A few years after Mary Carmen Catoya began dancing with Miami City Ballet in 1999, then-artistic director Edward Villella mounted two George Balanchine ballets he’d never done before. One was Ballo Della Regina, a devilishly difficult ballerina showcase; the other was Ballet Imperial, a grand, sweeping classical gem.
“Edward said he never had the dancer to do these ballets before,” Catoya says. “And now he did.”
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