Ballet & Music
C.V. & Media Below
Classical Ballet Curriculum Vitae
scarlettzuzu.com | (323) 327-3643 | zuzucollege@gmail.com
Artistic Reference
Julia Bourlina
www.juliabourlinaclassicalballet.com
juliabourlina@gmail.com
Classical Ballet
American Ballet Theatre
Summer Intensive | New York City | 2016, 2017, 2018, 2019*
These intensives provided the opportunity for serious preprofessional dancers at the pointe level to flourish in a professional yet nurturing environment. The outstanding faculty members of ABT provided unparalleled instruction while remaining sensitive to the developmental needs of younger dancers. The intensives focused on building a solid foundation in ballet technique and educating students about related topics in the world of dance. Students had a daily ballet technique class followed by character, jazz, modern, mime, body conditioning, and more. Workshops in injury prevention, dance history and “meet the artist” sessions with ABT Company Dancers enhanced the experience and provided a well-rounded education and facilitated future artistic development. ABT’s In-Person summer intensives were held from approximately 10:00am to 4:00pm, Monday through Friday for 5 weeks.
Faculty: Susan Jaffe (currently promoted Artistic Director of ABT in the legacy of Kevin McKenzie’s 30 years as Artistic Director for the company), Julie Kent, Kevin McKenzie, Cynthia Harvey, Irina Kolpakova, and Carlos Lopez.
*Unable to attend 2019 intensive due to injury recovery.
Summer Intensive | Tampa, Florida | 2017
Special invitation to attend the inaugural summer intensive located at the University of South Florida for 5 weeks in addition to the summer intensive in New York.
Faculty: Isadora Loyola, Melissa Allen Bowman, and ABT corps de ballet dancers.
Romeo & Juliet Workshop Intensive | New York City | 2018
Special invitation to attend a 3-day intensive to train variations from Romeo & Juliet Ballet.
Faculty: Stella Abrera, ABT Principal Dancer; Charles Barker, ABT Principal Conductor; Leslie Browne, Former ABT Principal Dancer; Allison Eggers, Dance History Teacher; Elizabeth Ferrell, Former ABT Corps de Ballet and JKO School Faculty Member; Cynthia Harvey, Former ABT Principal Dancer and Artistic Director; Nancy Raffa, ABT Main Company Ballet Mistress; Craig Salstein, Former ABT Soloist; Ethan Stiefel, Former ABT Principal Dancer, ABT JKO School, and Main Actor: Center Stage (2000); Principal Leann Underwood, Former ABT Corps de Ballet and JKO School Faculty Member; Martine van Hamel, Former ABT Principal Dancer; Roman Zhurbin, ABT Soloist.
William J. Gillespie School | Segerstrom Center for the Arts – Costa Mesa, CA | 2016-2017
www.scfta.org/education-community-programs/camps-classes/abt-william-gillespie-school
Academy Student
ABT William J. Gillespie School utilized ABT’s National Training Curriculum, a comprehensive set of age-appropriate, outcome-based guidelines with an emphasis on proper placement and safe progressions of movement. Classes included ballet technique, pointe, character, conditioning, and boys’ classes. Students at the ABT William J. Gillespie School were offered additional opportunities to enrich their ballet pursuits including priority auditions for both ABT performances, ABT Summer Intensives, and access to master classes. Faculty included Principal Alaine Haubert, Ivan Vasiliev, Melissa Allen Bowman, and Susan Jones.
Sunday Intensives:
February 26, 2017 – Faculty: Leslie Carothers, Principal (Joffrey Ballet and Pennsylvania Ballet),
Marie-France Levesque (ABT), Vladimir Kolesnikov (Kirov Principal), and Alicia Cobb.
March 26, 2017 – Faculty: Steven Hyde (ABT and Director of Orange County School of Arts Classical
Dance Department), Brendali Espiritu (ABT), and Amanda Cobb (ABT).
April 30, 2017 – Faculty: Vladimir Kolesnikov (Kirov Principal), Alaine Haubert, and Susan Jones.
May 21, 2017 – Faculty: Vladimir Kolesnikov (Kirov Principal), Leslie Carothers, Principal ((Joffrey
Ballet and Pennsylvania Ballet), and Melissa Allen Bowman (Houston Ballet).
The Nutcracker by Alexei Ratmansky (ABT Artist-in-Residence)| Costa Mesa, CA | 2016
https://www.scfta.org/events/2022/the-nutcracker
Supernumerary
Performed as a supernumerary for the professional company production as both Cast A and B in Battle Scene for all 12 stage shows alongside Misty Copeland, James Whiteside, Hee Seo, Isabella Boylston, Aran Bell, Thomas Forster, Gillian Murphy, Cory Stearns, Zimmi Coker, and Lauren Post. Stage Director: Kenneth Easter.
Press Article (I am featured in the center of photo – 3rd from left front):
American Ballet Theatre’s ‘Nutcracker’ combines local kids and a superstar by Paul Hodgins (pauldavidhodgins@gmail.com) Originally published by The Orange County Register, December 12, 2016. https://www.sgvtribune.com/2016/12/10/american-ballet-theatres-nutcracker-in-costa-mesa-combines-local-kids-and-a-superstar/
Moscow Ballet
Great Russian Nutcracker | The Wiltern Theatre, Los Angeles | 2017
Performed on stage in the Arabian Dance and Party scene with the touring Moscow Ballet company principals. Choreographer: Stanislav Vlasov.
Campbell Hall School
Summer Dance Intensive | 2016
One week intensive in classical and contemporary ballet performance. Faculty: Brandy Curry (Performing Arts Department Chair) and Lee Wilhoite (Head of Secondary Ballet).
Company Soloist | 2017-2018
A full-year coed advanced-intermediate dance class. This class moved at an accelerated pace as students incorporated skills learned in the previous levels, learned new and more challenging ballet vocabulary, developed their artistry, and danced en pointe more frequently. Due to the fast pace of the class and performance requirements, students were expected to retain corrections and choreography. Students entered at the en pointe level. The ballet history included in this course covers the Russian influence in the early 20th century. Students regularly completed self-assessments of their technical skills and progress. Dancers had at least one performance opportunity, which included the Spring Arts Festival Dance Concert.
Company Principal | 2018-2019
A full-year coed advanced dance class. Students learned new and challenging ballet vocabulary at an accelerated pace and danced en pointe in every class. The dancers also had monthly assignments to discover current dancers, choreographers, and dance companies. Due to the fast pace of the class and performance requirements, students were expected to retain corrections and choreography. Students regularly completed self-assessments of their technical skills and progress. The dancers had at least one performance opportunity, which will include the Spring Arts Festival Dance Concert.
Pointe & Variations | 2019-2020*
The objective of this full-year class was to teach the most advanced and serious dancers how to express their individual musicality and artistry. Throughout the year the students learned variations, short dances ranging from 1-2 minutes, from Romantic and Classical era ballets such as Paquita, La Bayadère and Raymonda. Students were assessed by their performance of each variation. Students were also given monthly physical strength/flexibility assessments as well as being expected to keep a journal of personal reflections of their own progress, their thoughts on inspirational videos of professional dancers, etc. Students dance en pointe in every class. The dancers had at least one performance opportunity, which included the Spring Arts Festival Dance Concert.
* Due to a recurring knee injury and the onset of Covid-19, the course could not be completed and a transfer to an alternate class for injury recovery was required.
The Nutcracker | 2017, 2018, 2019
Performed the roles of Snowflake, Kissy Doll, Arabian Dance, and Spanish Dance.
Petrushka by Igor Stravinsky & Michel Fokine| 2017
Performed the The Shrovetide Fair Scene (First Tableau) as the ballerina puppet.
The Seasons by Alexander Glazunov | 2018
Performed the roles of Naiads and Frost as soloist.
Alice in Wonderland | 2018
Principal dancer.
Audition Acceptances
American Ballet Theatre (2016, 2017, 2018, 2019)
American Ballet Theatre – William J. Gillespie School at Segerstrom Center for the Arts (2016)
Boston Ballet (2018)
Washington Ballet (2018)
Additional Training
Los Angeles Ballet Academy (LABA) | 2016-2019
www.laballetacademy.com
Founded by Andrea Paris-Gutierrez of the Royal New Zealand Ballet, LABA specializes in the British ballet method of the Royal Ballet Academy of UK.
April Ayers Ballet | American Ballet Theatre Affiliate Certified| 2016-2018
theindustrydanceacademy.com/staff/april-ayers
As a graduate of the University of North Carolina School of Arts (UNCSA), April advanced to professional training at San Francisco Ballet School, School of American Ballet, Pacific Northwest Ballet, and BalletMet. She also studied under Alonzo King, David Howard, and Richard Gibson.
Julia Bourlina Classical Ballet | 2016 – 2022
www.juliabourlinaclassicalballet.com
Trained at the Vaganova Ballet Academy in St. Petersburg, Russia from age 9 to 17 under the Kirov ballet master, Ninella Kurgapkina. Danced with the Kirov Ballet Company & Opera Company for 13 years (1984-1996) under the artistic direction of Julie Taymor, Oleg Igatief, David Freeman, and Natalia Volkova.
Anna Cheselka | 2016 - 2022
Ongoing classical conditioning and training with teachers Anna Bentley and Liza Barskaya.
MUSIC
Artistic Reference
Chelsea Morel, Managing Director and Chief Operations Officer
nationalchildrenschorus.com
cmorel@ncchorus.com
Classical Voice
National Children’s Chorus
Musicianship: Training in the study of sight-singing using the Kodály Method (invented by Zoltán Kodály) is highly structured and sequenced, with well-defined skill and concept hierarchies in every element of music. This method requires a vocalist to look at a piece of music for the first time and be able to sing it proficiently both in pitch and rhythm. Some of the tools used by NCC from the Kodály Method to achieve musical literacy and sight singing are solfége (Do, Re, Mi, Fa, Sol, La, Ti, Do), Curwin hand signs, rhythmic syllables and a movable “Do” system. It is the relationship between the syllables that trains the ear so that intune singing, along with accurate sight singing, occurs.
Junior Division: Sonata Level | 2014 – 2015
Members of the Sonata Level are expected to possess basic skills and knowledge in the areas of tone, vowel formation, diction, breathing technique, and musicianship. From here, students were taught the beginnings of advanced choral and vocal skills, including singing in 2-part harmony within the context of more sophisticated repertoire that will include texts in foreign languages. The beginnings of advanced Kodály Method skills were also employed as part of the curriculum.
Spring Showcase – Schoenberg Hall (UCLA)
Repertoire: My Shadow, Answer to a Child's Question, Some Folks, Still Wie Die Nacht (German), Rainbow Connection, Kodály P1/P2/P3.
Senior Division: Debut Ensemble | 2015 – 2016
Members of the Debut Ensemble began the refined vocal training required to perform at the Senior Division level. Students learned sophisticated repertoire in various languages and musical styles, featuring 2- and occasionally 3-part harmony. Prestigious collaborations and performances were regularly included as part of the regimen. Additionally, specialized vocal study and Kodály technique was offered as part of the curriculum. Students performed in a minimum of two concerts per year (Winter and Spring), as well as special artistic projects, international tours, and opera camp.
Faculty: Dr. Nicholas Nicassio (Principal Conductor & Artistic Coordinator), Andrew Brubaker (Associate Conductor), Dr. Pamela Blackstone (Associate Artistic Director & Chief Programming Officer), and Luke Endarfer (Artistic Director & Chief Executive Officer).
Saint Alban’s Church | New York City | 2015
Fall Showcase.
Carnegie Hall | New York City | 2015
Performance of Illumine, a world première written by composer, arranger, and Emmy-nominated music director, Christopher Guardino, featuring the debut of his original work “Nella Luce.” Repertoire included works sung in Hebrew, Italian, and English.
Royce Hall – UCLA | Los Angeles | 2016
Performance of Echoes of the Silk Road by Tan Dun.
Walt Disney Concert Hall | Los Angeles | 2016
Performed the premiere of Tan Dun’s Symphony 1997 “Heaven Earth Mankind” at Walt Disney Concert Hall, presented by the Los Angeles Philharmonic and led by Grammy-winning conductor David Alan Miller. Selections sung in English and Mandarin.
Xi’an Ancient City | People’s Republic of China | 2016
Performance of Echoes of the Silk Road: in collaboration with the Chinese Galaxy Children’s Choir and presented by the mayor of Xi’an, Shangguan Jiqing. Performance broadcasted live on Chinese television networks to an audience of 20 million viewers. Event was personally attended by renown soprano Peng Liyuan, the First Lady of China.
Beijing Palace – The Great Wall | People’s Republic of China | 2016
Performance of Echoes of the Silk Road: Performance of Tan Dun Symphony 1997, selections from “Heaven Earth Mankind” with selections sung in Mandarin.
Schoenberg Hall – UCLA | Los Angeles | 2016
Fall showcase performance.
Artist Studio – Pamela Blackstone, PhD (Associate Artistic Director & Chief Programming
Officer) | Los Angeles, CA | 2016 – 2017
Special invitation to attend private lessons by a faculty member of NCC to further develop soloist skills as a soprano in preparation for advancement to Senior Division.
Campbell Hall School
Pop Music Ensemble | 2021-2022
Solo performances of Too Close (Sir Chloe), Ain’t No Rest for the Wicked (Cage the Elephant), Lola (The
Kinks), Brand New Key (Melanie), Saturday Night’s Alright (Elton John), The Bends (Radiohead).