Summer intensive 2017 guest instructors will be announced in spring 2017.


Paul Vasterling

Paul Vasterling stepped into the role of Artistic Director of Nashville Ballet in 1998, ten years after he began his association with the company. He came as a company dancer and later served as a teacher, ballet master and choreographer. After several years of artistic turnover at the company, Vasterling applied for the job, a position he has held ever since. In the spring of 2010, at the Board's request, Vasterling took on the additional role of CEO for the ballet.

A choreographer with a deep affinity for music, Vasterling has created more than 40 works, ranging from classical, full-length story ballets to more contemporary one-acts set to the music of local artists. Vasterling's penchant and particular gift is for storytelling, which he has done vividly in such ballets as DraculaRomeo and Juliet, and, most recently, A Midsummer Night's Dream. His ballets have been performed from South America to Asia, everywhere to great acclaim. Stateside, reviews have been equally glowing, with New York magazine Attitude writing of his work, "America has not lost its sense of value of elegant dancing as art." Beyond his own choreography, Vasterling has edited and updated classic productions of GiselleThe Sleeping Beauty and Swan Lake, and has expanded the company's repertoire to include works by Salvatore Aiello, George Balanchine, James Canfield, Lew Christensen and Twyla Tharp, among many others. He has also encouraged company dancers who have shown an interest in choreography, giving them the same opportunity to create that he received from artistic directors.

In 2004, Vasterling received a Fulbright Scholarship that enabled him to work with three different companies in Argentina, paving the way for Nashville Ballet's tour there a year later. In 2008, Vasterling raised the curtain on Nashville's Nutcracker, making a holiday tradition local and newly relevant. His 2009 premiere of Carmina Burana, a ballet he had long wanted to present, was a huge success with critics and audiences alike. Critic Pamela Gaye noted in her review for, "Choreographically, Carmina Burana challenges dancers... because of the call to intensify the dance and render it equal in power to the music. Few choreographers have been able to achieve this momentum, and it is at this task that Vasterling excelled."

A Magna Cum Laude graduate of Loyola University, Vasterling has set a new standard for arts development. Under his leadership, the company's resources have grown by close to 300 percent and Nashville Ballet became the first local performing arts organization to purchase its own building. He has transformed a troupe of 12 professional dancers into a company of 22, and his commitment to developing the dancers of tomorrow inspired him to establish a second pre-professional company of 25 dancers. Vasterling has shaped Nashville Ballet into a company high on artistry and dramatic power as well as commanding technical ability and virtuosity.

Jared Redick

Jared Redick was raised in Reston, Virginia where he began his ballet training with his mother Julia Redick at Conservatory Ballet. He studied at (University of) North Carolina School of the Arts, Mikhail Baryshnikov’s School of Classical Ballet (ABT) and the School of American Ballet.

Currently, Mr. Redick is Assistant Dean at the University of North Carolina School of the Arts under the director of Dean Susan Jaffe. His work with UNCSA includes serving as Artistic Director of The Nutcracker, Director of the Festival of North Carolina Dance, and as ballet master for Raymonda, Sweet Fields, Metallurgy, and The Sleeping Beauty Act III. In 2015, he served as ballet master for Houston Ballet and Cincinnati Ballet as well as guest company teacher for Nashville Ballet. Mr. Redick is also a juror for the Youth America Grand Prix (YAGP).

Mr. Redick began his performance career with San Francisco Ballet and danced with Texas Ballet Theater, Miami City Ballet, and the Suzanne Farrell Ballet, before joining Boston Ballet where he danced as a soloist. With Boston Ballet, Mr. Redick was featured in works including John Cranko’s Romeo & Juliet, Onegin, and The Taming of the Shrew, Balanchine’s Prodigal Son, Rubies, A Midsummer Night’s Dream and Duo Concertant, Marius Petipa’s The Sleeping Beauty, Jorma Elo’s Plan to B, Sir Frederick Ashton’s La Fille Mal Gardee, and Anthony Tudor’s Dark Elegies.

Following his retirement in 2009, Redick continued his work with Boston Ballet as Principal of Boston Ballet School’s South Shore studio in Norwell, MA. Mr. Redick has extensive teaching experience with Royal Danish Ballet School, Boston Ballet School, Houston Ballet School, Orlando Ballet School, Yale University, Syracuse University Summer Dance Intensive, and Susan Farrell’s Cedar Island Program. In 2012, Mr. Redick was appointed Associate Fellow of Pierson College at Yale University and he is also the recipient of the National Foundation for Advancement in the Arts award for exceptional artistic achievement. 

Dawn Scannell

Dawn Scannell grew up in Fort Lauderdale, Fla., and received her training from Victoria Leigh, Ruth Petrinovic and James Franklin. She joined Houston Ballet in 1985 and rose to the rank of principal dancer. After retiring in 2001, Ms. Scannell rejoined Houston Ballet as ballet mistress in 2006, staging Ben Stevenson’s Don Quixote.

Throughout her career, Ms. Scannell’s repertoire included leading roles with attention to and detail in both classical and contemporary works -- from Ben Stevenson’s Swan Lake to Christopher Bruce’s Swanson.

Ms. Scannell has had the privilege of working with many esteemed choreographers such as Sir Kenneth MacMillan, James Kudelka, John McFall, Ronald Hynd, Stanton Welch, Ben Stevenson, Jiri Kylián, Christopher Bruce, Trey McIntyre, Lila York and Helgi Tomasson.

Maniya Barredo

Maniya Barredo received one of the highest titles possible in dance in 1978 after a performance of Giselle with a company in the Philippines. Included in the audience were President and First Lady Marcos, and one of this century’s most-loved ballerinas, Dame Margot Fonteyn. At a reception following the performance, Dame Margot presented Maniya with a bouquet of flowers, and in front of all assembled proclaimed Maniya Barredo had earned the title Prima Ballerina.

“The title was given to me because of my work and I’ve never changed the way I work from the time I started to today.” That work began at age 4 for Honey (her real name). Driven to succeed, Honey left her native Philippines at age 18 to travel to New York where she joined the Joffrey School on scholarship.

Robert Joffrey, founder of the school and the ballet company carrying his name, noticed Honey had that "Something Special," and – after giving Honey her worst memory – took her aside a year later and told her he had erred in mentioning that she should give up dancing for nursing. Joffery wanted her to dance for him. And, as he did with special dancers, Joffrey gave his offer more weight by renaming Honey after the largest city in her native Philippines, Manila.

Thus, the newly named Maniya Barredo forged on and earned a spot with with Les Grandes Ballets Canadiens. In 1976 she was chosen by Alicia Alonzo to represent Canada in the International Ballet Festival held in Cuba. When she finished her performance, the requisite flowers were placed in her arms as the audience applauded their approval. Twenty times Maniya came from behind the curtain to receive the tribute of her adorers.

In the ensuing years since applause rocked the Ballet Festival, Maniya has danced with the incomparable Mickhail Baryshnikov, has been the only dancer outside of New York and Europe invited to tour with the Stars of the World Ballet, received the Gawad CCP Para Sining Award of Excellence from Filipino president Fidel Ramos, become the official Prima Ballerina of the Philippines and danced for 20 years with the Atlanta Ballet as Prima Ballerina before her retirement.

Feeling deeply for those who are just joining the merry-go-round of ballet when there’s a decline in dance companies and the arts in general, Maniya notes “the sad fate would be that doors would close all over the country. The threat to the arts threatens all of us. We need to be tenacious as artists, keep pushing those boundaries, get people fired up and not diminish the product. We need to educate people. Art needs to be part of education, and we need dance that’s challenging to the audiences.”

Taking that message to the people is what Maniya planned to do upon retirement. She was an Artistic Consultant to Ballethnic in Atlanta, the Cultural Attache for the Philippines, and was Artistic Director of the ASB Performing Ensemble, and now director of Metropolitan Ballet Theatre. Maniya Barredo makes good on her plans as she trains the next generation of dancers and takes dance to Atlanta and the world.