When the curtain closes, dancers are no longer recognized by the character they play but by the kind of person they are off stage. In the rehearsal rooms they are leaders who strive to uplift and support their fellow dancers. Outside the studio, they are individuals who want to make the world a better place by being role models for future dancers.  

Every year, American Ballet Theatre recognizes a senior female corps de ballet member in memory of former dancer Jennifer Alexander, who embodied what it meant to be a leader on and off stage. Anabel Katsnelson continues Alexander’s legacy by being named this year’s Jennifer Alexander Dancer for her dedication and perseverance to her art form, the Company, and her community.  

The Jennifer Alexander Dancer embodies the professionalism, perseverance, and generosity that Jennifer Alexander showed as a corps of ballet member until a devastating car accident claimed her life in December 2007. The Memorial Fund was established in 2008 to honor Alexander’s memory and dedication to the Company.  

Similar to many women who have held the title of Jennifer Alexander Dancer, Katsnelson knew she was destined to be on stage at a young age. As her passion for ballet grew, Anabel began to follow the career of a number of professional ballet dancers, including former American Ballet Theatre Principal Dancer Alessandra Ferri. 

Anabel describes her admiration for Alessandra, saying, “I love how effortless she is onstage, and how she can carry a story so beautifully through her body language and movement quality.” Being able to look up to Alessandra guided Anabel to the Company. After attending the American Ballet Summer Intensive, Anabel joined ABT Studio Company in 2016 and became a corps of ballet member in the summer of 2017. 

Being a dancer at ABT is like being a part of a family. All the dancers support each other, and within the corps there is this sense of unity and camaraderie that is unlike any other company I’ve seen.”

As a member of the corps de ballet, Anabel recalls her favorite moment as performing Twyla Tharp’s “Bomb Squad” from In the Upper Room. Anabel speaks fondly on the performance by saying, “Something about the Phillip Glass music, the smoke onstage, and the bombastic movement made the experience of performing so exhilarating. We were so well rehearsed that it truly felt like an out-of-body experience… I could totally ‘let go’ onstage!”  

Anabel continues her leadership off stage as she offers advice to the next generation of aspiring dancers. She wants to remind dancers of the importance of having role models but trusting their own journey. Anabel states,  

“It sounds cliché but my advice would be to stop comparing yourself to other dancers. Everyone is on their own path! I like to think that when I’m watching someone dance it should be informative or inspiring, but never negative or self-deprecating. While it’s something I am still working on, I’ve learned that negative self-talk only stifles the growing process.”

Anabel Katsnelson’s leadership on and off stage and her dedication to being a role model is a wonderful reminder of Jennifer Alexander’s spirit and love that she had for American Ballet Theatre. She carries this title with the respect and grace that it deserves.    

The writer, Camron Wright, is the Press Intern for Spring 2024.

For many dancers, their first memories of ballet are sugarplum fairies and dancing mice. The Nutcracker has a unique tradition of incorporating students and pre-professional dancers into the production, allowing budding ballet dancers to take the stage among starring Principals.  

This holiday season, several dancers from ABT Studio Company will be joining the main Company at Segerstrom Center of the Arts in Costa Mesa, California, for ABT’s The Nutcracker. Read below to learn more about ABT Studio Company dancers Lilia Greyeyes, Brady Farrar, Vince Pelegrin, and Max Barker and their unique perspective on this Nutcracker season.  

In the newest installment of Behind the Ballet, ABT Dance Historian and New York Times #1 best-selling author Elizabeth Kaye puts the spotlight on the beloved tradition returning this holiday season. Kaye takes us on a magical journey through The Nutcracker’s history, music, and how the ballet came to be a worldwide holiday sensation.  

Don’t miss ABT’s The Nutcracker on stage at Segerstrom Center for the Arts in Costa Mesa, California, from December 8–17! With choreography by Alexei Ratmansky, this annual classic brings a cast of more than 100 performers to the stage and features dazzling sets and costumes by Tony Award® winner Richard Hudson, accompanied by Tchaikovsky’s timeless score.  

Music is considered by many dancers and choreographers to be the driving force of movement, imbuing steps with emotion and expression. With a live musician accompanying the dancers, this is taken one step further—the dancer can now feel the music motivate their movements, adding a depth of sound that is lost with a recorded version.  

Central to the diverse repertoire presented at the David H. Koch Theater in the 2023 Fall season, American Ballet Theatre’s musicians played classical scores of technical rigor and complexity. In many of these arrangements, the pianists held prominent roles in propelling both the score and the dancers. Learn more about the ABT’s pianists and their experiences this past Fall season! 

Tell us a bit about your history as a musician.

I’m a “Juilliard pianist” and piano competition winner, but I’ve also had a lot of my own compositions performed, symphonies, an opera, chamber music, and solo piano. I’ve also been a very dedicated teacher, now for a select few since ABT occupies my time.

In your own words, describe the solo piece you are playing this season, “Tchaikovsky’s Concerto No. 2 in G for Piano and Orchestra, Op. 44” in George Balanchine’s Ballet Imperial.

… grand, brilliant, virtuosic, beautiful, and a lot of fun!

What is challenging or taxing about playing this piece? 

It’s physically very demanding, with lots of technical challenges and intricate work, and requires the stamina to sustain that for 40 minutes.

Are you doing anything special or different to work on this piece? What do rehearsals look like, compared to your own independent practice?

On my own I do a lot of slow work to smooth out connections and to memorize. And I daydream about musical ideas…

It’s fun to work in collaboration with dancers on building interesting nuance and phrasing, and work towards a common artistic vision.

What is exciting and rewarding about this piece?

It’s one of those pieces that makes you fall in love with Tchaikovsky all over again!

What does this season mean to you?

I’m thrilled Susan Jaffe has programmed this brilliant piece this season. It’s such a highlight!

Music is considered by many dancers and choreographers to be the driving force of movement, imbuing steps with emotion and expression. With a live musician accompanying the dancers, this is taken one step further—the dancer can now feel the music motivate their movements, adding a depth of sound that is lost with a recorded version.  

Central to the diverse repertoire presented at the David H. Koch Theater in the 2023 Fall season, American Ballet Theatre’s musicians played classical scores of technical rigor and complexity. In many of these arrangements, the pianists held prominent roles in propelling both the score and the dancers. Learn more about the ABT’s pianists and their experiences this past Fall season! 

Evangelos Spanos, Greek American and New York City based, is one of the brightest and most promising pianists of the current generation of international performers in the US. 

He is currently holding a full-time position as a Company Pianist at American Ballet Theatre and accompanies for classes at School of American Ballet and Steps on Broadway. In addition to his work with regional Equity theatres, Evangelos has served/serves as music staff at the Kansas City Ballet, University of Missouri in Kansas City, and Lyric Opera and has performed for many opera productions at the University of Kansas, as well as accompanying master classes for Martha Graham, Merce Cunningham, Dance Theatre of Harlem, and Mark Morris Dance Company to name a few.   

In your own words, describe the solo pieces you are playing this Fall season, “Piano Concerto in A Major KV 488 (Adagio),” and “Piano Concerto in C Major KV 467 (Andante)” in Jiří Kylián’s Petite Mort.

A condensed version of the beauty and sorrows of the humankind.

What is challenging or taxing about playing this piece? 

It requires absolute control and a delicate and elegant sound.

Are you doing anything special or different to work on this piece?

I mainly listen to performances of my favorite pianists as well the performance that was originally used when the choreography was realized.

What is exciting and rewarding about this piece?

The synergy between movement, music and acting. One of the times where dance becomes music and music is dance.

What does this season mean to you?

A season of exceptional music where all the pianists showcase their individual talents.

Music is considered by many dancers and choreographers to be the driving force of movement, imbuing steps with emotion and expression. With a live musician accompanying the dancers, this is taken one step further—the dancer can now feel the music motivate their movements, adding a depth of sound that is lost with a recorded version.  

Central to the diverse repertoire presented at the David H. Koch Theater in the 2023 Fall season, American Ballet Theatre’s musicians played classical scores of technical rigor and complexity. In many of these arrangements, the pianists held prominent roles in propelling both the score and the dancers. Learn more about the ABT’s pianists and their experiences this past Fall season! 

Tell us a bit about your history as a musician.

I come from a family with rich musical traditions, but my musical journey began in earnest at the age of seven, when a new piano “magically” appeared in our apartment in Warsaw, Poland. I was fascinated by it and learned a few pieces by ear within the span of a month or so, listening and emulating what my dad would play for fun. A few weeks later I performed them in front of a few hundred children and parents at my preschool end of the year “graduation” event.

Shortly after, I auditioned for the music school in Warsaw and the rest is history. After years of working on the craft of piano playing (which never really stops), performances and competitions, I ended up at the prestigious Juilliard School in New York. This was also where I got my first real exposure to modern dance by participating in numerous school projects while I was there. That relationship between dance and music was such a powerful experience for me at the time, which I think led me to where I am today!

In your own words, describe the solo piece you are playing this Fall season, “Shostakovich Concerto No. 1 for Piano, Trumpet and Strings [Op. 35]” in Alexei Ratmansky’s Piano Concerto No. 1.

Extreme, explosive, daring, sardonic, berserk! 

What is challenging or taxing about playing this piece? 

Capturing the ever-changing moods and character, often juxtaposed to the extreme from one phrase to another! Then of course the sheer speed and technical demands are very high as well! 

Are you doing anything special or different to work on this piece?

It’s hard to say. Every piece has overlapping yet different challenges and considerations to be aware of. The goal is to create an interpretation that stays true to the intentions of the composer and at the highest pianistic level possible. Just as importantly, that interpretation has to meet the needs of the choreography and inspire the dancers. It’s a very nuanced balance at times, which requires a lot of sensitivity, flexibility and openness to different possibilities. 

What do rehearsals look like, compared to your own independent practice?

In many ways they’re completely different.

Since it’s a piano concerto and not a solo piece, I’m required to incorporate the orchestra part in addition to the piano part into the rehearsal flow, so that the dancers can discern and recognize the most prominent themes as they would unfold in a full performance setting, where all instruments are present. That is a big challenge sometimes, since I only have ten fingers at my disposal!

My own independent practice starts and ends at home however. That is the foundation and it involves so many elements, which would be impossible to list here, I’m afraid.

What is exciting and rewarding about this piece?

On a personal level, seeing progress, challenging yourself, exceeding what you thought were your limitations.

On a collaborative level, performing a show where the movement and music became one! When it happens, it’s pure magic!

What does this season mean to you?

It’s a celebration of life really and appreciation for all that it is. I feel a sense of gratitude for having this opportunity to perform with so many incredible dancers of ABT.

On a final note, this Fall season marks ten years since my husband Calvin Royal III and I met in Studio 5 after Theme and Variations rehearsal!

Music is considered by many dancers and choreographers to be the driving force of movement, imbuing steps with emotion and expression. With a live musician accompanying the dancers, this is taken one step further—the dancer can now feel the music motivate their movements, adding a depth of sound that is lost with a recorded version.  

Central to the diverse repertoire presented at the David H. Koch Theater in the 2023 Fall season, American Ballet Theatre’s musicians played classical scores of technical rigor and complexity. In many of these arrangements, the pianists held prominent roles in propelling both the score and the dancers. Learn more about the ABT’s pianists and their experiences this past Fall season! 

Tell us a bit about your history as a musician.

Having grown up in the European conservatory system and later completing my advanced musical education in London and New York, I am very glad to be working with such important and expressive interdisciplinary artists now in my career. Music and the arts have taken me around the world in performance, academic, and collaborative settings. I love playing all varieties of works at the piano— from the elegance of Mozart to the intensity of Prokofiev or living composers— and always have the best time being on stage and in rehearsals with friends.

In your own words, describe the featured piece you are playing this Fall season, Carnival of the Animals for the ABT Fall Gala Pièce d’Occasion.

Iconic, youthful, imaginative.

What is challenging or taxing about playing this piece? 

The most challenging part is performing with a second pianist at the same keyboard, and an orchestra behind us.

Are you doing anything special or different to work on this piece? What do rehearsals look like, compared to your own independent practice?  

I have to adapt my seating position, for instance, as this is a four-hand piece and I have to share the keyboard. So, I try to practice from the lower end of the keyboard, which is always fun.

What is exciting and rewarding about this piece?

The excitement of performing with an orchestra, surrounded by great musicians!

What does this season mean to you?

I find this season to be full of great variety, mixing more famous works with some less frequently performed pieces that create contrast in style and scale. I’m really looking forward to it!

Music is considered by many dancers and choreographers to be the driving force of movement, imbuing steps with emotion and expression. With a live musician accompanying the dancers, this is taken one step further—the dancer can now feel the music motivate their movements, adding a depth of sound that is lost with a recorded version.  

Central to the diverse repertoire presented at the David H. Koch Theater in the 2023 Fall season, American Ballet Theatre’s musicians played classical scores of technical rigor and complexity. In many of these arrangements, the pianists held prominent roles in propelling both the score and the dancers. Learn more about the ABT’s pianists and their experiences this past Fall season! 

After the success of our summer series, we are delighted to bring you the next iteration of Behind the Ballet with Elizabeth Kaye, a series of talks with ABT’s Dance Historian, renowned ballet lecturer, and New York Times #1 best-selling author. Each Behind the Ballet video provides a deep dive into the 2023 Fall season programs: Classics Old and New, 20th Century Works: Balanchine and Ashton, and 21st Century Works: King, Ratmansky, and Bond. Explore the videos below and find out what lies behind the ballet!

21st Century Works: King, Ratmansky, and Bond

After the success of our summer series, we are delighted to bring you the next iteration of Behind the Ballet with Elizabeth Kaye, a series of talks with ABT’s Dance Historian, renowned ballet lecturer, and New York Times #1 best-selling author. Each Behind the Ballet video provides a deep dive into the 2023 Fall season programs: Classics Old and New, 20th Century Works: Balanchine and Ashton, and 21st Century Works: King, Ratmansky, and Bond. Explore the videos below and find out what lies behind the ballet!

20th Century Works: Balanchine and Ashton