What happens when a dream becomes a dream lived? What do we do when we check off our wildest imaginings? Cassandra Trenary, once a starry-eyed young ballerina dreaming of becoming an American Ballet Theatre (ABT) Principal and dancing iconic canon roles, has now reached those heights.
Speaking with her, crystal-clear is her curiosity and hunger to experience even more. She’s now taking big steps to satisfy that curiosity and dig into all of the art and life that she can. On April 11, with all the love toward her current colleagues and work, she publicly announced her departure from ABT to dance with Vienna State Opera Ballet – under the direction of Alessandra Ferri. After 15 years with the company, she’s Austria-bound.
Dance Informa caught up with Trenary to hear about how she’s feeling at this crossroads, how she’s preparing for the big move, some stand-out moments from her 15 years with ABT, and more. She has a lot of wisdom to share with dancers at similar points on their own paths – which she offers with notable grace and kindness. Let’s pass the mic over to her to hear it!
You’ll be relocating to Vienna, to a whole new company and country. First of all, how are you feeling? I can only imagine the flood of complex emotions!
“It’s bittersweet, of course – there are so many feelings. I’m very excited about the future and going in a completely different direction. At the same time, it’s leaving home, my family, those who raised you. For me right now, it’s holding all of those feelings.
But overall, I walk into the studio with so much gratitude. I feel so lucky to have spent the time I have with these colleagues and friends. They’ve been such a strong foundation, not only artistically but emotionally as well. I’ll keep that foundation with me.
Really, I feel so at peace with it all – but of course it’s also hard. Every time I’ve encountered a big life decision, I’ve known that I’ve had to follow that inner peace, that inner joy, that curiosity I have. It’s such a fleeting career, and I realized that I have to follow an amazing opportunity. It’s nice to have that little green light inside. People have even been telling me, ‘You’re going to love it…all these fears now will dissipate, and you won’t look back.'”
I’d love to hear more about ways you’re preparing for the big move. For example, are there any particular resources or networks that you’re finding helpful? I imagine that there’s a lot to be done and to consider!
“I’ve just been super fortunate to have great mentors and confidants in my life! For this big life decision, I reached out to people I trust, those I know have my best interest at heart – and that was the beginning of the decision. I was feeling this sense of ‘oh, gosh, I think I’m ready for a change, it’s time for it – but it’s also so scary.’
It really has been a creatively fulfilling life in NYC. For example, I’ve been doing cool creative projects whenever ABT has off periods. Yet, I’ve still had this itch for new growth. Those conversations with trusted people in my life have really helped me better understand what a change could look like. Therapy has also been such an important tool; it really takes mental fortitude to do what we do.
And watching Alessandra [Ferri] coach at ABT…then having time to reflect while recovering from an injury…and then the opportunity presented itself. Everything just felt aligned and correct. I also just had to make the ask and be brave!
On the practical end of things, I’ve definitely educated myself on life and dancing in Europe. I’ve reached out to dancers I know out there. Some even reached out to me, they’ve been so generous. I’ve felt very surrounded by support. Yes, there is competitiveness and pettiness in the dance world, at times – but overall, people really do want to help. It’s such a small community!
I really do keep coming back to community – and to trusting that gut feeling, and in the right timing (it’s everything!). I’ve been curious about exploring beyond my home that is ABT for years now; I’ve had that curiosity stirring within me. But I’ve had to be patient and take the time for that right thing to come along.
Anyone who’s thinking about a big change: continue to do the work, notice where that desire for change is coming from, and eventually the stars will align. Do be proactive – if you want to work with someone specific, or do a certain project, for example. I always say to just let people know you’re interested. Why not?
And approach each decision with kindness. I believe that if you do that, then it can’t really be the wrong decision…even if it doesn’t feel like the right decision. But if you’re doing it for the wrong reasons, then it won’t be the right decision.”
Fifteen years with ABT – that’s no small thing to say goodbye to. I wouldn’t ask you to encapsulate it all in one answer, but is there anything in particular you’d like to highlight – notably special roles, lessons, relationships?
“I know, I know! It’s been such an insane time to be part of it all…we’ve been through a lot in those 15 years. A huge turning point was Alexei [Ratmansky] asking me to dance Aurora in Sleeping Beauty, when I was 22 and a soloist.
To this day, I see that as one of the most extraordinary moments in my career, to dance such a monster of a ballet…a real ‘pinch me’ moment. I couldn’t believe that I had the privilege of dancing it in this company. I’m so grateful to [Ratmansky] for molding me into the artist I am; he really helped shape how I approach a lot of the work – a lot of how I research and develop roles, for instance.
Romeo and Juliet, in particular, made me fall in love with ballet. I saw that at 13 years old, and my young brain broke – thinking, ‘Wow, I want to do that.’ Juliet is a role that I will always cherish. I got to come into roles like that, and into my own in that way, as an iconic older generation was moving out. I got to see them perform and learn so much from them.
Another key point was right after COVID lockdowns, when I started really coming into my own as a creative. COVID was important for everyone, as crushing and devastating as it was. Then I was promoted; I came back into the studio full-time to try to find my way as a Principal Dancer.
And I’ve been part of so many fabulous creative projects in the city, with people – such as Twyla Tharp and Molissa Fenley – who have seen me and carried me through. With respect to projects outside of the company, after COVID, both of them had a massive influence on my career. They changed the way I approach being on stage.
With all of that happening, it’s actually always felt new and exciting – and this move is an extension of that quality. I’ve asked myself, ‘Where to from here, after I’ve danced these iconic roles?’ Hopefully there will be an opportunity for me to come back and work with the company again, bringing new growth back with me.
Looking back, it’s all of the joys and the heartbreaks and the loves and the hates and the body changes, et cetera, et cetera. I’m trying to just give it all a massive hug. I feel truly grateful!”
I’ve been struck by the sense of graciousness and humility that you seem to work and engage with. I always say that, beyond performance caliber, simply being a good person in the dance sector also matters. Do you think that how you engage and interact through the process has had a part in where you are now in your career, and even in the final result of what you offer onstage?
“I think it’s just recognizing that we’re all doing the best we can. And also keeping perspective, reminding yourself that there’s so much going on in the world, and the mundane pettiness doesn’t really matter in the end.
I guess in my experience, I’m a happier person when I can remember all of that and not get caught up in it all. I’ve seen that in others as well. As a Principal Dancer, you’re setting an example – whether you want to or not. So I do my best to be kind, but I’m human!
I also always feel better when I’m generous, kind, take the attention off myself, and remind myself that it’s not about me – without overextending myself in service. I’ve really come to see that we must take care of ourselves, our health and our peace, keep our batteries charged – and then we can truly serve.
Feel what you feel, of course, with something like rejection or someone not having a good day and taking it out on you. Do stand up for yourself, with sensitivity and clarity. Clear is kind! I feel so lucky to have people in my life who are a safe space for me, and I do everything in my power to be that for them as well. But I’ve also become more careful about protecting my own energy.”
What are you most looking forward to in this next chapter of your life and career – ways in which you can serve and other creative avenues you could explore, for instance? Do you have any particular visions in mind for what you’d like to experience and accomplish?
“I’ll be working a lot, dancing a fantastic repertoire in a grand opera house. I’m incredibly excited to be working with [Ferri] and the artistic staff and dancers that she is assembling. She has been a constant source of inspiration for me, as a young dancer and throughout my career, and her desire to bring life to the stage is palpable. I feel so honored to be a part of her chapter at the Vienna State Opera.
Yet, I bet I’ll also find other ways to broaden as a creative, into other media and art forms. People do it, I’ve found a way to do it; anyone who knows me knows that I’m always snapping pictures, I love photography. I’m also curious about choreographing and crafting, making things with my hands.
At the same time, the hustle of NYC is so intense, and it can be hard to consistently have time and space for that. I’ve heard that the pace of life in Vienna is slower, and I look forward to seeing what that might unlock in me.
I’m very excited to live in Europe, in Vienna – it’s so foreign to me across the board. I’ll be meeting new people and experiencing so many new things. I think that my whole world will expand, into all new territory. It just will. I’m curious how it’ll all shift. But I know that the education I’ll receive will be massive. I’m thrilled about that!”
Catch Trenary at her last season at the Metropolitan Opera House – find more information and tickets here!
By Kathryn Boland of Dance Informa.
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