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 dancer … More »
A rehearsal for Balanchine’s “Diamonds” is getting underway in St. Petersburg, and Kristina Shapran is smiling and teasing her partner, Xander Parish, as she adjusts a belt to protect her sore back. As soon as the pianist plays the first notes of Tchaikovsky’s score, however, the Mariinsky Ballet first soloist transforms. Suddenly, she seems to … More »
Russia is often perceived as a closed book from abroad, and ballet is no exception. Though David Hallberg joined the Bolshoi Ballet in 2011, the country’s top companies have been slow to open their ranks to non-Russians. Under acting director Yuri Fateyev, however, the venerable Mariinsky Ballet has welcomed a handful of dancers trained abroad. … More »
A great ballerina holds an immense amount of power: She can adopt any role and become another being, using movement as the ultimate means of expression. Some of the greatest ballerinas of the 20th century have honed this skill, but few have become as powerful an icon as the Mariinsky Ballet’s Galina Ulanova. Named by Joseph Stalin as prima ballerina assoluta, Ulanova became the masthead for Russian ballet in the former Soviet Union.
For ballet dancers, Christmastime means The Nutcracker—and endless weeks of rehearsals and performances. By the time the New Year arrives, we can stand to wait 10 more months for the next round to begin. But despite its relentless repetition, The Nutcracker remains near and dear to many dancers’ hearts, with familiar moments sparking memories of childhood.