Guest Mentors

Summer Intensives Guest Mentors

Summer Intensives Guest Mentors

Meet Our 2019 Summer Guest Mentors

Photo by Keiko Guest.

Robert Barnett, Atlanta Ballet Artistic Director Emeritus (1961-1994) & Retired New York City Ballet Dancer

Rober Barnett was born in Washington state in 1925 and graduated from Wenatchee High School in 1943. He joined the U.S. Navy during World War II, mustering out in June 1946. He began his ballet training with Bronislava Nijinsky in Los Angeles, joining the original Ballet Russe in Barcelona, Spain in 1948. He studied in Paris with Lubov Igorova, returning to the United States, where he was elevated to the position of soloist. In 1958, Barnett and his wife, Virginia Rich Barnett, were invited by Atlanta Ballet founder and director Dorothy Alexander to join her company as co-directors and principal dancers. Alexander appointed Barnett as artistic director when she retired in 1961, a position he held until 1994. He is the proud father of Virginia and sons Robert Jr. and David, and grandfather of grandsons Aaron, Ryan and Austin Barnett. He is pleased to remain a devoted supporter of Atlanta Ballet, Artistic Director Gennadi Nedvigin and Dean Sharon Story of the Centre for Dance Education, as well as the board of directors, staff, and, especially, the talented dancers who fill him with pride.


Photo by Charlie McCullers.

Nadia Mara, Atlanta Ballet Company Dancer

Nadia Mara was born in Montevideo, Uruguay, and trained at Uruguay’s National School of Ballet, graduating as the best dancer in school and earning the Elena Smirnova Gold Medal. In the United States, Nadia began dancing with North Carolina Dance Theatre and joined Atlanta Ballet in 2006. Her most notable lead roles include Giselle, Kitri in Don Quixote, Sugar Plum Fairy in Atlanta Ballet's Nutcracker, Mina in Michael Pink’s Dracula, Nathalie in Jorden Morris’ Moulin Rouge® - The Ballet and Marguerite in Helen Pickett’s Camino Real. Principal roles include Balanchine's Allegro Brillante, Stars and Stripes and Who Cares?; James Kudelka's The Four Seasons; David Bintley's Carmina Burana; and Yuri Possokhov's Firebird, among others. She has been featured in Alexei Ratmansky’s Seven Sonatas, Jiří Kylián’s Petite Mort, Ohad Naharin’s Minus 16 and Secus, Alexander Ekman’s Cacti, Christopher Wheeldon’s Rush, Jorma Elo’s 1st Flash, Wayne McGregor’s Eden|Eden and Liam Scarlett’s Vespertine. Nadia has received the award of “Outstanding Artist" given by The Atlanta Journal Constitution and Mundo Hispanico.

Photo by Charlie McCullers.

Moisés Martín, Atlanta Ballet Company Dancer

Moisés Martín was born in Reus, Spain, and trained at the Municipal Dance School of Zaragoza and Escuela de María de Ávila. He continued his studies on scholarship at the San Francisco Ballet School, under the direction of Lola de Avila, later joining the company and becoming a soloist in 2005. In 2007, he joined the Dutch National Ballet and danced as a second soloist until 2011. He has performed a mix of classical and contemporary works, including pieces by Kenneth MacMillan, George Balanchine, Frederick Ashton, Rudolf Nureyev, Jerome Robbins, Helgi Tomasson and Yuri Possokhov, among others. In 2012, he joined Compañía Nacional de Danza as a principal dancer and performed leading roles in such works as Sonatas and Raymonda Divertimento by José Carlos Martinez, Giselle by Jean Coralli and Jules Perrot, Who Cares? by George Balanchine, and Espada and Basilio in Don Quixote alongside guest dancers Elisa Badenes and Yolanda Correa, among other works. In 2016, he participated in the International Dance Festival of Cuba, dancing the full-length Swan Lake with Viengsay Valdés and the National Ballet of Cuba.

Veronika Part, Principal Dancer at American Ballet Theatre

Born in St. Petersburg, Russia, Veronika Part began her early training in artistic gymnastics before entering the Vaganova Ballet Academy in 1988. Part graduated in 1996 and joined the Kirov Ballet. She was promoted to soloist in 1998. Part’s repertoire with the Kirov included Nikiya in La Bayadère; the Queen of the Dryads in Don Quixote; Myrta, Moyna, and Zulma in Giselle; Raymonda and Henrietta in Raymonda; the Lilac Fairy in The Sleeping Beauty; and Odette/Odile in Swan Lake. She also danced roles in George Balanchine’s Apollo (Terpsichore), Jewels (Emeralds and Diamonds), Symphony in C (second movement), and Serenade and in John Neumeier’s The Sounds of Empty Pages. Part was the winner of the BALTIKA Prize in 1999. Part joined American Ballet Theatre as a soloist in August 2002. Her roles with the Company include Terpsichore in Apollo; Nikiya in La Bayadère; Zina in The Bright Stream; Fairy Godmother in Frederick Ashton’s Cinderella; Twig in James Kudelka’s Cinderella; Prayer in Coppélia; an Odalisque in Le Corsaire; Kitri, Mercedes, and the Queen of the Driads in Don Quixote; Glove Seller in Gaîté Pasrisienne; Myrta in Giselle; Queen of Shemakahn in The Golden Cockerel; An Episode in His Past in Jardin aux Lilas; leading roles in Ballet Imperial, The Leaves Are Fading, and Mozartiana; Manon in Lady of the Camellias; Lescaut’s Mistress in Manon; His Friend’s Wife in The Moor’s Pavane; the Sugar Plum Fairy in Kevin McKenzie’s The Nutcracker; Clara, the Princess in Alexei Ratmansky’s The Nutcracker; Emilia in Othello; a role in Other Dances; the Chief Nursemaid in Petrouchka; Eldest Sister in Pillar of Fire; the Polovtsian Princess in the Polovtsian Dances; The Siren in Prodigal Son; Raymonda, Henrietta, the White Lady, and the Lead Spanish Dancer in Raymonda; Lady Capulet in Romeo and Juliet; Princess Aurora and the Lilac Fairy in The Sleeping Beauty; Odette/Odile, the Polish Princess, and a Big Swan in Swan Lake; the Sylph in La Sylphide; the leading role in Les Sylphides and Symphonie Concertante; Sylvia and Terpsichore in Sylvia; the second movement in Symphony in C; The Awakening Pas de Deux; and roles in Bach Partita, Birthday Offering, The Brahms-Haydn Variations, Duets, The Garden of Villandry, Monotones II, Overgrown Path, Seven Sonatas, Sinfonietta, and Symphony #9. She created Natalia in On the Dnieper; the Lilac Fairy in Alexei Ratmansky’s The Sleeping Beauty; a part in the Blue Pas de Deux; and leading roles in Dumbarton, Kaleidoscope, Triptych, and Within You Without You: A Tribute to George Harrison. Part was promoted to principal in May 2009.

Julianne Spratlin, Retired Soloist at San Francisco Ballet and Director/Owner of The Dance Training Center/San Francisco

Julianne Spratlin received her training at the Atlanta School of Ballet under the direction of Tom Pazik and Robert Barnett. She continued her studies at both the School of American Ballet and Boston Ballet. Ms. Spratlin danced with the Atlanta Ballet for eight years under the direction of John McFall. She performed principal roles in works by Balanchine, as well as the lead roles in many story ballets. She also worked with many contemporary choreographers and created roles in ballets by John McFall, Michael Pink, Lila York, David Parsons, Donald Byrd, and Stanton Welch.

In 2002, Ms. Spratlin joined the Joffrey Ballet. During her time there she danced a wide range of principal roles in the Joffrey repertoire to critical acclaim, including works by Ashton, Cranko, Balanchine, Kylian, Tharp, Joffrey and Arpino. In 2004, she was chosen as Chicagoan of the Year by the Chicago Tribune. In 2007, Ms. Spratlin joined the San Francisco Ballet, where she danced principal and soloist roles in ballets by Robbins, Taylor, and Balanchine and worked to create ballets with choreographers Caniparoli, Welch, Kudelka, Wheeldon, and Adam. In the spring of 2010, she was honored to be a guest artist with the Estonian National Ballet, performing with SFB principal Tiit Helimets. Ms. Spratlin joined the Milwaukee Ballet in 2010 as a principal dancer. Ms. Spratlin also had the great honor of being named one of 2011's "25 To Watch" by Dance Magazine and fellow artist Tiit Helimets.

Ms. Spratlin began her teaching career at the Atlanta Ballet Centre for Dance Education, teaching and coaching Pre­-professional Division students, many of whom went on to join Atlanta Ballet and other professional companies. During her time in Chicago, she taught at the Lou Conte Dance Studio of Hubbard Street Dance Chicago. In San Francisco, Ms. Spratlin taught at The Ballet Studio since 2010 and became TBS sssociate artistic director.

Sensing the need for a new kind of ballet school in San Francisco, Ms. Spratlin established the Dance Training Center/San Francisco in January of 2014. A school with the highest quality of training, smaller classes, and a less competitive environment than some larger schools, DTC/SF strives to give individual attention to students in a healthy, positive atmosphere. DTC/SF is also a place where professional dancers and students from other ballet schools come to tune­up and work on their technique when recovering from injury. Ms. Spratlin regularly teaches company class for Smuin Ballet and has taught for Amy Seiwert's Imagery. She was also thrilled to return to the Atlanta Ballet Centre for Dance Education in 2016 as a faculty member for both the Advanced and Professional Summer Intensives.