Ballet Arizona’s
Artistic Staff
Artistic 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.
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.
Artistic Staff
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
Artistic Director Emeritus
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.”
