Summer Intensive 2022

Summer is on its way and we are so thrilled to be preparing for our first Summer Intensive in our new spaces! Still Pointe Ballet is proud to have some incredible artists and professionals coming to join us June 13-17 and June 20-24. We love to use summer as a time of inspiration and are grateful to be able to offer the chance to study with some truly inspiring teachers right here at home!

REGISTER TODAY!

Wei, Dongsheng

Graduated in 1987 from the Beijing Dance Academy with a major in Professional Performing Arts, Ballet. Mr. Wei has been ranked China’s National Number One Artist by the Ministry of Culture of the People’s Republic of China, registered in China’s national “Who is Who,” and bestowed the title of Ballet Master by the National Ballet of China. Mr. Wei was the leading principal dancer in the National Ballet of China till 1991. Then he moved to the United States and where he performed 14 years as the principal dancer for the Atlanta Ballet. Later in 1997, after retiring from the Atlanta Ballet, Mr. Wei opened his own dance academy, the AtlantaProfessional Dance Academy, with his bellowed wife Ms. Jenny Jue Chen. With his professional experience and knowledge in dance, he is leading his academy to become internationally recognized. It is famous for being Quarter Finalists in NBC’s America’s Got Talent Season 9 live TV show in NYC’s Radio City Music Hall in 2014 and for the grand title “Amazing Star” winner in Amazing Chinese (China’s Got Talent) TV show hosted by CCTV China in 2015. He was listed in the USA National register’s “Who is Who” in 2004. He is now working on a cultural exchange program between the USA and China and is also teaching classical Ballet in Johns Creek Georgia along with teaching around the world as a guest Ballet Master.

Lucas Labrador

Lucas Labrador was born in Cosquín, Argentina. He graduated from The Rock School in Philadelphia. Lucas won first place in the pas de deux category at the Youth America Grand Prix in Atlanta and second place in the ensemble category at the New York City finals. As a part of Atlanta Ballet 2, he has performed lead and starring roles in Bruce Wells’s Beauty and the Beast and Snow White, Viktor Plotnikov’s World Premiere, Nadia Mara’s Apasionado and Tina Bohnstedt’s Eclipse. He spent two seasons at Ballet Nacional de Argentina, under the direction of Royal Ballet principal dancer Inaki Urlezaga. Lucas toured Argentina, Spain and Portugal, performing roles in Frederick Ashtons’s Birthday Offering, and William Dollar’s Le Combat, Giselle and La Traviatta. As an Atlanta Ballet apprentice, Lucas performed Ricardo Amarante’s The Premiere, Jiří Kylián’s Return to a Strange Land, Yuri Possokhov’s Don Quixote, Firebird and The Nutcracker (Spanish, Russian and French), Johan Kobborg’s Sylphide (Pas de Six), Mark Morris’ Sandpaper Ballet, Liam Scarlett’s Catch and Vespertine, Claudia Shreier’s First Impulse, Kiyon Ross’ Sum Stravinsky, and Dwight Rhoden’s Sunrise Divine. Most recently, Lucas has performed as a guest artist, leading roles with Indianapolis Ballet in Sleeping Beauty, Raymonda, and Valse Fantaisie by George Balanchine.

Megan Johnson

Megan Johnson trained with Georgia Academy of Dance & the Performing Arts for 7 years. Additionally, she was a professional company member of Georgia Dance Theatre for those 7 years.

Mrs. Johnson has had the honor of dancing the lead role of Maria in Artistic Director Sherri Davis’ original work of West Side Story, demi-soloist in Giselle, Fleur De Lyes in Hunchback of Notre Dame, Lilac Ferry in Sleeping Beauty, Odette in Swan Lake, Blanche Ingram in Sherri Davis’ original Ballet Jane Eyre,as well as Sugar Plum Fairy, Dewdrop, Snow Queen, Dolls, Ribbon Candy, Chinese and Arabian lead in Georgia Dance Theatre's productions of The Nutcracker Ballet. In addition, Megan performed the lead role of Juliet in Georgia Academy of Dance & the Performing Arts' 2017 production of Romeo & Juliet.

Carly Hammond

Carly Hammond began her formal training at Geiger Ballet under the guidance of Artistic Director Mary C. Geiger. She is a graduate of Indiana University Bloomington with a Bachelor of Science in Ballet Performance and an Outside Field in Education. While attending Indiana University, she performed principal roles in Appalachian Spring, The Four Temperaments, and Donizetti Variations, and was featured as a soloist in Violette Verdy’s Variations for Eight and the Sugar Plum Fairy in Michael Vernon’s The Nutcracker. Following graduation, she was a member of the corps at Ballet San Antonio for 3 seasons. There she performed featured roles in Gabriel Zertuche’s Dracula and The Nutcracker, as well as a Harlot in Ben Stevenson’s Romeo and Juliet and the Pas de Trois in Ben Stevenson’s Swan Lake. Ms. Hammond performed the principal couple in Gerald Arpino’s Confetti, and as a demi-soloist in Frederick Franklin’s Tribute. For her last season at BSA, Ms. Hammond danced the role of Kitri’s Friend in Willy Shives’ Don Quixote and Gerald Arpino’s Snow Queen in The Nutcracker. In 2018, Ms. Hammond joined The Georgia Ballet, and was featured as a Little Swan in Swan Lake Act 2 and as the Waltz Girl in Les Sylphides. Additionally, she has danced the role of Lise in an excerpt of La Fille Mal Gardee, as well as one of Swanhilda’s Friends in Coppelia. For the 2021-2022 season, Ms. Hammond performed the Peasant Pas de Deux and the demi-soloist Wilis Moyna in Giselle. She also performed the Snow Queen in Daet Rodriguez’s The Nutcracker, as well as Flames of Paris and a demi-soloist in Paquita. Carly is very excited and grateful to be returning to Still Pointe for the summer!

Books and Balanchine

As we say goodbye to our wonderful seniors each year, we often marvel at how much they are able to accomplish. To be a ballet dancer takes a level of focus and dedication not found in your average after school activities. And yet, rather than distracting our dancers from their academics, they will often say that dancing helps their academic achievements! Dancers learn time management while also giving their brains and bodies an artistic outlet that helps reset and refresh them before returning to their algebra or Jane Eyre. While we love sending students off to study Dance at the university level, we’re equally as proud to have students graduate and go on to study Physics, Business, and Landscape Architecture! No one should ever have to choose between books and Balanchine!

We’re still in denial about saying goodbye to this year’s graduating crew…but with two headed to Georgia Tech and the third to Kennesaw, we look forward to having them visit before too long!

Izzy Nolton

I returned to dance in the 4th grade after seeing the Nutcracker. Since then, I have found it to be the thing that relaxes me most and serves as an escape from school or anything else that brings me stress. It also serves as a creative outlet. Ballet seems to be very rigid, but it also requires creativity and a certain grace. I love the movement of ballet and how it enables you to create beautiful shapes. This is why I have always stuck with ballet and will continue to take classes through college.

Caitlin Gorman

Ballet brings me so much joy! Going to ballet class allows me to forget about homework or other stress and instead just enjoy dancing with my friends. I love every part of ballet, from the training in technique to the performance. There is nothing more rewarding than getting to perform a piece you have been working so hard on. I have so many wonderful memories from my experience with dance that I will hold onto forever.

Isabelle Wilson

Dance is such a meaningful passion for me. It allows me to express my artistry and to release all of the stress I have built up over the day. I have danced my entire life and I don't know what I'd do without it. I wish to continue dancing in my college years and for the rest of my life. No matter what form of dance, it will always have a special place in my heart. Through perfecting my technique continuously, I will continue to be dedicated to my dancing. I'd like to thank my mother, Miranda, for continuously motivating me and for introducing me to dance in the first place.

What is an Aspire student?

Aspire is our program which customizes a student's schedule for those kids who simply want MORE! 

If your child wakes up on a non-ballet day and says "I wish I could go to the studio today!" or if they just can't stop talking about all things ballet, they might be a perfect Aspire student! 

Often people might assume that Aspire is only for the most "talented" students, that we invite students to be in the program, etc. But this is absolutely not how it works! Anyone with desire can be an Aspire student, regardless of what one might consider "natural" ability. Our traditional levels are designed at a higher level than a recreational school and students will progress well on a regular schedule. But for those students who just can't get enough, who may want to dance past high school, or even those who want to go into the professional world of dance, more classes will help fulfill their soul and push them further towards their dreams.

Aspire would not work if the desire for more were to come either from us or from you as the parent. It has to come from your child! So listen to the signs! If your child expresses a desire to do more, then let us know and we'll start a conversation about what "more" looks like for them and for your family! And if you were quietly hoping to get a special invitation, just know that hope is the only invitation you need ;) 

Pictured: Allison Bell
Photocredit: http://www.franciscoestevezphotography.com/

The Virtual Compromise

Written by our dearest Maia Charanis…..

Like much of the dance community, my dancing and teaching has gone virtual. My director offers our daily classes online, and I teach the classes that are still running via Zoom. 

It’s certainly not the same as being in-studio, but we all keep repeating the mantra “at least it’s better than nothing”. 

But what happens if I really just want to do…nothing? 

I understand why some of my students might be struggling with virtual classes. Because I’m struggling with them too. 

I do take class seriously, focusing on getting the phrasing right and executing the steps with proper technique. I focus on expanding my artistry and all the other things teachers and directors constantly remind you to do. 

But class is also a place for me to socialize, to be around friends who share the common passion of dance. I can joke with them and struggle with them and laugh with them and they get it. We are all in it – whether it’s class, rehearsal or a performance – together. 

So taking a virtual class alone, connected via a screen is not the same. I can’t feel the energy in the room. That electric buzz or the blanket of serenity. I can’t mark the choreography in the corner with my friends and quietly debate whether your arm makes a large arch or a small arch. 

My world revolves around dance, whether I’m doing it or teaching it, and it has for a very long time. So it would seem that in a time of crisis I would instinctively turn to dance to cope. And folks, we are certainly in a crisis. But I haven’t turned to dance every single day to cope. 

Some days I wake up and I’m ready to go. It’s easy to put on some dance clothes, make my morning cup of tea and head to the studio in my basement (which I’m very lucky to have). Other days, I ignore my alarm and roll over and try to push away the guilt that I’m not going to take one of the seemingly hundreds of virtual classes being offered. 

It makes me feel like a bad professional dancer, and a bad example for my students, that I can’t make myself take at least one class every day. Some days, I just want to be a potato, and read and work and write and nap. 

Teaching virtually is by far one of the most difficult jobs I’ve ever had to do. For so many of us as teachers, our love for dance and our love for our students is what drives us. And it is hard to see them struggle and know that our options are limited. I can no longer sit in the studio and chat with a dancer after class, to reassure them that they are making progress and that I see improvement. I can no longer pull a dancer aside discretely and ask what’s going on, noticing that they seem a little out of it today.

Teaching through a screen alters the human experience of being a teacher. 

To my students, I just want to say that I really do get it. Some days you’re going to log in to our Zoom class and be ready to go. I love that. Some days you’re going to log in and you’re going to mess up every combination. I love that too. Some days you’re not going to make it to class because you struggled with doing online school or you’re fed up with being stuck in the house and unable to visit with friends. I feel it too. 

Come to class as much as you can, even if you’re not sure how good the class will go for you. If anything, come to class to see your friends and maybe move your body a little bit. I’m giving you permission to remove the pressure I know you’re putting on yourself. Right now, we don’t have to be the best. We just have to try. 

I promise I’m trying too, but I’m human. Some weeks I’ll take class 3-4 times. Other weeks I’ll take class 2 times. Other weeks I’ll add extra exercises, other weeks I’ll barely make it through barre. Some weeks teaching through a computer won’t seem so bad. Other weeks I’ll agonize over every minute, over every exercise, over every reaction I think I’m seeing. 

Although we’re separated, we’re not alone. We’re going through this together. Just do your best, and I promise I’ll do the same.


Many thanks to Maia for sharing with us! Read more from Maia on her blog HERE.

Gerda and the Snow Queen

Act One
Long ago, in a quiet, quaint village, if you looked closely, you might find a charming scene: two children dancing with delight. Friends since the cradle, Gerda and Kai’s hearts happily unfolded to each morning like the roses and bluebells that bloomed between their houses. All was wonder in their world. Gerda and Kai would only stop their dancing long enough to listen to the wonderful stories Gerda’s grandmother would share. 

How could these innocents know that such fantastic tales would weave their way through their own young lives? 

One day, the grandmother told the children of a Snow Queen, who had lived a dark and twisted existence for so long, her heart had grown ice-cold. It was thought the Snow Queen had fallen under the terrible spell of a magical mirror. 

Kai and Gerda learned the legend of the magic mirror as well; a mirror created by a hobgoblin to twist the view of anyone who looked at his reflection in the mirror. The hobgoblin hoped to wreak havoc, knowing people’s views of themselves and everyone and everything else in the world would become distorted. Blessing looked like curse; virtue appeared as vice. In short, anyone who fell under the mirror’s awful enchantment started down the path of becoming as depraved as its maker. 

A mischievous crew of goblins, tag-alongs to the evil hobgoblin, endeavored to take the mirror all the way to heaven, curious to see what mayhem it could wreak there. But on their way up, up, up, so fitfully did the impish goblins laugh, that they dropped the mirror. The mirror crashed to the ground, shattering. And so the story went that whoever encountered even the smallest shard of the broken mirror would see only the earth’s brokenness, its sin and sadness. 

Oh, the tales Gerda’s grandmother told! 

So don’t you know that just after she closed her storybook, Kai, the kindest of boys, got a speck in his eye? And that it was no ordinary fleck of dust, but one of the tiny bits of the hobgoblin’s mirror? Kai instantly began acting odd. Gerda couldn’t help but see his sudden indifference toward her, his aloofness. 

And then Kai disappeared. 

He followed the Snow Queen, the very Snow Queen from grandmother’s story, but no one in the village had a clue what had happened to him. Gerda didn’t either, but she knew from a place deep inside that her friend was in trouble. And so, being a girl of great love and loyalty, she decided to go find him. 

Act Two 

Wearing a scarf Kai had given her, Gerda dashed off without a doubt. She must find her friend. She came to a rippling river and wondered if it held the key of how to get to Kai. But the river had no answer. 

As she wandered away from the river, two blackbirds flitted among the branches of the forest, chattering cheerfully, as blackbirds do. “Look! We have a visitor!” one exclaimed. The pair was easily excited, and they hurried down from the trees, surrounding Gerda. They peppered the girl with questions, speaking all at once. 

Somewhat startled and struggling to get a word in, Gerda tried to tell the eager creatures about her search for Kai. “Oh! I saw a boy in the castle. Maybe it was your friend,” the blackbirds interrupted. 

“Come this way!” cried the blackbirds as they dove into Gerda’s path. And so, she followed them as they guided her to a castle’s gates and into its royal court. 

The blackbirds introduced Gerda to a royal princess—and her new prince. 

“Perhaps here is the boy you are searching for!” they said, thinking the prince was Kai. 

Gerda was crestfallen. Seeing her disappointment, the princess tried to console her, giving her a pair of red shoes to keep her safe on her journey. 

Gerda resumed her wandering in the forest and was cheered by the sight of woodland fairies and a sprite, impishly peaking at her from behind the trees. Feeling tired and quite out of harm’s way, Gerda lay down to rest. 

But a band of gypsies, led by a robber girl, crept up from out of the trees. They were not so friendly. They poked her and taunted her. Even though she was frightened, Gerda trusted enough to show the robber girl the scarf from Kai and explained about her quest. The robber girl returned Gerda’s favor by stealing the scarf right out of her hands. Gerda realized the gypsies were more interested in her things than her story. But Gerda tried once again to plead with the robber girl for help. Seeing her great love, the robber girl relented, giving Gerda back the scarf and offering to introduce her to a white stag. 

The mystical animal appeared, dancing with the robber girl, who then left Gerda to the aid of the stag. Gerda set off to continue her journey. But when she went to the right, the white stag blocked her. And when Gerda turned to the left, again, the white stag barred the way. What kind of help was this? Where could she go? Gerda, trapped by the white stag from going anywhere at all, sank to her knees in prayer. 

Ah, that was just where the white stag wanted her, and off the creature ran into the wood. A group of angels came to Gerda while she beseeched God for help. 

The wood was transformed. Gerda found herself in a Land of Ice, with snow- laden branches and flakes falling from the sky. Gerda looked about and realized Kai must be near, and then Kai himself appeared, still following the Snow Queen. Upon finding Kai, Gerda ran to him, cried for joy. He wept as well, weeping the enchanted speck right out of his eye. The evil spell was broken, and Kai was back to his sweet old self whom Gerda grew up with. 

The Snow Queen would not give up immediately, however, and she strove to keep the two friends separated. The angels protested. Then the blackbirds, the princess, the robber girl, and the white stag appeared and pushed the Snow Queen and her wicked influence away. 

Gerda introduced Kai to the new friends who led her to him. And the merry band of children and helpers returned to the little village, amongst the familiar faces of the townspeople. All looked on warmly as Gerda’s grandmother was reunited with the children. 

And so things were as they should be again, set to rights after a long journey that was anything but straightforward—but nothing if not miraculous.

Gerda and the Snow Queen Auditions

Auditions are fast approaching to take part in our Winter Concert: Gerda and the Snow Queen!

We are simply enchanted by the Hans Christian Anderson fairytale and love sharing the story with our audiences. Fairies and Villagers, a Snow Queen and Hobgoblins, a Princess and her Court, alongside Gypsies, Stags, Crows, and Angels, all join together to weave a story of friendship and hope in the face of adversity.

Auditions will be held September 14th and are open to all Still Pointe students ages 5 and up!

Summer Intensive 2019

With Summer just around the corner, we are excited to introduce you to our incredible, inspiring teachers for Still Pointe’s Summer Intensive 2019! Join us June 10th through 14th for a week of dancing and dreaming as we work from 10am-4pm daily, soaking in the best of what these working professional dancers have to offer!

CLICK HERE TO REGISTER TODAY!!!

Jillian Mitchell

Jillian Mitchell's training began in Michigan at the Milligan School of ballet, with Karen Milligan. She continued at the Harid Conservatory and finished at Canada's Royal Winnipeg Ballet School. Jillian spent summers attending National Ballet School, Pittsburgh Ballet Theatre, American Ballet Theatre, and on scholarship at Complexions. Upon graduation, she joined New Jersey Ballet. Jillian also worked with Rebecca Davis Dance, Roxey Ballet, and Georgia Ballet. In Atlanta, Jillian worked with Proia Dance Project, and gloATL. In 2017, she founded the company, Kit Modus, which is in residence at Callanwolde Fine Arts center where she also serves as ballet artistic director.

Lucas Labrador

Lucas Labrador was born in Cosquín, Argentina. He spent two seasons at Ballet Nacional de Argentina under the direction of former Royal Ballet principal dancer Inaki Urlezaga. Lucas toured Argentina, Spain and Portugal, performing roles in Swan Lake, Carmen, Paquita, La Traviata and Giselle. In 2016, he accepted a full scholarship to study at The Rock School in Philadelphia. In January 2017, he won first place in the pas de deux category at the Youth America Grand Prix in Atlanta and second place in the ensemble category at the New York City finals. As a member of Atlanta Ballet 2, his repertoire included lead and starring roles in Beauty & the Beast and Atlanta Ballet’s Nutcracker, plus roles in Swan Lake and Don Quixote. Most recently as an Atlanta ballet apprentice he has performed “the premiere” by Ricardo Amarante, “Return to a strange land” by jyri kilian, the new Nutcracker by Yuri Possokhov, “Sylphide” by Johan Kobborg, and “Sandpaper” by Mark Morris. 

Nick Hagelin

Nick is a seasoned performer, with a rich background in the performing arts.  Born in New York City with  two professional singers for parents, he trained at School of American Ballet at Lincoln Center, and went on to dance internationally with American Ballet Theatre, The Kirov, and Carolina Ballet.  He moved to Atlanta in 2009 and has enjoyed a rich career on stage dancing and performing with Atlanta Opera, Atlanta Lyric Theater, Atlanta Hawks, and dozens of dance companies and schools throughout the southeast. 

Nick Hagelin is an award-winning singer/songwriter, dancer, and actor living in Atlanta, GA.   His soulful voice and loving spirit have earned him millions of views on Youtube and a strong run on Season 10 of The Voice, where he finished Top 9.   He has been featured on The Nickelodeon Kids’ Choice Awards, NBC, CBS, FOX, We TV, FX, E! News, US Weekly, and People Magazine.  

Join millions of viewers at www.youtube.com/nickhagelin, stay connected with @nickhagelin, and explore the music at www.nickhagelin.com

Carly Hammond

Carly Hammond began her formal training at the Geiger Ballet under the guidance of artistic director Mary C. Geiger, and attended summer programs at Ballet Chicago, San Francisco Ballet, and Juilliard. She is a graduate of Indiana University Bloomington with a Bachelor of Science in Ballet Performance and an Outside Field in Education.
Ms. Hammond is a recipient of Jacobs School of Music Dean’s Scholarship and is a four-time cash scholarship winner at Regional Dance America. While attending Indiana University, she performed principal roles in Appalachian Spring, The Four Temperaments, and Donizetti Variations, and was featured as a soloist in Violette Verdy’s Variations for Eight and as Sugar Plum Fairy in Michael Vernon’s The Nutcracker.
She was a member of the corps at Ballet San Antonio for the past 3 years. There she performed featured roles in Gabriel Zertuche’s Dracula and The Nutcracker, as well as a Harlot in Ben Stevenson’s Romeo and Juliet and the Pas de Trois in Ben Stevenson’s Swan Lake. Ms. Hammond performed the principal couple in Gerald Arpino’s Confetti, and as a demi-soloist in Frederick Franklin’s Tribute. Most recently, Ms. Hammond danced the role of Kitri’s Friend in Willy Shives’ Don Quixote and Gerald Arpino’s Snow Queen in The Nutcracker. 

Rebekah Diaddigo

As the founder and director of Bluebird Uncaged, Rebekah’s passion is to bring hope and dignity through dance. From sitting mesmerized by the Nutcracker as a toddler to training at the Atlanta Ballet Centre for Dance Education to dancing principal roles, she has experienced the power, freedom, and joy in using dance to communicate.
Rebekah is a freelance artist from Atlanta, GA and has appeared with companies such as the Fly on a Wall, Proia Dance Project and Southern Arc and most recently the Atlanta Opera in La Traviata.  Some of her favorite roles include Swanhilda in Coppelia with Ballet Southeast and the Faun Couple in Alexandre Proia’s Four Seasons with Georgia Ballet. Her choreographic credits include, the opener for Passion 2014, Victoria Canal’s City Shoes music video, a short film, White Umbrella, which tells the story of a trafficking survivor from bondage to redemption, as well as the annual stage production of Sterling’s Path, a multimedia fairytale of hope. 
Rebekah loves using dance to serve internationally and has travelled to countries such as Panama and Cuba to perform and conduct workshops. She also loves mentoring the next generation through teaching. Most recently she curated the Uncaged Community Dance Festival where some of Atlanta’s leading dance companies converged for a week of collaboration. 
Rebekah holds a BA in Communications from Thomas Edison State University. When she's not in the studio, Rebekah enjoys spending time with her family, reading, winding down with hand-embroidery or making flower crowns.

Interested in Still Pointe?

Interested in Still Pointe? Email us to start a conversation about whether or not we are the studio you're searching for! May is a wonderful month to stop by for a visit to get to know us and observe a class! Or dip your toes in the water by enrolling in the summer offering that's right for you! 

Summer Camp is perfect for 4-8 year olds! This year we'll be dancing around the world and learning to appreciate how even though we may dance in different ways, we're all God's children! 

For older dancers, we hold Summer Intensive for those students who just can't get enough and are itching to dance all day long! They'll be inspired by working professionals who have turned their love of movement into careers. 

Summer Classes are perfect for maintaining and growing a student's technique during the off months. If you're looking to join us in the fall, this is a wonderful opportunity for us to get to know you and to determine your placement for the 2019-2020 season. 

Summer Camp: Dance Around the World!

This summer we are so excited to dance around the world! Our summer camp for 4-8 year olds will explore the beauty of how we are different and how much we are the same! We’ll learn new steps from around the globe, dancing our favorite way: TOGETHER!!!

Join us as we explore music and dance from around the world, movement games, crafts, snacks, choreography, and devotional time about how we are all God’s children!

Dates: Monday through Friday, June 24-28
Time: 9:30am-12pm
Cost: $145
*Early Bird Discount: $135 if registered by May 1st.

World Ballet Day

It’s time! World Ballet Day will begin here on the East Coast of the United States tonight at 9pm (still October 1st over here) with streaming from The Australian Ballet in Melbourne. Classes will continue to stream throughout the day on October 2nd.

This is a collaboration that live-streams morning and afternoon classes and rehearsals from 5 incredible ballet companies across the globe! We will get to see glimpses from The Australian Ballet, Bolshoi Ballet, The Royal Ballet, The National Ballet of Canada, and San Francisco Ballet. 

You can watch the footage on the World Ballet Day website or through any of the 5 companies' official Youtube pages!

http://worldballetday.com

Happy watching!