Magazine article Pointe

Fit for a Princess

Magazine article Pointe

Fit for a Princess

Article excerpt

Aurora's Act I solo in The Sleeping Beauty captures the young princess' girlish exuberance. But from a technical standpoint, its four long minutes almost feel like multiple variations. New York City Ballet principal Sterling Hyltin discusses how to master its many moods and tempos.

1 Calm down

In most productions. Aurora's solo follows the Rose Adagio-one of the most stressful moments in classical ballet. Don't let the residual adrenaline throw you off. "It's helpful that the beginning of the variation is slow and controlled," Hyltin says. "I use the first series of balances in arabesque to pull myself together. You can also channel the energy left over from the Rose Adagio-it can help you project the young Aurora's spirit and eagerness."

2 Become a part of the onstage world

The variation is easier to get through if you interact with the other dancers onstage, "I like to distract myself by thinking about the fact that I'm socializing at my birthday party," Hyltin says. "In theory, the solo is all about Aurora, but I try to make it all about everyone else. You're surrounded by suitors, and they're all playing out their own little story arcs. Recognize each of them, and feed off their energy."

3 Allow the music to support you

Creating a dialogue with Tchaikovsky's score is especially helpful during the opening arabesques. "You can play with either the ascent or the descent of each arabesque," Hyltin says. "When you're really on your leg, you can alter your phrasing a little to stretch out that moment on pointe. …

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