Emily SoRelle Adams began her training at the Kirov Academy in D.C. and went on to study at the Baltimore School for the Arts, the Washington School of Ballet and the Rock School. She attended S.M.U.- Meadows School of the Arts before dancing with both Ballet Austin and the Washington Ballet. Since moving to NYC, Emily has performed principal roles with the Rebecca Kelly Ballet, Connecticut Ballet, and the Eglevsky Ballet. She has most recently performed with the Metropolitan Opera in La Damnation de Faust and La Gioconda. Emily continues to pursue her dance career and teaching opportunities here in the city, while enjoying life with her husband, Kenyon. This is her fourth season of performing with New Chamber Ballet, where her roles include parts in Mostly Soft, Lace, Viduity, Silent Shadows, Klavierstück, Dreams, Romantic Pieces, Echoes andTwo.
Photo by: Kristin Lodoen Linder
INTERVIEW:
Emily SoRelle Adams in conversation about dancing and her time at New Chamber Ballet.
When did you first start ballet?
I began dancing as soon as I could stand on two feet. My dad, who is a musician, played all genres of music in the house while I was growing up, from classical, to jazz, to Rock & Roll, and my favorite thing to do was to dance around the house to whatever music he happened to be listening to or practicing himself on his guitar! I could never sit still when music was playing! It was not until I was 9 years old that my parents, who were tired of me dancing around the house and running into furniture, decided to bring me to a small, local dance studio to study ballet once a week.
What did you like about it then?
When I began my dance training, I was drawn to the discipline and focus that was required of each class, and the exactness needed to perform each movement and step. I also loved the thrill of being on the stage and performing for an audience. It seemed so natural to me to be out there on stage. I remember that before my very first performance my teacher told me that I would not be able to participate in the show if I could not master a particular step required in the choreography. I practiced every day before the show until I was able to do the step, just so that I could perform!
Where did you train?
After about 6 months training in a small studio, my teacher encouraged me to audition for the Universal Ballet Academy, which is now the Kirov Academy, in Washington D.C. I received the basis of my training there, and went on to study at Baltimore School for the Arts, the Washington School of Ballet, and the Rock School. I also studied dance at Southern Methodist University- Meadows School of the Arts in Dallas, TX.
How did you end up in New York City?
After a couple years dancing in well established, mid-size ballet companies for very little pay, I decided to take a leap of faith and try the world of freelance dance here in NY. I had a dancer friend from college living in the city, who let me stay with her when I came to audition, until I finally landed my first freelance job in a small contemporary company, thus validating my move to NYC.
Tell us about your most inspiring teachers...
My most inspiring teachers include Roudolph Kharatian, who taught me at both the Kirov Academy, and at the Washington Ballet, and Karen Kriete, who taught me ballet at S.M.U.
Mr. Kharatian fostered my use of creativity and imagination in my dancing, while also giving me a firm, technical foundation as a young dancer, never expecting anything less than the maximum that I could give. Karen, in the same way, pushed me to my physical and mental limits in a constructive way, while always encouraging me and believing in my potential as an artist.
Once in New York, you soon joined New Chamber Ballet...
I learned about New Chamber Ballet through former company member Denise Small, who was working with me at the time at the Metropolitan Opera. NCB needed another dancer, and I was looking for other freelance projects to pursue, so I auditioned for Miro by taking class with the rest of the company, and was asked to join.
What distinguishes New Chamber Ballet from other companies?
New Chamber Ballet is different from other companies because of the use of live music for every show, the use of an intimate atmosphere, and the artistic risks that are taken in both music and choreography choices. What I enjoy most about NCB is the collaborative atmosphere between the dancers, choreographers, and musicians, as well as the continuous striving to create new, interesting art that breaks out of the mold and stretches both body and mind for the dancer, as well as brings a new awareness and exposure to the audience.
A daily life so steeped in creativity must be fulfilling...
What I love most about being a dancer is the opportunity to share a piece of my art, a small piece of a gift that has been given to me with an audience, in hopes that it will bring a renewed perspective of truth, beauty and life.
You are currently rehearsing with NCB Guest Choreographer Deborah Lohse on her new ballet. What is that process like?
It is very inspiring to work with Deborah Lohse. She is a genuine artist whose pieces are grounded in exploration of human relationships and behavior. This piece forces you to dig deeper within yourself to an honest, open place, where nothing can be contrived, as you process her choreography and make it your own. Her piece also demands a willingness to employ theatricality in creating a believable character and reactions to the other dancer, which I have greatly enjoyed exploring, being an expressive artist myself.
We're almost done... But I must ask the question about the peculiar spelling of your last name SoRelle - where does the capital 'R' come from?
The family legend goes that once there was a large family living in France who called themselves "the Sorelle Family". Discord broke out among the family members, and instead of resolving their issues and living in peace, half of the family moved to the South of France and changed their name to have a capital "R" in the middle, so that they set themselves apart from the rest of the family. (The word "sorelle" means "sisters" in Italian, which is very fitting since my dad grew up with 3 sisters and then ended up having 3 daughters!)