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DAVID HALLBERG
Performing in:
La Bayadère 5/19/2010, 5/22/2010 Finis: David, when I first met you at a Workshop in Arizona when you were 13, you seemed so little, and I would never have imagined you'd grow to become the imposing dancer you are today. Tell us about those early days. David: I was doing Tap and Jazz, and had just started ballet at The Arizona School for the Arts. Kee Juan Han was my first ballet teacher, and he still serves as my mentor. I was starting at a rather late age, and he recognized that and basically took me under his wing, for four very intense years. Finis: And, after that? David: When I was 17, I came to New York and did the ABT Summer intensive. Then I spent a year at The Paris Opera Ballet School -- I was in the last year of high school. After that, I did another summer at ABT, and then I went straight into the ABT Studio Company. Finis: What has motivated you in your career? David: I have to say that Mr. Han was my total influence. He strongly advised lots of hard work, especially because I was starting late. He said that if I wanted it I'd have to work really hard. Finis: So how did he train you? David: I'd have two technique classes a day, perhaps a modern class, rehearsals, and then private lessons with Mr. Han, where we'd work solely on technique. Finis: Well, he certainly did right by you. I was just amazed when I saw you do Grand Pas Classique with Michele Wiles. You were so sure of yourself, and danced with such vigor and elegance. You just went for it, and you did it. I had so much fun! In fact, that seems to be what distinguishes you, besides your height and blond hair. You seem to be so comfortable on stage. Tell us more about how you've trained and developed during the past years. David: I think that what was really important for me was going to The Paris Opera, where I absorbed everything I could. It's so established; there's such tradition, both within the school and in the company. It really opened up my eyes to a whole new dance world. It made me realize what's out there. As I look back now, I can see how much I gained from the competition there, as well as all the material I was given.
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David was promoted to Principal in May 2005. His roles with the Company include the Boy in Afternoon of a Faun, the title role in Apollo, Solor in La Bayadère, Prince Charming in Cinderella, Conrad in Le Corsaire, Basilio and Espada in Don Quixote, Oberon in The Dream, the second sailor in Fancy Free, Albrecht in Giselle, Death in The Green Table, the Cavalier in The Nutcracker, Othello in Othello, Other Dances, A Friend of the Family in Pillar of Fire, Bernard and Jean de Brienne in Raymonda, Romeo, Paris and Benvolio in Romeo and Juliet, Romeo in Romeo and Juliet (Romeo’s Farewell to Juliet), Prince Désiré in The Sleeping Beauty, Prince Siegfried, von Rothbart (Act III) and Benno in Swan Lake, James in La Sylphide, Aminta in Sylvia, the first movement in George Balanchine’s Symphony in C, the Tchaikovsky Pas de Deux, and leading roles in Ballet Imperial, Ballo della Regina, Clear, Drink To Me With Thine Eyes, From Here On Out, Glow - Stop, Gong, Kaleidoscope, In The Upper Room, Meadow, Petite Mort, Pretty Good Year, Seven Sonatas, Sinfonietta, Les Sylphides, Symphonic Variations, Theme and Variations and Within You Without You: A Tribute to George Harrisonand featured roles in Clear, Overgrown Path and workwithinwork. He created the title role in Robert Hill’s Dorian, Olga's Fiancé in On the Dnieper and leading roles in Citizen and Rabbit and Rogue.
