Alumni Spotlight: Lillian DiPiazza

SAB: What was your first introduction to ballet, and what was your journey like to the School of American Ballet?

Lillian DiPiazza: When I was five, my mom enrolled me in creative movement at the YMCA, and I loved it. Then, I attended Maryland Youth Ballet where I had more formal training and was able to perform as a child with several companies when they toured to the John F. Kennedy Center for the Performing Arts in Washington, D.C. My first experience with the Balanchine style was at the audition for SAB’s Summer Course, which I attended for three summers. I stayed for the year-round Winter Term program for my last year of training.

SAB: Did you have any instructors or experiences at SAB that particularly shaped your perspective of ballet or helped sustain your passion for dance?

L: Suki Schorer made a big impression on me – her clarity of musicality and attention to the details of the feet, hands, and carriage of the upper body that make Balanchine’s choreography not just steps but something more expressive.

“Suki Schorer made a big impression on me – her clarity of musicality and attention to the details of the feet, hands, and carriage of the upper body that make Balanchine’s choreography not just steps but something more expressive.” 

I particularly remember working with her on Concerto Barocco, which we performed for our Workshop Performances as well as on tour to the John F. Kennedy Center for the Performing Arts.

SAB: Do you have any favorite memories from your time at SAB, both in and out of the studio?

LD: I remember in my first year, I didn’t know anyone, but the girls in my suite in the dorms decorated for my birthday which was just at the start of the year in October. It was really sweet! I’m still good friends with several of my SAB classmates.

SAB: What was the transition like from student to professional dancer?

LD: I started in the second company at Pennsylvania Ballet (now Philadelphia Ballet) which was actually great because we had our own little performance group, and we were very close while also getting to perform the bigger ballets with the main company.

SAB: How does your technical training in Balanchine’s style of ballet translate into the work you do today at Paris Opera Ballet?

LD: Many companies around the world have Balanchine ballets in their repertoire. In fact, after leaving SAB, I danced Concerto Barocco on two occasions at Pennsylvania Ballet, once as a member of the corps de ballet and the second time as a principal dancer. And coincidentally, it was also one of the first ballets I danced with Paris Opera Ballet! To me, the technical training in the Balanchine style from my time at SAB strengthened my pointe work and ability to execute precise musicality, which also translates to other styles and ballets other than Balanchine’s works.

“To me, the technical training in the Balanchine style from my time at SAB strengthened my pointe work and ability to execute precise musicality, which also translates to other styles and ballets other than Balanchine’s works.”

SAB: What do you consider to be the major stylistic, aesthetic, and technical differences between Balanchine’s style of ballet and what you have learned during your work with Paris Opera Ballet?

LD: The “American” or Balanchine style tends to be more neoclassical, exaggerating steps to create longer lines and oftentimes leaning off-balance. The face catches light as the dancer directs focus directly en face to the audience. When I first joined Pennsylvania Ballet, it was very much a Balanchine style company, having been founded by Barbara Weisberger – one of Balanchine’s first students. Later, when the Angel Corella became director, he added more classical full-length ballets to the repertoire. I found my versatility in adapting to different styles as well as finding my identity as a principal dancer.

“I found my versatility in adapting to different styles as well as finding my identity as a principal dancer.”

I found I had more freedom than before to go beyond the training and focus more on interpretation. The French style is more circular with round arms, lots of épaulement and attention to details. It is less flashy, showing more control with a soft upper body contrasting with precise footwork.

SAB: What inspired you to join Paris Opera Ballet? How does the process of joining Paris Opera Ballet differ from other companies’ hiring processes?

LD: Paris Opera Ballet always had a prestigious mystery to me. So when they offered me a short-term contract, I was curious to have a new experience. After COVID, many things changed, and I decided to push to enter the company permanently. The hiring process is a bit different from other companies because it is through their annual concours, or competition, in which the result is decided by a panel of judges consisting of the artistic staff, guest judges, and dancers in the company.

SAB: What was the most challenging part of adjusting to Paris Opera Ballet’s style of dance?

LD: It took a bit of time and watching to learn, but the daily classes were very good and the teachers gave lots of stylistic corrections. It also took time adjusting to the raked studios and stage at the Palais Garnier!

SAB: Do you have a favorite ballet or role that you have performed?

LD: Juliet in Sir Kenneth Macmillan’s Romeo and Juliet was definitely a highlight at Pennsylvania Ballet. But I also really loved dancing the Sugar Plum Fairy and Dew Drop in George Balanchine’s The Nutcracker®!

SAB: In past interviews, you have described the importance of feeling empowered as a dancer to build your own unique career. How did SAB empower you and fellow students to realize your potential to guide your careers and take risks?

LD: Most of the girls in my class were taken into New York City Ballet at graduation, so I felt I had to find my own path in a way. But I had more confidence after attending SAB and was excited to be become a professional and dance more diverse repertoire than what is performed at NYCB.

“I had more confidence after attending SAB and was excited to be become a professional.”

SAB: How has the landscape of ballet changed during your career?

LD: I would say with social media it has become a bit more about entertainment and flashy tricks. I find in Europe it’s a bit more “old school” in a way, focusing more on the work as a dancer.

SAB: What advice would you give to current students looking to dance internationally or in a different movement vocabulary than the Balanchine style?

LD: I would say be receptive and open to other styles and working with new people. Also, being positive and considerate of your fellow dancers goes a long way!