Carla Körbes was born in Porto Alegre, Brazil, and began her ballet training at age five with local teachers. At age eleven, she began studying at Ballet Vera Bublitz. In 1996, Peter Boal danced with her as a guest artist of the school and encouraged her to come to New York to study at the School of American Ballet. For academic year 19971998, her tuition was paid by Alexandra Danilova so she could continue studying at the School of American Ballet. In 1999, she was the Mae. L. Wien Award recipient and was made an apprentice with New York City Ballet. She joined the company as a member of the corps de ballet in 2000 and was the Janice Levin Dancer Honoree for 20012002. She was promoted to soloist in 2005 and later that year joined Pacific Northwest Ballet as a soloist. Ms. Körbes was promoted to principal dancer in 2006.
In 2002, Ms. Körbes performed Richard Tanner's Ancient Airs and Dances for the nationally televised PBS Live from Lincoln Center broadcast, "New York City Ballet's Diamond Project: Ten Years of New Choreography."
In addition to her performances with New York City Ballet and Pacific Northwest Ballet, Ms. Körbes has performed with Peter Boal and Company. In 2007, she performed in the worldwide company debut performance of Morphoses/The Wheeldon Company. She has also performed as a guest artist on the Vail International Dance Festival’s “International Evenings of Dance” galas and at the “Dance Open” Gala in St. Petersburg, Russia in April 2010.
George Balanchine’s Agon, Apollo, Concerto Barocco, Coppélia (Swanilda), Diamonds, Duo Concertant, Emeralds, A Midsummer Night’s Dream (Titania, Divertissement pas de deux), Prodigal Son, Serenade, Slaughter on Tenth Avenue; La Sonnambula, Symphony in Three Movements, and La Valse; Peter Boal’s Giselle (Giselle); Val Caniparoli’s The Bridge; Merce Cunningham’s Inlets 2; Sonia Dawkins’ Ripple Mechanics; David Dawson’s A Million Kisses to My Skin; Nacho Duato’s Jardí Tancat and Rassemblement; Ulysses Dove’s Red Angels and Serious Pleasures; William Forsythe’s Artifact II and In the middle, somewhat elevated; Ronald Hynd’s The Sleeping Beauty (Aurora, Gold and Silver pas de trois, Lilac Fairy); Jiri Kylian’s Petite Mort; Jean-Christophe Maillot’s Roméo et Juliette (Juliet); Susan Marshall’s Kiss; Mark Morris’ A Garden and Pacific; Margaret Mullin’s Lost in Light; Alexei Ratmansky’s Concerto DSCH and Don Quixote (Kitri); Jerome Robbins’ Fancy Free, Glass Pieces, In the Night, and West Side Story Suite (Anita); Kent Stowell’s Carmina Burana, Cinderella (Cinderella), Hail to the Conquering Hero, Nutcracker (Clara, Flora, Peacock), and Swan Lake (Odette/Odile); Susan Stroman’s TAKE FIVE … More or Less; Richard Tanner’s Ancient Airs and Dances; Twyla Tharp’s Nine Sinatra Songs and Waterbaby Bagatelles; and Christopher Wheeldon’s After the Rain pas de deux, Carousel (A Dance), and Polyphonia.
At New York City Ballet, Ms. Körbes danced leading and featured roles in George Balanchine's Divertimento No. 15, Episodes, A Midsummer Night’s Dream (Titania, Helena), and Serenade; Peter Martins' Concerto for Two Solo Pianos, Sinfonia, The Sleeping Beauty, and Swan Lake; and Jerome Robbins' Antique Epigraphs, Fanfare, The Four Seasons, I’m Old Fashioned, and Interplay. She originated leading roles in Albert Evans' Haiku, Peter Martins' Chichester Psalms, Susan Stroman’s Double Feature, Richard Tanner's Soiree, and Christopher Wheeldon's An American in Paris and Shambards.
PNB Dancer ProfileCarla Körbes
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