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Episode 3 | ChoreograpHER: Nathalia Arja
30 Plays9 days ago
In this episode of At the Barre, host Chris Farenthold, Director of Madison Ballet Special Projects, is joined by Nathalia Arja, principal dancer with Miami City Ballet and choreographer of Seven Days Walking, featured in Madison Ballet’s upcoming performance, ChoreograpHER.
Natahlia shares her journey from growing up in a ballet family in Rio de Janeiro to becoming a principal dancer, and how an unexpected injury led her to discover her creative voice as a choreographer.
She also discusses the inspiration behind Seven Days Walking, the process of staging the work on Madison Ballet dancers, and how choreography became a powerful outlet during a difficult period in her career.
From watching birds on the beach to creating movement for an all-male cast, Nathalia offers insight into the creative impulses that shape her work and the evolving artistic language she is developing as both dancer and choreographer.
About Nathalia Arja
Nathalia Arja was born in Rio de Janeiro, Brazil where she began taking dance classes at the age of five at Escola de Danca Alice Arja. At 14, she began dancing with the Compania de Ballet do Rio de Janeiro. During her year with the company in Brazil, Arja also competed in and won several dance competitions where she was offered a scholarship for El Teatro Colón, El Ballet de Santiago, Joffrey Ballet School and Canada’s National Ballet School.
At 15, she received a full scholarship to attend Miami City Ballet School where she trained for three years. She joined Miami City Ballet as a school apprentice in 2009 and was promoted to member of the corps de ballet in 2011. She was promoted to soloist in 2014 and principal soloist in 2016. In March 2020, Nathalia was promoted to Principal.
INSTAGRAM: instagram.com/nathaliaarja
See Seven Days Walking by Nathalia Arja LIVE in ChoreograpHER April 3-5, 2026
🎟️ madisonballet.org/choreographer
Join the conversation!
MBSP WEBSITE: https://www.madisonballetspecialprojects.com/
INSTAGRAM: instagram.com/madisonballetspecialprojects
UPCOMING MADISON BALLET PERFORMANCES: https://www.madisonballet.org/performances
Questions/comments? Email us at hello@madisonballetspecialprojects.com
Credits
PHOTO: Matthew Ulrich
DANCER: Madison Ballet Company Artist Lauren Thompson
MUSIC: Capet String Quartet - Ravel (Col. D 15057-60) 1928
Recommended
Transcript
Introduction to 'At the Bar' Podcast
00:00:05
Speaker
I'm Chris Farenthold, director of Madison Ballet Special Projects, and this is At the Bar, your behind-the-scenes look at the ideas, stories, and creative processes shaping Madison Ballet's work.
00:00:18
Speaker
Each episode brings our community a little closer to the dancers, choreographers, and collaborators who are making ballet in Madison right now. Whether you're a seasoned ballet domain, current or former dancer, or simply curious about how dance gets made, we warmly invite you into the room where it happens.
Natalia Arja's Background and Training
00:00:39
Speaker
Welcome back to at the bar with Madison ballet special projects. I'm Chris Farenthold director of special projects. And joining me today is Natalia Arja, a principal dancer at Miami city ballet, as well as a choreographer on our upcoming mixed rep program choreographer, her piece seven days walking. I had the privilege of seeing in rehearsal when she was here. And so we're so delighted to have you here on the podcast.
00:01:06
Speaker
Thank you. The pleasure is mine and I am so excited for the big premiere. Yes, we are too. i just want to make sure, is that Arja, that soft Portuguese J, is that right?
00:01:18
Speaker
Arja. Well, actually, i should say the real pronunciation is Natalia Arja. But since I've moved to the States, I just say Arja and, you know.
00:01:31
Speaker
Arja, okay. I understand how that happens. Yeah, yeah. Well, you're a dancer at Miami City Ballet, but you started out in Brazil. And I'm curious about what your training was like growing up. How did you find your way into ballet? And specifically, what kind of ballet class situation did you have? And did you have any other outside interests, athletic or artistic or otherwise, while you were coming into your own as a ballerina?
00:02:00
Speaker
Well, i grew up in a home where mom and dad both did ballet. Both met in a ballet company. So someone, not my brother, but myself ended up being me, the one who was going to follow their footsteps. And at the age of five, I started ballet in my mother's school in Brazil, Rio de Janeiro. So that's how my story started. In my mom's school, I did classical ballet. My background is Vaganova.
00:02:36
Speaker
I also did cat jazz, modern, contemporary. You had to do everything in her school, which I'm very grateful because it paid off because eventually when I joined the company, then I'm able to raise my hand and say, I know how to tap. I know, you know, it was great foundation.
00:02:59
Speaker
before I even got to Miami City Ballet School. So I always tell my friends here, I had a full life, a whole life before I came to the United States. In 2008, that's when I received a scholarship to Miami City Ballet School. And that's when
Transition to the U.S. and Ballet Career
00:03:18
Speaker
I came. i had just turned 15, didn't speak a word of English. So I applaud that young, courageous Natalia, because I look back and I'm like,
00:03:29
Speaker
ah was a brave move. Absolutely. i joined the school. At the time, ah the director of the school was Linda Villella, Edward Villella's wife. And i had the pleasure of working, you know, under her direction, incredible teachers, but it's balancing. So that was a whole new world for me.
00:03:52
Speaker
I never had seen really any Balanchine ballets just because of the rights. Obviously you don't have easy access to them. So I've seen few of them, but not really. so it was a culture of shock from the language to basically starting over ballet because I had not done any Balanchine before. Wow.
00:04:15
Speaker
And did you not have any time or not want to risk injury playing soccer, volleyball or swimming or anything like that? When you know, you know. And I just knew that that was my calling. That was my gift. I did do some swimming classes on the side, but I knew my passion from the get go was ballet. And the moment I started, here we are still. It's a beauty of dance that it is both an athletic activity and an artistic one. So you can be pretty much satisfied, you know, and if you have the variety of jazz tap and stuff, you can kind of not get bored, but still. Exactly. studio
00:04:53
Speaker
It's a full
Discovering Choreographic Talent
00:04:54
Speaker
package. Well, how early did you know that you also had a choreographic talent? I'm always interested in how dancers either find that was always in them or if they kind of acquired the bug later. What's your story in terms of choreography along with your dancing?
00:05:12
Speaker
I like that question because now I have realized that it's always been in there. But when you are focused on being a ballerina, you don't really...
00:05:24
Speaker
have the time to just think outside the box and even ask yourself, wait, what are my other gifts? So my mom and my father, back to them, both excellent choreographers. So I grew up little sitting next to my mom watching her choreograph. So I was already in that world and being fed by creativity and watching my mom do these incredible ballets. So I just never had the time ah until...
00:05:58
Speaker
through a sad experience last year i was injured for the whole season i was out a very serious injury that i thought it was going to be the end of my career so that's the sad part but The good part of it is that the minute that I let go and I just, I told myself, you'll heal when you're healed. Now let's see what's there for me right now. So I had the time two think about choreography and that is when I started tapping into that side of me.
00:06:33
Speaker
And that is how I created Seven Days Walking. the ballet that Madison will premiere so it did come from a time where I wasn't really well I was depressed I was feeling defeated because no dancer wants their end of their career to be because of an injury but the minute that i allow time to heal creativity started coming I've always been a little skeptical about jumping into that because I have high standards back in my family because I look at them, I go, can I, i mean, they're great.
00:07:11
Speaker
What if I'm not? So I think there was that side of me that never went there just because of that subconscious fear of ah comparing yourself with your parents just because they're incredible. So I decided, I was like, you know what, let me try. and then i did the ballet. I sent it to my mother. I was so nervous that day because I wanted to know her feedback and it ble her away. She even was surprised. She said, I didn't know that you had that language in you. That's your language. So that's how the big birth of Natalia choreographer started. That's wonderful. i think a lot of times art comes out of those dark times or that kind of serendipitous gift that you didn't realize you wanted that time off for choreography, but there you go. i think it's interesting that your mother said that she saw that that was your language.
00:08:05
Speaker
I'm always curious how a choreographer's language is affected by everything they've seen or danced in. yeah What choreographers have you particularly admired? I know your parents and I know you've danced a lot of Balanchine, but do you feel drawn to any particular dances or choreographers that you've been a part of?
Choreographic Influences and Language
00:08:24
Speaker
I've had the privilege to work with so many choreographers here at Miami City Ballet. I couldn't tell you who is my ultimate favorite one. I really don't. I've done so much that I like to see how they think about things, how they choreograph, how they piece it with the music. Each choreographer that has been here at Miami City Ballet, it's just been so different from one another. Perhaps there is maybe a small influence from each and one of them, but I think it ultimately comes from within. i think a lot of the way I love to move, perhaps it naturally that's how I transfer to the dancers. Because even when my mom said, oh, I see the Natalia language, I went, what is that? What does that mean? What is my language? So I started questioning that. And she said, don't question it. Just keep doing what you're doing.
00:09:15
Speaker
And eventually you'll see. And people will be able to point it out and say, that's Natalia. So I think it doesn't happen like that. Right now we're working with Pam Tannowitz. So, I mean, I believe that when she started, it's a process of defining your language. So now when I see ballet, I go, oh, that's Pam.
00:09:33
Speaker
you know, or I'll go, oh, that's Romanski or Justin Peck. So I think it's a process of developing what your signature moves is. I believe I'm in that process and I've created different styles already, but it was very gratifying to hear that from my mother, who I look up to. And she and I actually have some similarities too in choreographing. So it was special to hear that. Well, she sounds very wise. That's good advice to just recognize after the fact yourself and your steps and to just, you know, make them in the moment.
00:10:07
Speaker
Let's talk about how you connected with Madison Ballet.
Collaboration with Madison Ballet
00:10:10
Speaker
And specifically, that's through our artistic executive director, Shah Malik. When you were out here before staging your piece, I believe you said that y'all had connected at Central Pennsylvania Youth Ballet, right? That's right. Yeah. How did you connect with Shah find rapport with him?
00:10:25
Speaker
Yeah, it was at CPYB, this incredible ballet school. I go every year to teach there for their summer program. and we met there and we just connected. i fell in love with his personality and the things that he was saying and his vision. and I love how he's so passionate and so real. I love being around authentic people and he's so authentic and that's how we met, but we never talked about choreography or any, none of that.
00:10:56
Speaker
And then we parted ways. And one day I posted the first movement only of seven days walking on my Instagram. And that's how our relationship, how we reconnected. He saw the ballet, we called and he said, i would love your ballet in my program. And I was shocked.
00:11:16
Speaker
It was just something that I wanted to post and something incredible came out of that. And then there I was. And it's amazing. And I i asked him, I said,
00:11:28
Speaker
what made you want to choose my ballet? I wanted to pick his brain because being a director and choosing from so many, you know, choices of choreographers, I was so deeply flattered, especially since I'm entering this world now. He loved my movements.
00:11:46
Speaker
He loved the musicality, how it moves. And he mentioned how he wanted his dancers to be challenged in that way. So I was extremely honored.
00:11:58
Speaker
What was the creative impulse behind that piece, Seven Days Walking? And how did your time up here in Madison, working to restage it on our company after you had first made it on Miami City Ballet, how did that change from the first time you staged it to the second?
00:12:16
Speaker
There's not a story, but the story of the inspiration is one day I was at the beach because we have the beach right here. And I'm sitting there and I'm just started staring at the birds, the flock of birds just flying together. And i started questioning like, wow, who's leading that?
00:12:35
Speaker
How do they come together so beautifully? And then I'm just going even deeper, look at the formations. And then one goes away and then they come back together. So I was fascinated by that. And I must have looked crazy because I was just looking at them nonstop. but And i happen to be listening because I have a Spotify album with so many pieces of music that touches me. So I save them because when I hear something that I love, my brain starts creating. That's just like automatically that's what happens. So I'm listening to that music and I suddenly, I see four men.
00:13:14
Speaker
That's just what came to me. I see men in this piece, but then I stopped myself and I went, wait, but you've never done anything just for guys. Do you want to take on that challenge? I'm having a back and forth conversation with myself. And I thought, you know what?
00:13:29
Speaker
Yes, I want to do that. I always like to challenge myself from the previous piece. So if I've done part a pod day, now let me try this. So this was my next thing. Let me just work with men because it's going to force me to enter their world and think about steps that I may have never thought about it because obviously it's much easier if I just work with girls on point. It's what I do. I said to myself, yes, let's do that. So that's how even the costume came to life. I just wanted simple white pants because these are white birds. So I told the guys, I said, there's not a story. It's just a flock of birds. And we're going dance beautifully together.
00:14:16
Speaker
and you go away, you come back. And you're walking, you're flying for seven days. We'll just call it that. But I wanted to honor the name of the album. That's why I kept seven days walking. So that's how it came a about. Just at the beach, looking at the birds. And what is that music? So it's by this Italian composer, Ludovico Inaudi.
00:14:38
Speaker
I found him through, I call my car, my temple where I choreograph. That's how I disconnect. When I leave work, I put on music and I just... I'm listening and if I hear it, I save it. And that one came while I was driving. i started choreographing everything in the car.
00:14:56
Speaker
I made a joke with my husband. I said, I always have to have a car because that's where I choreograph. it So that's literally how i made the piece. Driving each day a little more, a little more. And then I had the ballet ready to go.
Adapting 'Seven Days Walking' for Madison Ballet
00:15:11
Speaker
So it was by chance that the music was playing.
00:15:13
Speaker
I love that. And that's really amazing to me, the spatial awareness that you're able to compose in your head, like not in the studio moving around. Yeah. I think everyone works differently, but that's really impressive. And I i think especially convenient if you have to commute. Exactly. And and I remember telling my mom this because she said, well, how do you, how, what is your process? I was like, oh, I just, it's in here. And she was like, well, you don't write it down? I'm like, no, it's in here.
00:15:37
Speaker
But I wanted to get back to your question for now, what is like staging for Madison dancers? Something that I even approached that for myself as a ballerina is I'll watch a video.
00:15:50
Speaker
I'll get the foundation of the steps and all of it, but I'm not going to look like that person because I'm me. I'm my unique self. So I'm going to honor the steps and what it's supposed to be, but it's going to be how Natalia will do. So the first thing I told the guys was, I know you've seen the MCB dancers, but forget it We're going to make it your own. I want yourself in the piece, not the person that I made on.
00:16:20
Speaker
And that's where I give that freedom because if they look comfortable and free, you're only selling me amazingly. So if you look good, I look good. So I wouldn't want you to look like that person because it's just not authentic.
00:16:37
Speaker
Every artist has to be their own selves. So I told them, show me what's best for you. And because it's my ballet, I also have the authority to change. So one of the guys was like, I prefer this. I said, well,
00:16:51
Speaker
You have permission. Let's change it for you. Because one of the guys here at Miami City Ballet, it's a short guy. But in Madison, it's this tall guy. And I loved seeing the different approach.
00:17:04
Speaker
So I want them to have that freedom. It's really interesting. I was actually in the studio watching you you know in rehearsal for a while, and it was fascinating to see that you are not afraid to demonstrate.
00:17:16
Speaker
And you are a principal ballerina, and you are working on a piece with only men. Yeah. And you have that authority, like you said, to change the piece because it's your piece. I was also curious what it's like To have that authority as a woman choreographing a piece just for men, were they just dancers to you and relating to you as a choreographer? Or did you feel more or less like you needed to demonstrate or could demonstrate? Yeah. You know, I really love being in the space to share
00:17:51
Speaker
And I love coaching. So it's a very comfortable space for me to be in. So I never felt intimidated by I'm only with guys. I really didn't. This genuinely is in my blood. and Again, watching my mom, if you ever watched my mom coach, She throws herself. She's 66 and men will partner her and put her. I'm like, oh my gosh.
00:18:15
Speaker
And that is exactly who I am. So as you saw in rehearsal, I throw myself on the guys and they're like, oh my gosh, like, and I'm like, don't worry about it. If there's one thing I love is to throw myself to my partners because I trust them. So it felt very comfortable. And I have been teaching for a long time now. it It doesn't feel nerve wracking to be in the front of the room for me. That certainly makes sense.
Upcoming Events and Future Aspirations
00:18:41
Speaker
Are you looking for a night out that blends art, ideas, and great conversation? Join Madison Ballet Special Projects on Thursday, March 26th for At The Bar, Ballet Salons at Leopold's.
00:18:54
Speaker
Set in the cozy, book-lined charm of Leopold's Book Spa Cafe on Regent Street, this free salon series brings you behind the scenes of the ballet world. Hosted by Chris Ferenthal, each evening features an intimate conversation with a special guest. Our featured guest for the month of March is the brilliant Chloe Angel, journalist and author of Turning Point, How a New Generation of dance Dancers is Saving Ballet from Itself.
00:19:19
Speaker
She's also the brains behind the wildly popular ballet-inspired romance novels Pot-a-Don't, Point of Pride, and Bar Fight. From sharp insights about the future of ballet to swoon-worthy backstage drama, Chloe brings passion, wit, and a fresh perspective you will not want to miss.
00:19:36
Speaker
This event is free and open to the public, so come early, grab a drink, and get up close with the world of dance at Leopold's. Visit our website, MadisonBalletSpecialProjects.com, to learn more.
00:19:49
Speaker
So you danced and are dancing. You have choreographed and are choreographing. It sounds like you teach and have taught. Do you aspire to any kind of administrative career beyond your dancing career or choreographing and guesting is what you do until the next phase? Or is it figured out by ear? What aspirations do you have for the next phase whenever that comes?
00:20:13
Speaker
So I'm going to be inspired by my 15-year-old self. One of my very first interviews I gave when I could barely speak a word of English, somebody asked me what my aspirations and dreams were. And little Natalia said to the camera, I want to be a principal dancer of Miami City Ballet.
00:20:31
Speaker
And it well, I said, okay. So now answering you, I'm going to say, you know, i have big desires, big dreams. One of my big dreams now is to continue into this choreographic world.
00:20:47
Speaker
Perhaps one day choreograph for my home company, Miami City Ballet. That will be a huge dream of mine since I've been here forever. It would be a beautiful full circle moment. But I feel deep in my heart this calling to coach.
00:21:04
Speaker
And who knows, maybe one day direct a company. i would be all for it. i have so much to give from so much I've gone through here. And like my mother, that side of the teacher, the leading is in the family. So that's something that I would go for it one day. So we'll see. The future is bright.
00:21:25
Speaker
Indeed. It does seem very satisfying, at the very least interesting as an artistic director or some leadership position where you have to program a season, you get to essentially choreograph the calendar yeah of who sees what when. How would you go about filling out a season? You have to have a nutcracker, right? Yeah. What kinds of pieces would you, in your dream company, looking into the future, how would you approach organizing a season?
00:21:51
Speaker
You know, I haven't thought about that. That's a question that any dancer would be like, me, I have all the ballets. that's Well, when thinking about a place like Miami City Ballet, that obviously this is the home for many Balanchine ballets we do.
00:22:07
Speaker
I mean, we're so fortunate. Our repertoire is incredible. It would be a mix of everything, a mix of Balanchine, a mix of classical. I mean, I've experienced so much that I haven't actually sat down to think of, oh, what would a one season for me be, you know? But I know I've been exposed to a lot that I don't think it would be a hard task because we have so much here.
00:22:31
Speaker
Of course, that's probably wise to not jinx things by like writing out your season. I love hearing that. And of course you do. Yeah. Have that deep well of Balanchine to pick from. What advice would you give to other dancers who might aspire to either a choreographic turn or administrative turn or branching out beyond just improving their technique and getting cast in the ballets they want to be
Advice and Inspiration for Dancers
00:22:56
Speaker
cast in?
00:22:56
Speaker
I would say, because my mother was an incredible, she wired me so well in coaching me how to go through this business in a healthy way.
00:23:08
Speaker
i would say to allow yourself early on to think about what I questioned myself, but I only did that when I literally, when my body was unwell, so I had to sit with that. So I would say from early on, ask yourself, wait, what do I like to do?
00:23:27
Speaker
do I want to choreograph? Maybe start doing that, start experiencing those things on the side and don't wait, okay, when I'm done dancing, because that was my mentality. Oh, when I'm done dancing, I'll tap into that. And that's actually a false statement. I could have already done it earlier, but I'm doing it now while I'm still dancing. So I would say is don't tell yourself, oh, I only know how to dance. Because a lot of what we do as dancers, we put ourselves in this little Tupperware that, okay, my gift is just to dance, but there's so much that comes from the the incredible discipline we have. ah the list goes on of the potential that a ballet dancer has. So I would say, be courageous, be brave and think outside the ballet box because the ballet is there. You're going to come in, you're going to do your job, you're going to do your class and you're going to perform.
00:24:20
Speaker
but give yourself permission. There's no shame into, oh, perhaps I want more than dancing. That's really good advice. And I think probably for anyone who's artistically inclined and wants to do something beyond the job that they're doing, just start doing it and yeah find other people who like doing it too.
00:24:38
Speaker
Exactly. Well, let's talk about seven days walking a little bit more as we kind of wrap up here. I'm curious what a first time person coming into their first mixed rep show and what the experienced ballet goer who you know knows neoclassical and knows Valanchine and all of that might see or expect from your work.
00:24:59
Speaker
So can you tell us a little bit about if there's not a story, is there an arc? What kind of movement do you use to sort of evoke these birds? And yeah, I guess just what first timers and what old timers could both expect and gain from your piece?
Artistic Vision and Recent Works
00:25:15
Speaker
Yeah, you can expect to be carried by the music and the steps. I'm someone that I choreograph music and steps side by side. So I don't want it to just be steps.
00:25:29
Speaker
I want you to feel through the music. and once the ballet premiered for the first time here, that's the feedback I received so much that they were so moved and touched by how perfectly combined musicality and steps. If it moves me, I know it will move the dancers. because I'm a dancer myself. So if I don't feel anything like and this, I really felt it. So even when I'm watching, even though I know the steps, but I'm in it and it's a piece that it builds up.
00:26:01
Speaker
First movement is sort of an introduction and they're all together. But then the second movement, the music keeps growing and growing and you're kind of like on the edge of your seat. because they're exhausted. You'll see them dancing beautifully, but they are exhausted because they do not stop. And I love that exciting thing of building up and then it's over. So expect to be hopefully on the edge of your seat.
00:26:29
Speaker
And i would say it's more on the modern side for sure. I wouldn't say it's extremely balletic. I think you have foundational steps, but I like to break it down. So yeah, seven days walking is extremely special for me.
00:26:43
Speaker
It came, like I said, it came from a not so happy place and it's taking me on my happiest beginning of my choreographer career.
00:26:54
Speaker
Oh, that's so wonderful. And I'm so glad that you made time to join us because you are actively in the middle of a principal dancer's career. Can you tell us a little bit about how busy you've been and doing what for the past week or two?
00:27:07
Speaker
It's been very busy. I just performed a role that I always wanted to do. And i thought that I was going to retire and never get to do it, but it came. It's Tarantella by George Balanchine. Actually, the original was my first boss of Miami City Ballet, Edward Villella. He was the original and I got to perform that and it was so fun. It is the hardest.
00:27:36
Speaker
You are at the end dead on the floor, but it's so much fun and so joyful. So I got to fulfill at this point in my career. i was like, yeah, I got to fulfill the dream role.
00:27:47
Speaker
And right now we're working on jewels also of Balanchine and I'm performing Rubies, which I love. rubies. So a lot of performances going on. But in the meantime, I'm listening to music, still creating, ready for the next thing because I got ballets ready to go.
00:28:03
Speaker
and Love to hear it. And I guess since we have a dancer on, these are interviews with choreographers, but you're a choreographer and dancer currently. I'm curious, what shoes do you wear? What point shoes? Oh, I wear Freed of London. Have you had the same model or maker your whole Yes.
00:28:19
Speaker
That was another very interesting transitioning because Freeds, we didn't have them in Brazil. So I used to wear Capizios. And then when I came here, the language, the style and the pointe shoes. So it was literally like starting ballet, ABC all over again, because Freeds were very, very different. But since I've changed at the age of 15, it's been my pointe shoes since... Great. That's sort of my, I guess, my red carpet question of like, what are you wearing? you know What are you wearing? Glad to know. Well, thank you again so much, Natalia. I appreciate it. And we look forward to seeing your piece on stage. And we look forward to seeing you at least hopefully at tech or something. Yes. We get further along in the process.
00:29:00
Speaker
I'm so excited. I cannot wait. Thank you for having me. Congratulations. And thank you again.
00:29:09
Speaker
Thank you for tuning in to At The Bar with Madison Ballet Special Projects. If you enjoyed this episode, we invite you to experience Madison Ballet in person by joining us at one of our upcoming performances or community events.
00:29:23
Speaker
From accessible, innovative productions to in-depth conversations with artists, our goal is to create welcoming spaces where everyone can experience ballet in a meaningful way.
00:29:34
Speaker
You can find performance dates, event details, and ticket information on our website and social media platforms. Whether it's your first time attending or you're a long-time supporter, we'd love to see you in the audience and share the experience with you live.
00:29:49
Speaker
Thanks again for listening. We hope to see you at the ballet soon.