Are you excited about the spring recital at the DECC?
Do you know where to drop off your children, or what time their rehearsal is?
Download our spring 2017 newsletter to receive everything you need to know about the recital, May 12th.
REHEARSAL ORDER FOR SUNDAY, APRIL 30
Sunday April 30 Warm-up for all dancers 11:30-12:30 Depot studio I – Erin
Ballet IV-Year 1 (dismiss at 12:10): 12:15-12:30 – Nancy
Ballet IV-Year 2 (dismiss at 12:25): 12:30-12:45 – Nancy
Ballet VI/VII-Friends: 12:45-1:00 – Suzie
Ballet V-Year 2: 1:00-1:15 – Erin
Athletic Dance: 1:15-1:30 – Nik
Ballet V-Year 1: 1:30-1:45 – Erin
Lec/Dem: 1:45-2:00 – Erin
Special Technique: 2:00-2:20 – Linda
Stage free from 2:20-3:00. Performance starts at 3:00
PERFORMANCE ORDER FOR SUNDAY, APRIL 30
Lecture Demonstration-Ballet V-Year 1
Ballet IV-Year 1
Ballet IV-Year 2
Ballet V-Year 1
Ballet V-Year 2
Coppélia Friends Excerpt VI/VII
Creative Movement: Children 3–5 years old are introduced to dance through basic locomotor movements and encouraged through props and a wide variety of music.
Pre-Ballet I & II: Children 6–7 years of age learn basic ballet concepts and develop self-confidence.
(Light pink cap-sleeve leotard)
Ballet I: Students 8+ years of age and 1st or 2nd year of ballet. (Light blue cap-sleeve leotard)
Ballet II/III: Students 9-10+ years of age and 2nd and 3rd year of ballet. (Lavender or Royal blue cap-sleeve leotard)
Ballet IV, Yr. 1: (Audition required) (Burgundy cap-sleeve leotard) Ballet IV, Yr. I students are strongly advised to take summer technique and pre-pointe classes to strengthen feet and ankles.
Pre-Pointe, Intro to Variations for Ballet IV, Yr 1: (Audition required) Students must strengthen their feet to prepare for going on pointe and to prepare for learning solos from classical ballets.
Students will obtain pointe shoes during June for use in July Pre-Pointe classes after completing Pre-Pointe classes in June. Tap, Character, Jazz Styles and Musical Theater Dance are also open to Ballet IV, Year 1.
Ballet IV, Yr 2 – Ballet VII: (Audition required) (IV, Yr. 2: Garnet cap-sleeve leotard; V: Navy camisole leotard; VI/VII: Black camisole leotard) For well-rounded dance training, Ballet IV, Yr. 2 – Ballet VII students are strongly recommended to study a variety of dance styles, including Jazz, Character, Tap, and Musical Theater Dance, and to take, at a reduced rate, the full Summer Session with Intensive classes.
Pointe for Ballet IV, Yr. 2 – Ballet VII: (Audition required)
Pointe Variations for Ballet IV, Yr. 2 – Ballet VII: Audition required. Students learn to apply their pointe work to classical ballet choreography. Variations/Corps de Ballet for Ballet VII’s include company repertoire that they may be eligible for next season.
Pilates Mat Exercises: These exercises will improve strength, flexibility, balance, coordination, and posture.
Tap 1 & 2: Students learn the fundamentals of this percussion dance form with its focus on rhythm and music. Instructor will inform students about shoes.
Character: Students in Ballet IV+ learn authentic European folk dance, important because it is included in many classical ballets such as Swan Lake.
Composition/Choreography: Students in Ballet IV, Yr. 2 + have the opportunity to learn about the art of creating dances and explore their creative abilities in dance. Limited enrolment to this 6-week class. May be taken only in conjunction with at least one other dance class.
Jazz: Students ages 12–adult learn popular dance forms which incorporate everything from Contemporary Jazz to Disco.
Musical Theatre Dance: Students 12–adult learn choreography used in popular musicals which help broaden their range as performers.
Modern: Students 12+ will develop full-body strength and mobility while learning a broad-ranging expressive outlet.
Corps de Ballet Ballet V, Year 2, Ballet VI & Ballet VII only. Teaches students the art of working in groups, in unison, and in canon.
Local Ballet IV, Yr. 2 – Ballet VII students are strongly recommended to take, at a reduced rate, the full Summer Session with Intensive classes. The Intensive allows students to enhance their training, experience the physically-challenging pace professional dancers must meet daily, plus learn other dance styles:
Pas de Deux/Contemporary Repertoire (in Level 2) prepares dancers for their roles in partnering and teaches contemporary dance styles.
Corps de Ballet (Level 1) teaches students the art of working in groups, in unison, and in canon.
Athletic Dance for Young Men builds strength, flexibility, and coordination. Athletics are stressed through dance-based exercises.
Tap helps students develop a sense of rhythm and musicality. The Intensive also offers specialty classes.
Modern introduces students to Martha Graham, Merce Cunningham, and other contemporary techniques.
Jazz teaches students ages 12–adult popular dance forms which incorporate everything from Contemporary Jazz to Disco.
Musical Theater Dance teaches students 12–adult choreography used in popular musicals which help broaden their range as performers.
Character introduces students to the European folk dance in many classical ballets.
Pilates Mat Exercises helps develop core strength and flexibility to enhance technique.
Contemporary Ballet combines both classical and modern techniques, working both en pointe and off, in a style that is reflected in many choreographers’ works today.
Guest Faculty for Summer 2017
Karl von Rabenau
Raised in Duluth, Minnesota, Karl von Rabenau received his early dance training at the Duluth Ballet, now Minnesota Ballet. He continued his training at Minnesota Dance Theatre, the Boston Ballet School, and the San Francisco Ballet School. Mr. von Rabenau danced for ten seasons as a soloist for the Milwaukee Ballet. During his tenure with MBC he danced such roles as Iago in Jose Limon’s The Moor’s Pavane, and The Blue Bird Pas de Deux from Sleeping Beauty. Mr. von Rabenau has also performed the lead roles in Choo San Goh’s In The Glow of the Night and Unknown Territory as well as George Balanchine’s Rubies, The Four Temperaments, Tchaikovsky Pas Deux, Serenade, and Allegro Brilliante. While with Milwaukee Ballet, Mr. von Rabenau also had the opportunity to dance in works by Petipa, Eugene Loring, David Parsons, Jean–Paul Comelin, and Lisa de Ribere.
Prior to dancing with MBC, Mr. von Rabenau danced for five seasons with the Pittsburgh Ballet Theatre. While dancing with PBT, he toured to Taipei, Taiwan, and fulfilled the dream to dance Balanchine’s Tarantella Pas De Deux. He also performed the role of Lucentio in John Cranko’s The Taming of the Shrew. Other highlights of his time spent with PBT include dancing many works by George Balanchine including the 3rd Movement from Western Symphony, Benvolio in Bruce Wells’ Romeo and Juliet, as well as Agnes De Milles, Fall River Legend, and Falls in Alvin Ailey’s The River.
Mr. von Rabenau began his career as a member of Boston Ballet II and apprentice to Boston Ballet. He has also performed with the Omaha Ballet and Central Pennsylvania Youth Ballet where he had the privilege to dance such roles as Harlequin pas de deux, Tarantella pas de deux and the lead in Divertomento No.13.
Mr. von Rabenau’s second passion in life is teaching ballet. He has had the true pleasure to do this for the past 23 years throughout the Midwest and Eastern United States. He is currently on staff at the Milwaukee Ballet School & Academy. Mr. von Rabenau has also works with the Milwaukee Ballet II as one of the principal faculty for the last 6 years. It has been a privilege to teach class and set choreography on the talented dancers that have passed through this program. During the summer months Mr. von Rabenau returns to Pennsylvania where he has been invited to teach at Point Park University for the past 17 years and Central Pennsylvania Youth Ballet in Carlisle, PA for the past 23 years.
As a choreographer, Mr. von Rabenau has created numerous works for Point Park University’s International Summer Dance Program. He has had works performed in the Regional Dance of America Festivals in both the Northeast Region by CPYB and Lake Erie Ballet School, and Southeast Region by Classical Ballet of Memphis. In 2002, Mr. von Rabenau was invited to choreograph a pas de deux, Speranza for a Milwaukee Ballet presentation at the Milwaukee Art Museum.
Three years ago Mr. von Rabenau in partnership with his wife, Jennifer Miller, created Lake Arts Project, which is a collaborative non-profit organization that finds new and innovative ways to further enhance arts education in high schools. Each year Lake Arts Project has collaborated with local high schools in the Milwaukee area to create one of a kind performances. Each year visual art and written word provided by the local high school students are transformed by professional choreographers into world premier ballets and dances that are performed by professional and high school dancers.
Igor Burlak studied at The School of American Ballet with Olga Kostritzky, Peter Boal, and Jock Soto. As a student of The School of American Ballet, he appeared with New York City Ballet. After completing his studies, Burlak performed with Miami City Ballet, Kansas City Ballet, and was a soloist with Atlantic Southeast Ballet before becoming a principal with Minnesota Ballet, where he danced for six seasons. He has appeared in the ȷlms Center Stage, George Balanchine’s The Nutcracker, and a documentary by Tomasol Digital called The Waiting. From 2003-2011, Burlak served as the program coordinator and faculty member at the New York State Summer School of the Arts. During the 2010-2011 season, he was the company manager, ballet master, and director’s assistant to Igor Zelensky for the Novosibirsk Ballet in Novosibirsk, Russia. In 2008 and 2009, Burlak received the Fellowship Initiative Grant from the New York Choreographic Institute, an aȵliate of the New York City Ballet, to support his work as a choreographer. Burlak has choreographed pieces for Minnesota Ballet’s Celebrity Dance Challenge, The School of Minnesota Ballet’s Student Performance, The School of American Ballet’s Choreography Workshop, Miami City Ballet’s Our Show, and Concerto de Arangus for Kansas City Ballet. Since joining Boston Ballet School in 2011, Burlak has developed the curriculum for male students from the Elementary 1 to Trainee levels. For Boston Ballet’s Next Generation, he presented several Pre-Professional Program levels and assisted Margaret Tracey with the staging of Raymonda Variations in 2012.
Marco Carreon received his AA for Visual & Performing Arts from San Diego City College, his BA in Theater Arts: Dance Option and MA in Special Education from California State University Dominguez Hills. Marco has danced with such companies as the José Costas Dance Company, Louise Reichlin and Dancers, as well as performed in various musicals, such as Man of La Mancha, Westside Story, and Tommy. In 2013 he was assistant choreographer for the CSUDH production of Cabaret. He directed and produced a site-specific dance concert, Campus Dances, utilizing outdoor areas on the University Campus. Marco has also choreographed for several faculty/guest artists dance concerts at CSUDH and has directed student dance concerts for the dance program. Marco choreographed for the adjudication dance concert at the 2015 American College Dance Association Conference at CSU Long Beach. At CSUDH he teaches Dance for Children, Dance Perceptions, Speech, Choreography, and Dance Production for the Department of Theatre and Dance and Social Folk Dance for the Department of Kinesiology. Marco is also the Artistic Director of the CSUDH resident dance company MOSAIC. In Minnesota he has choreographed and performed for Dances on the Lakewalk and Dances at the Lake, presented by Ressl Dance!. This March he taught in the North-Central Region American Dance Association Conference, held at the University of Minnesota Duluth.
The Minnesota Ballet makes its home in downtown Duluth, the air-conditioned city nestled along the shore of Lake Superior, home to many attractions, beaches, and quaint shopping districts.
Ballet Studio I & II
St. Louis County Heritage & Arts Center
506 W. Michigan Street, Duluth
The School’s Studios I and II are located in the performing arts wing of the St. Louis County Heritage & Arts Center, known as “The Depot.” This historic building also houses a nationally known train museum and two other museums and stands just across the street from the public library and a stone’s throw from Bayfront Park and the Great Lakes Aquarium.
Ballet Studio III
Grain Exchange Adams Studio
8th floor, Board of Trade Building
301 W. First Street, Duluth
The Ballet’s headquarters and principal studio are in the Board of Trade Building, the top two floors that once housed the thriving Grain Exchange. The Ballet remodeled the historic site in 1999, retaining its elegant architecture reminiscent of the ballet salons of Europe.
Both quarters are within very easy walking distance of each other in the heart of Duluth’s downtown with its attractive shops, art studios, restaurants, the Lakewalk and other waterfront attractions.
Student Summer Showcase
Noon, Friday, July 29
Duluth Public Library Plaza (across from the Depot)
The Student Summer Presentation will feature demonstrations and works in progress.
Video Audition Requirements
Barre – Abbreviated
Center – Tendu, Adagio, Pirouettes, Petit Allegro,
Grand Allegro Pointe for women; Tour en l’Air for men
Students will be assigned to the appropriate level.
Open to ages 12 and up.
Deadline for audition is May 2, 2016. Live audition is encouraged when feasible. If you are unable to audition in person, a video, training experience and references will be accepted.
Housing, including meals, may be arranged with host families. Transportation to and from studio will be by host families or public bus. Housing may also be arranged at either of these local college campuses. Call for rates; no Ballet chaperones provided.
University of MN Duluth, 218-726-7381
College of St. Scholastica, 218-723-6391
Classes only: $835
Housing/Meals with host family: $200/week
Dancewear for Summer Intensive
at least one black camisole or black thin-strap tank leotard, with a simple back
technique & pointe shoes
black character shoes, with heels or flat (do not use tap shoes for character shoes)
skirt for character, just above knee (if you own one)
tap shoes (if you do not have tap shoes, you may use character shoes for tap)
jazz shoes, tie or slip-on
black jazz pants
mat or beach towel for Pilates
tees for Jazz, Modern, and Pilates are acceptable with either jazz pants or neat, form-fitting sweats for Pilates or Modern
For Summer Showcase
assortment of your dancewear