire the new generations of dancers and to share his passion for dance. In October of 2010, he was appointed as Alaska Dance Theatre’s Artistic Director and Resident Choreographer. In 2011, Duran received the Fermin Toro University Award for his career and continued to teach ballet in the east coast. He has taught master classes for several schools and has created choreography for Eugene Ballet, Alaska Dance Theatre, Ballet Des Moines, and Northwest Arkansas Ballet Theatre.
In July of 2023 he obtained his Bachelor in Fine Arts from Saint Mary’s College of California. He is currently a full-time faculty at the School of Ballet Arizona and this is his fifth-year teaching at the Arizona School for the Arts.
Gia Firicano
Arizona School for the Arts Program Manager
Ms. Firicano received her formal ballet training at the Boston School of Ballet under a full scholarship. She began her professional career in 1984 with the Tennessee Festival Ballet, under the directorship of Anne-Marie Holmes. She went on to become a principal dancer with The Berkshire Ballet, the Southwest Ballet, and Ballet Arizona. Her repertoire includes the leading roles of Giselle, Juliet, Cinderella, Swanhilda, and the Sugarplum Fairy. In addition, her repertoire includes a wide range of contemporary and Balanchine pieces.
Gia retired in 2003 after 13 years of performing with Ballet Arizona. She has been an instructor with Phoenix Dance Academy and The Plumb Performing Arts Academy. In 2004, she joined the Arts faculty at Arizona School for the Arts. In the summer of 2010, she attended and achieved certification for levels primary through level three in American Ballet Theatre’s Teacher Training Intensive.
She is currently in her fifteenth year as the Program Manager of the Ballet Program at Arizona School for the Arts. This is Ms. Firicanos’s eighteenth year teaching at The School of Ballet Arizona.
Gia Firicano
Arizona School for the Arts Program Manager
Ms. Firicano received her formal ballet training at the Boston School of Ballet under a full scholarship. She began her professional career in 1984 with the Tennessee Festival Ballet, under the directorship of Anne-Marie Holmes. She went on to become a principal dancer with The Berkshire Ballet, the Southwest Ballet, and Ballet Arizona. Her repertoire includes the leading roles of Giselle, Juliet, Cinderella, Swanhilda, and the Sugarplum Fairy. In addition, her repertoire includes a wide range of contemporary and Balanchine pieces.
Gia retired in 2003 after 13 years of performing with Ballet Arizona. She has been an instructor with Phoenix Dance Academy and The Plumb Performing Arts Academy. In 2004, she joined the Arts faculty at Arizona School for the Arts. In the summer of 2010, she attended and achieved certification for levels primary through level three in American Ballet Theatre’s Teacher Training Intensive.
She is currently in her fifteenth year as the Program Manager of the Ballet Program at Arizona School for the Arts. This is Ms. Firicanos’s eighteenth year teaching at The School of Ballet Arizona.
Gia Firicano
Arizona School for the Arts Program Manager
Ms. Firicano received her formal ballet training at the Boston School of Ballet under a full scholarship. She began her professional career in 1984 with the Tennessee Festival Ballet, under the directorship of Anne-Marie Holmes. She went on to become a principal dancer with The Berkshire Ballet, the Southwest Ballet, and Ballet Arizona. Her repertoire includes the leading roles of Giselle, Juliet, Cinderella, Swanhilda, and the Sugarplum Fairy. In addition, her repertoire includes a wide range of contemporary and Balanchine pieces.
Gia retired in 2003 after 13 years of performing with Ballet Arizona. She has been an instructor with Phoenix Dance Academy and The Plumb Performing Arts Academy. In 2004, she joined the Arts faculty at Arizona School for the Arts. In the summer of 2010, she attended and achieved certification for levels primary through level three in American Ballet Theatre’s Teacher Training Intensive.
She is currently in her fifteenth year as the Program Manager of the Ballet Program at Arizona School for the Arts. This is Ms. Firicanos’s eighteenth year teaching at The School of Ballet Arizona.
Alecia Good-Boresow
Upper Division Coordinator and Studio Company Manager
Alecia Good-Boresow is the Upper Division Coordinator and Studio Company Manager of The School of Ballet Arizona. Alecia began her ballet training at Central Pennsylvania Youth Ballet (CPYB) at the age of five under the direction of Marcia Dale Weary. From there, she went on to study at the School of American Ballet, the Joffrey Ballet and the Pennsylvania Ballet.
Good-Boresow danced professionally with the Kansas City Ballet under the directorship of renowned ballet dancer, teacher and choreographer Todd Bolender from 1983-1996. While with the company, she danced in many principal roles, including “Sugar Plum Fairy,” “Dew Drop” and “Mirlitons” in The Nutcracker, “Aurora” and “Bluebird” in George Balanchine’s Aurora’s Wedding, “Sanguinic” in Balanchine’s The Four Temperaments and “Swanilda” in Coppelia. In addition, Good-Boresow also danced principal roles in Balanchine’s Concerto Barocco, Apollo, Allegro Brilliante, The Firebird, Raymonda Variations, and Western Symphony.
From 1985 until 1996, Good-Boresow also served as a rehearsal assistant for the Kansas City Ballet. After retiring from the professional stage, she founded and directed the Kansas City Youth Ballet (KCYB), formerly known as the MidWest Youth Ballet in 1997. She held that post for more than 10 years. During that time, Good-Boresow took the KCYB to perform in the Young Tanzsommer Festival in Austria and Germany in 2005 and 2008.
As an educator, Good-Boresow has taught ballet for over 35 years, eleven of those years as a full-time faculty member at CPYB. In 2014, Good-Boresow was appointed to the School Principal of CPYB. Prior to her faculty position at CPYB, Good-Boresow was on faculty at the Kansas City Ballet School and Miller Marley School of Dance in Overland Park, Kansas. She has been a guest teacher at Ballet Arizona, Central Indiana Dance Ensemble, Shari Shell-True Dance Academy in Lincoln, Nebraska, Greater York Dance in York, Pennsylvania and Dance St. Louis Summer Intensive. Most recently, Good-Boresow was on the faculty of the 2019 Mid-States Regional Dance Festival in Indianapolis. Alecia joined The School of Ballet Arizona as the Upper Division Coordinator and Studio Company Manager in 2022.
Alecia Good-Boresow
Upper Division Coordinator and Studio Company Manager
Alecia Good-Boresow is the Upper Division Coordinator and Studio Company Manager of The School of Ballet Arizona. Alecia began her ballet training at Central Pennsylvania Youth Ballet (CPYB) at the age of five under the direction of Marcia Dale Weary. From there, she went on to study at the School of American Ballet, the Joffrey Ballet and the Pennsylvania Ballet.
Good-Boresow danced professionally with the Kansas City Ballet under the directorship of renowned ballet dancer, teacher and choreographer Todd Bolender from 1983-1996. While with the company, she danced in many principal roles, including “Sugar Plum Fairy,” “Dew Drop” and “Mirlitons” in The Nutcracker, “Aurora” and “Bluebird” in George Balanchine’s Aurora’s Wedding, “Sanguinic” in Balanchine’s The Four Temperaments and “Swanilda” in Coppelia. In addition, Good-Boresow also danced principal roles in Balanchine’s Concerto Barocco, Apollo, Allegro Brilliante, The Firebird, Raymonda Variations, and Western Symphony.
From 1985 until 1996, Good-Boresow also served as a rehearsal assistant for the Kansas City Ballet. After retiring from the professional stage, she founded and directed the Kansas City Youth Ballet (KCYB), formerly known as the MidWest Youth Ballet in 1997. She held that post for more than 10 years. During that time, Good-Boresow took the KCYB to perform in the Young Tanzsommer Festival in Austria and Germany in 2005 and 2008.
As an educator, Good-Boresow has taught ballet for over 35 years, eleven of those years as a full-time faculty member at CPYB. In 2014, Good-Boresow was appointed to the School Principal of CPYB. Prior to her faculty position at CPYB, Good-Boresow was on faculty at the Kansas City Ballet School and Miller Marley School of Dance in Overland Park, Kansas. She has been a guest teacher at Ballet Arizona, Central Indiana Dance Ensemble, Shari Shell-True Dance Academy in Lincoln, Nebraska, Greater York Dance in York, Pennsylvania and Dance St. Louis Summer Intensive. Most recently, Good-Boresow was on the faculty of the 2019 Mid-States Regional Dance Festival in Indianapolis. Alecia joined The School of Ballet Arizona as the Upper Division Coordinator and Studio Company Manager in 2022.
Alecia Good-Boresow
Upper Division Coordinator and Studio Company Manager
Alecia Good-Boresow is the Upper Division Coordinator and Studio Company Manager of The School of Ballet Arizona. Alecia began her ballet training at Central Pennsylvania Youth Ballet (CPYB) at the age of five under the direction of Marcia Dale Weary. From there, she went on to study at the School of American Ballet, the Joffrey Ballet and the Pennsylvania Ballet.
Good-Boresow danced professionally with the Kansas City Ballet under the directorship of renowned ballet dancer, teacher and choreographer Todd Bolender from 1983-1996. While with the company, she danced in many principal roles, including “Sugar Plum Fairy,” “Dew Drop” and “Mirlitons” in The Nutcracker, “Aurora” and “Bluebird” in George Balanchine’s Aurora’s Wedding, “Sanguinic” in Balanchine’s The Four Temperaments and “Swanilda” in Coppelia. In addition, Good-Boresow also danced principal roles in Balanchine’s Concerto Barocco, Apollo, Allegro Brilliante, The Firebird, Raymonda Variations, and Western Symphony.
From 1985 until 1996, Good-Boresow also served as a rehearsal assistant for the Kansas City Ballet. After retiring from the professional stage, she founded and directed the Kansas City Youth Ballet (KCYB), formerly known as the MidWest Youth Ballet in 1997. She held that post for more than 10 years. During that time, Good-Boresow took the KCYB to perform in the Young Tanzsommer Festival in Austria and Germany in 2005 and 2008.
As an educator, Good-Boresow has taught ballet for over 35 years, eleven of those years as a full-time faculty member at CPYB. In 2014, Good-Boresow was appointed to the School Principal of CPYB. Prior to her faculty position at CPYB, Good-Boresow was on faculty at the Kansas City Ballet School and Miller Marley School of Dance in Overland Park, Kansas. She has been a guest teacher at Ballet Arizona, Central Indiana Dance Ensemble, Shari Shell-True Dance Academy in Lincoln, Nebraska, Greater York Dance in York, Pennsylvania and Dance St. Louis Summer Intensive. Most recently, Good-Boresow was on the faculty of the 2019 Mid-States Regional Dance Festival in Indianapolis. Alecia joined The School of Ballet Arizona as the Upper Division Coordinator and Studio Company Manager in 2022.
Tyler Hooten
School Administrator
Tyler Hooten
School Administrator
Tyler Hooten
School Administrator
Tzu-Chia Huang
School Photographer
Tzu-Chia Huang is the Resident Photographer for The School of Ballet Arizona. She joined Ballet Arizona as a dancer in 2004 and performed many lead roles throughout her 11-year career. After Tzu-Chia’s retirement in 2015, she took an interest in photography. Tzu-Chia’s interest soon became a passion that would keep her connected to her lifelong love of ballet and she decided to pursue Dance Photography as a career. The School of Ballet Arizona has used Tzu-Chia Huang as their Resident Photographer since her retirement and Tzu-Chia also photographs other ballet companies, including Southwest Ballet Theater’s recent production of, “The Sleeping Beauty.”
Tzu-Chia Huang
School Photographer
Tzu-Chia Huang is the Resident Photographer for The School of Ballet Arizona. She joined Ballet Arizona as a dancer in 2004 and performed many lead roles throughout her 11-year career. After Tzu-Chia’s retirement in 2015, she took an interest in photography. Tzu-Chia’s interest soon became a passion that would keep her connected to her lifelong love of ballet and she decided to pursue Dance Photography as a career. The School of Ballet Arizona has used Tzu-Chia Huang as their Resident Photographer since her retirement and Tzu-Chia also photographs other ballet companies, including Southwest Ballet Theater’s recent production of, “The Sleeping Beauty.”
Tzu-Chia Huang
School Photographer
Tzu-Chia Huang is the Resident Photographer for The School of Ballet Arizona. She joined Ballet Arizona as a dancer in 2004 and performed many lead roles throughout her 11-year career. After Tzu-Chia’s retirement in 2015, she took an interest in photography. Tzu-Chia’s interest soon became a passion that would keep her connected to her lifelong love of ballet and she decided to pursue Dance Photography as a career. The School of Ballet Arizona has used Tzu-Chia Huang as their Resident Photographer since her retirement and Tzu-Chia also photographs other ballet companies, including Southwest Ballet Theater’s recent production of, “The Sleeping Beauty.”
Mishelle Mackle
Mishelle Mackle
Jasmine Nunn
School Manager
Jasmine Nunn is the School Manager of The School of Ballet Arizona and oversees the administrative management of School programs relating to staff, teachers, parents, and students.
She previously danced at The School of Ballet Arizona during her last three years of high school and graduated from the Arizona School for the Arts. She went on to study dance at Arizona State University’s School of Film, Dance and Theatre. After graduating from ASU in 2013, Jasmine studied, performed, and choreographed post-modern contemporary dance and worked with [nueBOX], then joined the School in 2018.
Jasmine Nunn
School Manager
Jasmine Nunn is the School Manager of The School of Ballet Arizona and oversees the administrative management of School programs relating to staff, teachers, parents, and students.
She previously danced at The School of Ballet Arizona during her last three years of high school and graduated from the Arizona School for the Arts. She went on to study dance at Arizona State University’s School of Film, Dance and Theatre. After graduating from ASU in 2013, Jasmine studied, performed, and choreographed post-modern contemporary dance and worked with [nueBOX], then joined the School in 2018.
Jasmine Nunn
School Manager
Jasmine Nunn is the School Manager of The School of Ballet Arizona and oversees the administrative management of School programs relating to staff, teachers, parents, and students.
She previously danced at The School of Ballet Arizona during her last three years of high school and graduated from the Arizona School for the Arts. She went on to study dance at Arizona State University’s School of Film, Dance and Theatre. After graduating from ASU in 2013, Jasmine studied, performed, and choreographed post-modern contemporary dance and worked with [nueBOX], then joined the School in 2018.
Fabiana Poulis
Children’s and Lower Division Coordinator
From: Phoenix, Arizona
Born in Paraguay and raised in Argentina, Fabiana Fadlala-Poulis has been teaching ballet for over 20 years. She received her training at Estudio Coreografico Bonnin, the Teatro Colon and received her Masters in Ballet Pedagogy from the School of the National Ballet of Cuba. She studied under Olga Ferri, Miguel Bonnin, Ileana Balmori and Raul Candal. Fabiana danced professionally with the Teatro Municipal de Asuncion, Teatro General San Martin, Ballet Arlington and Ballet Concerto. Fabiana has taught at the Margo Dean School of Ballet in the Dallas/Fort Worth area and Ballet Conservatory in Lewisville, TX where she also served as the assistant director of Lake Cities Ballet Theatre II. Her choreography for YAGP, “It’s a Good Day”, placed 2nd in the regionals and performed in the finals in New York. She also served as the Outreach Coordinator for the Desert Youth Ballet Foundation, taught for the Arizona School of Classical Ballet, Tempe Dance Academy, The Louisville Ballet and served as the ballet mistress for the Louisville Ballet Youth Ensemble, Sacred Heart School for the Arts in Louisville, KY and Wynn Twins School of Dance in Kansas City, MO. She has been a sought-after guest teacher throughout the United States and South America.
Fabiana Poulis
Children’s and Lower Division Coordinator
From: Phoenix, Arizona
Born in Paraguay and raised in Argentina, Fabiana Fadlala-Poulis has been teaching ballet for over 20 years. She received her training at Estudio Coreografico Bonnin, the Teatro Colon and received her Masters in Ballet Pedagogy from the School of the National Ballet of Cuba. She studied under Olga Ferri, Miguel Bonnin, Ileana Balmori and Raul Candal. Fabiana danced professionally with the Teatro Municipal de Asuncion, Teatro General San Martin, Ballet Arlington and Ballet Concerto. Fabiana has taught at the Margo Dean School of Ballet in the Dallas/Fort Worth area and Ballet Conservatory in Lewisville, TX where she also served as the assistant director of Lake Cities Ballet Theatre II. Her choreography for YAGP, “It’s a Good Day”, placed 2nd in the regionals and performed in the finals in New York. She also served as the Outreach Coordinator for the Desert Youth Ballet Foundation, taught for the Arizona School of Classical Ballet, Tempe Dance Academy, The Louisville Ballet and served as the ballet mistress for the Louisville Ballet Youth Ensemble, Sacred Heart School for the Arts in Louisville, KY and Wynn Twins School of Dance in Kansas City, MO. She has been a sought-after guest teacher throughout the United States and South America.
Fabiana Poulis
Children’s and Lower Division Coordinator
From: Phoenix, Arizona
Born in Paraguay and raised in Argentina, Fabiana Fadlala-Poulis has been teaching ballet for over 20 years. She received her training at Estudio Coreografico Bonnin, the Teatro Colon and received her Masters in Ballet Pedagogy from the School of the National Ballet of Cuba. She studied under Olga Ferri, Miguel Bonnin, Ileana Balmori and Raul Candal. Fabiana danced professionally with the Teatro Municipal de Asuncion, Teatro General San Martin, Ballet Arlington and Ballet Concerto. Fabiana has taught at the Margo Dean School of Ballet in the Dallas/Fort Worth area and Ballet Conservatory in Lewisville, TX where she also served as the assistant director of Lake Cities Ballet Theatre II. Her choreography for YAGP, “It’s a Good Day”, placed 2nd in the regionals and performed in the finals in New York. She also served as the Outreach Coordinator for the Desert Youth Ballet Foundation, taught for the Arizona School of Classical Ballet, Tempe Dance Academy, The Louisville Ballet and served as the ballet mistress for the Louisville Ballet Youth Ensemble, Sacred Heart School for the Arts in Louisville, KY and Wynn Twins School of Dance in Kansas City, MO. She has been a sought-after guest teacher throughout the United States and South America.
Full list of Faculty, visit here.
Accompanists
- Cory Burris
- Larisa Denman
- Amanda Hidalgo
- Robert Kaplan
- Klara Kukumi
- Jisun Myung
- Larry Phibbs
- Natasha Schwimmer
- Terry Seretis
- Bill Swayze
