Shades of Intensity

In Wayne McGregor’s high-octane Chroma, The Royal Ballet’s Sarah Lamb finds meditative stillness. As told to Laura Cappelle Chroma was the first ballet I worked on with Wayne McGregor, and it was like embarking on a relationship for the first time. There’s a heightened energy, an expectation and also the desire to be a vehicleMore »

Joy at Breakneck Speed

I first saw a video of The Vertiginous Thrill of Exactitude as a student at the San Francisco Ballet School summer program. Then we learned a little bit of it in variations class, and it made such an impression on me. It was unlike anything I had learned in my technique classes. It really openedMore »

Finding Prodigal

New York City Ballet principal Joaquin De Luz on the elusive nature of Balanchine’s Prodigal Son.  As told to Amy Brandt Prodigal Son is the most important role of my career, and the most challenging. It’s not only powerful physically; it takes you on a journey, and hopefully you take the audience with you. It’sMore »

Dream Role: A Love Beyond Reach

In August Bournonville’s 1836 ballet La Sylphide, every gesture has meaning. The National Ballet of Canada’s Jurgita Dronina talks about her first time portraying the Sylphide.  As told to Amy Brandt I had never danced the Sylphide, so I didn’t have a full idea of who I wanted to be. It was like writing aMore »

Dream Role: Swanilda

In Balanchine’s comedic Coppélia, San Francisco Ballet’s Frances Chung brings out Swanilda’s playful side. All of Swanilda’s actions come from a place of pure fun. She’s kind of sassy, but I like bringing out her playfulness instead of taking a more bratty approach. The role comes quite naturally to my personality. When my partner and IMore »

Brokenhearted Heroine

In John Cranko’s Onegin, based on the poem by Alexander Pushkin, Boston Ballet’s Anaïs Chalendard taps into her own heartbreak to bring Tatiana to life. As told to Amy Brandt Tatiana is not simply a young, hopeful country girl. She’s dark and complex—she’s an introvert. I was also misunderstood when I was younger. Like Tatiana,More »

Dream Role: Swan Song—Uliana Lopatkina

The Dying Swan, choreographed by Michel Fokine for Anna Pavlova, is a short but powerful solo often reserved for the most revered ballerinas. Mariinsky Ballet principal Uliana Lopatkina shares the thought process behind her iconic interpretation. Although The Dying Swan is a very short piece, it has tremendous depth because both the audience and dancerMore »