Courtesy of St. Louis Ballet
Walk into the brightly-lit school of St. Louis Ballet, and you will be greeted with a warm welcome, smiling faces, and Cesar, the studio's own dancer-loving dog. But it’s more than a school and professional company; it’s a close-knit family united by a love and dedication to the art of dance.
At the helm of this ship is former New York City Ballet principal dancer and Artistic Director, Gen Horiuchi, who brings a wealth of knowledge to the company of 24 classically trained dancers from around the world. The company's diverse repertoire is a combination of renowned classics and cutting-edge contemporary works. The company brings full-length ballets to the Touhill stage every year with well-known favorites including Romeo and Juliet, Don Quixote, and Swan Lake as well as incorporating edgier pieces from choreographers like Emery LeCrone, Tom Gold, Nilas Martins, Francis Patrelle, Amy Seiwert, and George Balanchine.
Last month, St. Louis Ballet showcased the beloved classic, Sleeping Beauty, featuring three nights of music by Tchaikovsky, decadent costumes and sets, and hours of fabulous dancing with three separate portrayals of Aurora by principal dancers Lori Wilson, Kate Rouzer, and Tiffany Mori. The dancing itself was impeccable with impressive extensions, creamy pirouettes and fouettes, and an acute display of musicality from both the corps and solo artists. A true feast for the eyes, Sleeping Beauty is a ballet that tests the technique of talented dancers with complicated combinations and fast-paced sequences. The Rose Adagio, a notoriously difficult scene, was executed with grace and control from dancers, Wilson, Rouzer, and Mori.
Part of what makes the dancing so incredibly top-notch at St. Louis Ballet is the technique instilled by Horiuchi. At New York City Ballet, Horiuchi was trained under the direction of George Balanchine. He takes this training and implements its teachings into his instruction at St. Louis Ballet. The result is utter perfection.
"The Balanchine technique is all about musicality and speed of the executions of the steps," he says. "We must count the music, not hear the melody. I emphasis this point over and over to my dancers in class as well as in rehearsals.”
With the close of the 2016-17 season, the school’s attention shifts to its other mission: training dancers. Its Young Dancer Camps begin in June, with offerings for kids as young as 3 up to age 21. And it’s not just exclusively ballet: students can study other forms like jazz and modern.
Then, come fall, the company will be back on the stage. The company is looking forward to opening this upcoming season with Giselle, last performed in 2006, along with new contemporary works by various guest choreographers this winter. In April of next year, St. Louis Ballet will be back at the Touhill Performing Arts Center to perform yet another full-length classic, Cinderella.
You can view a detailed schedule of performances, along with more information about the company, the school, and Horiuchi, at stlouisballet.org.
