by Matthew Ball as told to Avichai Scher | Mar 23, 2022 | Profiles
Romeo has a special place in my heart. I made my debut in 2015, after I had just received my promotion to First Artist. It was the first big role that I got the opportunity to dance. The story of Romeo and Juliet is something I grew up with. I read the play at school...
by Marina Harss | Aug 26, 2020 | Career, Profiles, Technique
David Hallberg, as told to Marina Harss The role of Albrecht has gone through the widest arc of any that I’ve danced in my career. You know, Romeo will always be Romeo. And I’ve always had a sort of two-dimensional relationship with Siegfried in Swan Lake....
by Laura Cappelle | May 18, 2020 | Career, Instagram, Profiles, Technique
Marianela Nuñez, as told to Laura Cappelle Nureyev’s Don Quixote was my first full-length at The Royal Ballet, in 2001. I’d danced the Act III pas de deux a lot as a teenager in Argentina and I was an understudy for Kitri, but I’d hardly rehearsed...
by Gavin Larsen | Mar 12, 2020 | Instagram, Profiles, Technique
Sarasota Ballet was the first U.S. company to perform Sir Frederick Ashton’s Marguerite and Armand. Principal dancer Victoria Hulland dives deep into the dramatic title role. Iain Webb, our director, always educates us on the history of the ballets we’re...
by Sasha De Sola As Told To Claudia Bauer | Jul 15, 2019 | Instagram, Profiles, Technique
The first time I saw Sleeping Beauty was on video, the Kirov version with Larissa Lezhnina. The music for the first entrance gave me butterflies. Aurora comes out, and it captured my heart. Larissa coached me for my first season of Aurora, and just the fact that we...
by Tyler Donatelli As Told To Gavin Larsen | May 15, 2019 | Profiles, Technique, Viral Videos
Like so many little girls, I grew up watching the “four little swans” dance. It always pops up on your YouTube feed if you’re a dancer, so I saw lots of different versions. I figured I fit the type—I’m short and like to do petit allégro—so to...
by Hugo Marchand As Told To Laura Cappelle | Jan 20, 2019 | Profiles, Technique
Onegin isn’t a regular ballet character: He’s neither good nor bad, but gray, in between. I started by reading Alexander Pushkin’s verse poem, and I found it difficult. It portrays an emotional state that is very Russian: This existential melancholy...
by Amy Brandt | Oct 28, 2018 | Profiles, Technique
By Gillian Murphy, as told to Amy Brandt. Gamzatti was one of my first principal roles, when I was 19. Over the last 20 years I’ve had a chance to develop the character and find nuances. At first I saw her more as a villain and Nikiya as the good character....