Ballet Arizona’s
Artistic Staff
Ib Andersen
Artistic Director
From: Copenhagen, Denmark
Following a brilliant career performing on the world’s greatest ballet stages, Ib Andersen was named Artistic Director of Ballet Arizona and The School of Ballet Arizona in 2000. Born in Copenhagen, he was introduced to ballroom dance at a young age. Then, at age 7 he was accepted into the School of the Royal Danish Ballet. He joined the Royal Danish Ballet at age 16 and became a principal dancer at age 20 — the youngest principal in the company’s history.
Mr. Andersen’s career and reputation flourished in Europe, bringing him to the attention of the director of New York City Ballet (NYCB), George Balanchine. Andersen joined NYCB in 1980and during his first three months he learned 35 ballets and demonstrated a remarkable affinity for the Balanchine style and technique. This led Balanchine to create principal roles for him in Ballade, Davidsbündlertänze, and Mozartiana. Jerome Robbins and Peter Martins also created roles for Andersen’s unique style.
In 1987, while Andersen was still with NYCB, the Royal Danish Ballet gave him his first choreographic commission, for which he created 1-2-3—1-2. When he retired as a principal from NYCB in 1990, Andersen began a second career as a guest ballet master for companies worldwide. He staged ballets by August Bournonville, Michel Fokine, Jerome Robbins, and others; most notably, George Balanchine. Mr. Andersen’s affinity for Balanchine’s works led to his appointment as a Balanchine Repetiteur; one of a handful of artists worldwide authorized by The George Balanchine Trust to stage the master’s pieces.
Mr. Andersen’s career has been consistently marked by success, and his rise to Artistic Director is no exception. After a tenure as Ballet Master with Pittsburgh Ballet Theatre, Andersen accepted the position of Artistic Director for Ballet Arizona. He now directs the Company in a demanding repertory that combines both classical and contemporary ballets; including works he creates specifically for the dancers. In 2010 Ballet Arizona enjoyed the national spotlight when it presented Andersen’s Diversions at the Ballet Across America festival hosted at the prestigious Kennedy Center in Washington, D.C.
In May 2012 Ib created a world premiere “site-specific” work, Topia, which was performed at the Desert Botanical Garden at sunset to sold-out audiences. Due to popular demand, Topia will return to the Garden May 14- June 1, 2013
During the 2011-2012 Season Ib Andersen’s world premiere of Cinderella met with resounding success; garnering rave reviews and record-setting attendance. In February 2012 Ballet Arizona made its New York City debut at the Joyce Theatre performing Andersen’s Play. The New York engagement was lauded by The New York Times, Financial Times and The New York Post which all praised Andersen’s choreography and the work he has done with Ballet Arizona.
In the 2013-2014 season, Ib and the company transitioned into a brand new facility, “The Center for Dance” which included the Dorrance Theatre, a black box theatre seating 299. In 2015, Andersen presented August Bournonville’s 1842 classic, Napoli, a United States premiere featuring authentic sets and costumes imported from Copenhagen. It was undoubtedly Andersen’s eye for detail and exacting coaching that led Alastair Macaulay, lead dance critic for the New York Times, to proclaim “This company has become one of America’s finest…”.
Ballet Arizona triumphantly returned to the Desert Botanical Garden in 2016 for the first of five years of performances, where Ib presented Round— a ballet created for a 360-degree stage, to be viewed by audiences from all sides. The New York Times lead dance critic Alastair Macaulay traveled to Arizona to experience the work, and in his review proclaimed Ballet Arizona “…one of the most enterprising companies anywhere.”
Ib Andersen
Artistic Director
From: Copenhagen, Denmark
Following a brilliant career performing on the world’s greatest ballet stages, Ib Andersen was named Artistic Director of Ballet Arizona and The School of Ballet Arizona in 2000. Born in Copenhagen, he was introduced to ballroom dance at a young age. Then, at age 7 he was accepted into the School of the Royal Danish Ballet. He joined the Royal Danish Ballet at age 16 and became a principal dancer at age 20 — the youngest principal in the company’s history.
Mr. Andersen’s career and reputation flourished in Europe, bringing him to the attention of the director of New York City Ballet (NYCB), George Balanchine. Andersen joined NYCB in 1980and during his first three months he learned 35 ballets and demonstrated a remarkable affinity for the Balanchine style and technique. This led Balanchine to create principal roles for him in Ballade, Davidsbündlertänze, and Mozartiana. Jerome Robbins and Peter Martins also created roles for Andersen’s unique style.
In 1987, while Andersen was still with NYCB, the Royal Danish Ballet gave him his first choreographic commission, for which he created 1-2-3—1-2. When he retired as a principal from NYCB in 1990, Andersen began a second career as a guest ballet master for companies worldwide. He staged ballets by August Bournonville, Michel Fokine, Jerome Robbins, and others; most notably, George Balanchine. Mr. Andersen’s affinity for Balanchine’s works led to his appointment as a Balanchine Repetiteur; one of a handful of artists worldwide authorized by The George Balanchine Trust to stage the master’s pieces.
Mr. Andersen’s career has been consistently marked by success, and his rise to Artistic Director is no exception. After a tenure as Ballet Master with Pittsburgh Ballet Theatre, Andersen accepted the position of Artistic Director for Ballet Arizona. He now directs the Company in a demanding repertory that combines both classical and contemporary ballets; including works he creates specifically for the dancers. In 2010 Ballet Arizona enjoyed the national spotlight when it presented Andersen’s Diversions at the Ballet Across America festival hosted at the prestigious Kennedy Center in Washington, D.C.
In May 2012 Ib created a world premiere “site-specific” work, Topia, which was performed at the Desert Botanical Garden at sunset to sold-out audiences. Due to popular demand, Topia will return to the Garden May 14- June 1, 2013
During the 2011-2012 Season Ib Andersen’s world premiere of Cinderella met with resounding success; garnering rave reviews and record-setting attendance. In February 2012 Ballet Arizona made its New York City debut at the Joyce Theatre performing Andersen’s Play. The New York engagement was lauded by The New York Times, Financial Times and The New York Post which all praised Andersen’s choreography and the work he has done with Ballet Arizona.
In the 2013-2014 season, Ib and the company transitioned into a brand new facility, “The Center for Dance” which included the Dorrance Theatre, a black box theatre seating 299. In 2015, Andersen presented August Bournonville’s 1842 classic, Napoli, a United States premiere featuring authentic sets and costumes imported from Copenhagen. It was undoubtedly Andersen’s eye for detail and exacting coaching that led Alastair Macaulay, lead dance critic for the New York Times, to proclaim “This company has become one of America’s finest…”.
Ballet Arizona triumphantly returned to the Desert Botanical Garden in 2016 for the first of five years of performances, where Ib presented Round— a ballet created for a 360-degree stage, to be viewed by audiences from all sides. The New York Times lead dance critic Alastair Macaulay traveled to Arizona to experience the work, and in his review proclaimed Ballet Arizona “…one of the most enterprising companies anywhere.”
Ib Andersen
Artistic Director
From: Copenhagen, Denmark
Following a brilliant career performing on the world’s greatest ballet stages, Ib Andersen was named Artistic Director of Ballet Arizona and The School of Ballet Arizona in 2000. Born in Copenhagen, he was introduced to ballroom dance at a young age. Then, at age 7 he was accepted into the School of the Royal Danish Ballet. He joined the Royal Danish Ballet at age 16 and became a principal dancer at age 20 — the youngest principal in the company’s history.
Mr. Andersen’s career and reputation flourished in Europe, bringing him to the attention of the director of New York City Ballet (NYCB), George Balanchine. Andersen joined NYCB in 1980and during his first three months he learned 35 ballets and demonstrated a remarkable affinity for the Balanchine style and technique. This led Balanchine to create principal roles for him in Ballade, Davidsbündlertänze, and Mozartiana. Jerome Robbins and Peter Martins also created roles for Andersen’s unique style.
In 1987, while Andersen was still with NYCB, the Royal Danish Ballet gave him his first choreographic commission, for which he created 1-2-3—1-2. When he retired as a principal from NYCB in 1990, Andersen began a second career as a guest ballet master for companies worldwide. He staged ballets by August Bournonville, Michel Fokine, Jerome Robbins, and others; most notably, George Balanchine. Mr. Andersen’s affinity for Balanchine’s works led to his appointment as a Balanchine Repetiteur; one of a handful of artists worldwide authorized by The George Balanchine Trust to stage the master’s pieces.
Mr. Andersen’s career has been consistently marked by success, and his rise to Artistic Director is no exception. After a tenure as Ballet Master with Pittsburgh Ballet Theatre, Andersen accepted the position of Artistic Director for Ballet Arizona. He now directs the Company in a demanding repertory that combines both classical and contemporary ballets; including works he creates specifically for the dancers. In 2010 Ballet Arizona enjoyed the national spotlight when it presented Andersen’s Diversions at the Ballet Across America festival hosted at the prestigious Kennedy Center in Washington, D.C.
In May 2012 Ib created a world premiere “site-specific” work, Topia, which was performed at the Desert Botanical Garden at sunset to sold-out audiences. Due to popular demand, Topia will return to the Garden May 14- June 1, 2013
During the 2011-2012 Season Ib Andersen’s world premiere of Cinderella met with resounding success; garnering rave reviews and record-setting attendance. In February 2012 Ballet Arizona made its New York City debut at the Joyce Theatre performing Andersen’s Play. The New York engagement was lauded by The New York Times, Financial Times and The New York Post which all praised Andersen’s choreography and the work he has done with Ballet Arizona.
In the 2013-2014 season, Ib and the company transitioned into a brand new facility, “The Center for Dance” which included the Dorrance Theatre, a black box theatre seating 299. In 2015, Andersen presented August Bournonville’s 1842 classic, Napoli, a United States premiere featuring authentic sets and costumes imported from Copenhagen. It was undoubtedly Andersen’s eye for detail and exacting coaching that led Alastair Macaulay, lead dance critic for the New York Times, to proclaim “This company has become one of America’s finest…”.
Ballet Arizona triumphantly returned to the Desert Botanical Garden in 2016 for the first of five years of performances, where Ib presented Round— a ballet created for a 360-degree stage, to be viewed by audiences from all sides. The New York Times lead dance critic Alastair Macaulay traveled to Arizona to experience the work, and in his review proclaimed Ballet Arizona “…one of the most enterprising companies anywhere.”
Maria Simonetti
School Director
From: Buenos Aires, Argentina
A native of Buenos Aires, Ms. Simonetti trained as a dancer at Teatro Colon and danced with La Joven Guardia of Ballet Nacional de Cuba before becoming assistant to Laura Alonso and Regisseur (stage director) for Cuballet. She was on the faculties of the Magda Aunon School of Ballet, Pittsburgh’s Point Park College, and the Baltimore School for the Arts before becoming ballet mistress for the esteemed Hubbard Street Dance Chicago in 1995. As assistant to choreographer Daniel Ezralow she helped create the multi-media production Mandala for a South American tour; Torino Notte di Stelle, an arts special for Italian national television (RAI Uno); choreography for Pope John Paul II’s celebration of International Youth Day; and Aeros, an innovative showcase for the Romanian National Gymnastics Team. On her own, Ms. Simonetti staged Lady Lost Found, for the Bratislava Dance Theatre in Slovakia, and the pas de six from Bournonville’s Napoli for the National Ballet of Greece. She became rehearsal director for Ballet Arizona in 1997 but continues her active career as a visiting artist. She returns to Hubbard Street Dance Chicago every summer as a guest teacher and was engaged in 2006 in a similar role by Montreal’s Les Grands Ballets Canadiens.
Maria Simonetti
School Director
From: Buenos Aires, Argentina
A native of Buenos Aires, Ms. Simonetti trained as a dancer at Teatro Colon and danced with La Joven Guardia of Ballet Nacional de Cuba before becoming assistant to Laura Alonso and Regisseur (stage director) for Cuballet. She was on the faculties of the Magda Aunon School of Ballet, Pittsburgh’s Point Park College, and the Baltimore School for the Arts before becoming ballet mistress for the esteemed Hubbard Street Dance Chicago in 1995. As assistant to choreographer Daniel Ezralow she helped create the multi-media production Mandala for a South American tour; Torino Notte di Stelle, an arts special for Italian national television (RAI Uno); choreography for Pope John Paul II’s celebration of International Youth Day; and Aeros, an innovative showcase for the Romanian National Gymnastics Team. On her own, Ms. Simonetti staged Lady Lost Found, for the Bratislava Dance Theatre in Slovakia, and the pas de six from Bournonville’s Napoli for the National Ballet of Greece. She became rehearsal director for Ballet Arizona in 1997 but continues her active career as a visiting artist. She returns to Hubbard Street Dance Chicago every summer as a guest teacher and was engaged in 2006 in a similar role by Montreal’s Les Grands Ballets Canadiens.
Maria Simonetti
School Director
From: Buenos Aires, Argentina
A native of Buenos Aires, Ms. Simonetti trained as a dancer at Teatro Colon and danced with La Joven Guardia of Ballet Nacional de Cuba before becoming assistant to Laura Alonso and Regisseur (stage director) for Cuballet. She was on the faculties of the Magda Aunon School of Ballet, Pittsburgh’s Point Park College, and the Baltimore School for the Arts before becoming ballet mistress for the esteemed Hubbard Street Dance Chicago in 1995. As assistant to choreographer Daniel Ezralow she helped create the multi-media production Mandala for a South American tour; Torino Notte di Stelle, an arts special for Italian national television (RAI Uno); choreography for Pope John Paul II’s celebration of International Youth Day; and Aeros, an innovative showcase for the Romanian National Gymnastics Team. On her own, Ms. Simonetti staged Lady Lost Found, for the Bratislava Dance Theatre in Slovakia, and the pas de six from Bournonville’s Napoli for the National Ballet of Greece. She became rehearsal director for Ballet Arizona in 1997 but continues her active career as a visiting artist. She returns to Hubbard Street Dance Chicago every summer as a guest teacher and was engaged in 2006 in a similar role by Montreal’s Les Grands Ballets Canadiens.
David Krensing
Ballet Master, Summer Intensive Coordinator
A Minnesota native and former Principal Dancer with Philadelphia Ballet, then known as Pennsylvania Ballet, David performed numerous leading classical, contemporary and modern dance roles by renowned choreographers, such as Alvin Ailey, Sir Fredrick Ashton, George Balanchine, John Butler, John Cranko, Agnes DeMille, William Forsythe, Jose Limon, Lar Lubovitch, Peter Martins, Jerome Robbins, Ben Stevenson, Paul Taylor, Twyla Tharp, Hans Van Manen. Additional performance credits include world premieres by Ib Andersen, Jorma Elo, Trey McIntyre, Kevin O’ Day, David Parsons, Antony Rizzi, Dwight Rhoden and Christopher Wheeldon.
He has toured the United States and Europe, with Pennsylvania Ballet and as an independent artist, and has been featured domestically and internationally in both company-produced and independent productions with artists from New York City Ballet, American Ballet Theatre, San Francisco Ballet, Frankfort Ballet, Paul Taylor Dance Company, Dance Theater of Harlem, Cedar Lake Contemporary Ballet, and Martha Graham Dance Company, among others. He has taught for professional dance companies, colleges and universities including The University of Arizona, The University of the Arts, Stephens College, The Washington Ballet, Ballet BC, BalletX, Ballet Idaho, and Trey McIntyre Projects.
Mr. Krensing holds a Bachelor of Fine Arts from Stephens College in Columbia, MO, and a Master of Fine Arts from The University of Arizona in Tucson, AZ. In addition to his Ballet Master duties, he is a faculty member at The School of Ballet Arizona.
David Krensing
Ballet Master, Summer Intensive Coordinator
A Minnesota native and former Principal Dancer with Philadelphia Ballet, then known as Pennsylvania Ballet, David performed numerous leading classical, contemporary and modern dance roles by renowned choreographers, such as Alvin Ailey, Sir Fredrick Ashton, George Balanchine, John Butler, John Cranko, Agnes DeMille, William Forsythe, Jose Limon, Lar Lubovitch, Peter Martins, Jerome Robbins, Ben Stevenson, Paul Taylor, Twyla Tharp, Hans Van Manen. Additional performance credits include world premieres by Ib Andersen, Jorma Elo, Trey McIntyre, Kevin O’ Day, David Parsons, Antony Rizzi, Dwight Rhoden and Christopher Wheeldon.
He has toured the United States and Europe, with Pennsylvania Ballet and as an independent artist, and has been featured domestically and internationally in both company-produced and independent productions with artists from New York City Ballet, American Ballet Theatre, San Francisco Ballet, Frankfort Ballet, Paul Taylor Dance Company, Dance Theater of Harlem, Cedar Lake Contemporary Ballet, and Martha Graham Dance Company, among others. He has taught for professional dance companies, colleges and universities including The University of Arizona, The University of the Arts, Stephens College, The Washington Ballet, Ballet BC, BalletX, Ballet Idaho, and Trey McIntyre Projects.
Mr. Krensing holds a Bachelor of Fine Arts from Stephens College in Columbia, MO, and a Master of Fine Arts from The University of Arizona in Tucson, AZ. In addition to his Ballet Master duties, he is a faculty member at The School of Ballet Arizona.
David Krensing
Ballet Master, Summer Intensive Coordinator
A Minnesota native and former Principal Dancer with Philadelphia Ballet, then known as Pennsylvania Ballet, David performed numerous leading classical, contemporary and modern dance roles by renowned choreographers, such as Alvin Ailey, Sir Fredrick Ashton, George Balanchine, John Butler, John Cranko, Agnes DeMille, William Forsythe, Jose Limon, Lar Lubovitch, Peter Martins, Jerome Robbins, Ben Stevenson, Paul Taylor, Twyla Tharp, Hans Van Manen. Additional performance credits include world premieres by Ib Andersen, Jorma Elo, Trey McIntyre, Kevin O’ Day, David Parsons, Antony Rizzi, Dwight Rhoden and Christopher Wheeldon.
He has toured the United States and Europe, with Pennsylvania Ballet and as an independent artist, and has been featured domestically and internationally in both company-produced and independent productions with artists from New York City Ballet, American Ballet Theatre, San Francisco Ballet, Frankfort Ballet, Paul Taylor Dance Company, Dance Theater of Harlem, Cedar Lake Contemporary Ballet, and Martha Graham Dance Company, among others. He has taught for professional dance companies, colleges and universities including The University of Arizona, The University of the Arts, Stephens College, The Washington Ballet, Ballet BC, BalletX, Ballet Idaho, and Trey McIntyre Projects.
Mr. Krensing holds a Bachelor of Fine Arts from Stephens College in Columbia, MO, and a Master of Fine Arts from The University of Arizona in Tucson, AZ. In addition to his Ballet Master duties, he is a faculty member at The School of Ballet Arizona.
Lisbet Companioni
Ballet Mistress
From: Camagüey, Cuba
A native of Camagüey, Cuba, Lisbet Companioni began her career in ballet as a member of Ballet de Camagüey under the direction of its cofounder, Fernando Alonso. Her repertoire as a dancer includes Don Quixote, Dracula, La Bayadère, La Fille mal gardée, Napoli, and The Three Musketeers. In 2001, Lisbet joined Ballet Arizona as a dancer and originated featured roles in Ib Andersen’s 2B, Elevations, Mosaik and Play. Her modern repertoire includes soloist roles in Twyla Tharp’s Sinatra Suite, The Golden Section and Company B. Her interest in Balanchine ballets grew as she added George Balanchine’s Agon, Apollo, Allegro Brillante, Serenade, and Theme and Variations to her repertory. Lisbet has always had a passion for teaching and coaching dancers and is also a faculty member at The School of Ballet Arizona. Ms. Companioni retired from the stage in 2008 to become Ballet Arizona’s Ballet Mistress.
Lisbet Companioni
Ballet Mistress
From: Camagüey, Cuba
A native of Camagüey, Cuba, Lisbet Companioni began her career in ballet as a member of Ballet de Camagüey under the direction of its cofounder, Fernando Alonso. Her repertoire as a dancer includes Don Quixote, Dracula, La Bayadère, La Fille mal gardée, Napoli, and The Three Musketeers. In 2001, Lisbet joined Ballet Arizona as a dancer and originated featured roles in Ib Andersen’s 2B, Elevations, Mosaik and Play. Her modern repertoire includes soloist roles in Twyla Tharp’s Sinatra Suite, The Golden Section and Company B. Her interest in Balanchine ballets grew as she added George Balanchine’s Agon, Apollo, Allegro Brillante, Serenade, and Theme and Variations to her repertory. Lisbet has always had a passion for teaching and coaching dancers and is also a faculty member at The School of Ballet Arizona. Ms. Companioni retired from the stage in 2008 to become Ballet Arizona’s Ballet Mistress.
Lisbet Companioni
Ballet Mistress
From: Camagüey, Cuba
A native of Camagüey, Cuba, Lisbet Companioni began her career in ballet as a member of Ballet de Camagüey under the direction of its cofounder, Fernando Alonso. Her repertoire as a dancer includes Don Quixote, Dracula, La Bayadère, La Fille mal gardée, Napoli, and The Three Musketeers. In 2001, Lisbet joined Ballet Arizona as a dancer and originated featured roles in Ib Andersen’s 2B, Elevations, Mosaik and Play. Her modern repertoire includes soloist roles in Twyla Tharp’s Sinatra Suite, The Golden Section and Company B. Her interest in Balanchine ballets grew as she added George Balanchine’s Agon, Apollo, Allegro Brillante, Serenade, and Theme and Variations to her repertory. Lisbet has always had a passion for teaching and coaching dancers and is also a faculty member at The School of Ballet Arizona. Ms. Companioni retired from the stage in 2008 to become Ballet Arizona’s Ballet Mistress.
