Tai Jimenez.

A former principal with Arthur Mitchell's Dance Theatre of Harlem, Tai Jimenez just completed her first season as a principal with Boston Ballet. She's been working closely with artistic director Mikko Nissinen and resident choreographer Jorma Elo. And the bonus is, she gets to choreograph too.

Was it hard to leave NYC?

There weren't many dance opportunities for me in New York. The big companies weren't going to hire me. I enjoyed dancing with smaller companies like Lar Lubovitch, Complexions, and Lula Washington in California. But by the time it happened I was ready to leave.

What is your life like now?

I love my apartment. I have a view of grass and some trees. I hung up a bird feeder and every morning I am awakened by cardinals and blue jays.

What roles have you been dancing?

The first thing was a new piece by Mark Morris. I loved working with him-he's such a mad Buddha! I danced a quartet with three guys, which is right up my alley. And then I did the lead in Val Caniparoli's Lambarena. It was about mixing European and African culture, so it was a piece DTH would do really well. It was terrifying to have to prove myself in a new place. In the Russian program I did Spring Waters (pictured, with Yury Yanowsky) by Asaf Messerer, a pas de deux with scary lifts and running around the stage with exuberant passion. It's only three minutes, but really puffy--very Bolshoi, over-the-top athletic. And I did the Corsaire pas de deux, which was probably the most stressful thing in my entire career. Someone got injured so they put me in there. It's so purely classical that it intimidated me. I had to get past that initial freak-out. It was the first time I had to do 32 fouettes onstage. Oh brother! Mikko said, "Your first rehearsal was your best and then you started to chicken out."

Talking about Mikko, how is it working with him?

Amazing. He knows so much and is so passionate about ballet. Mr. Mitchell was such a wonderful performer, but Mikko brings something else. I trust his vision.

You were in Jorma Elo's new Carmen. Talk about that.

I was second-cast as Mercedes, and she does really fast dancing! I wasn't familiar with Jorma's style, and I went into a panic. He never works with the second cast, so I felt under-rehearsed. He'd give a sketch of the movement and then Melissa Hough, first-cast as Mercedes, would flesh it out. She was interpreting what he was saying, and when I realized that, I got the process quicker. I took that video and watched it and watched it. Once it was in my body, it was like butter.

You also have the opportunity to choreograph on BB dancers. How is that going?

It feels like a release. After five months of intense company work, I get to say my own thing! I'm finally at a point where I can trust myself more. I'm having so much fun with it.

How do you find the other dancers?

I'm a little shy, but it's been a warm reception. I think they are incredible dancers who can do "ballet" ballet and contemporary stuff too. They are first rate in both, and that's inspiring.

If DTH starts up again, would you leave Boston and go back to NYC?

I'm committed to where I am now. I love DTH and it's my home. I would love to dance there again in some capacity. But right now, it's time for me to grow in another way.