by Amy Brandt | Nov 21, 2016 | Profiles, Technique
As told to Amy Brandt by Joaquin De Luz 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’s also pretty elusive; I...
by Amy Brandt | Oct 12, 2016 | Career, Profiles, Technique
This story originally appeared in the October/November 2016 issue of Pointe. 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...
by Julie Diana Hench | Jul 31, 2016 | Company Life
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...
by Amy Brandt | May 31, 2016 | Career, Profiles, Technique
This story originally appeared in the June/July 2016 issue of Pointe. Anaïs Chalendard 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...
by As Told To Amy Brandt | Mar 31, 2016 | Profiles, Technique
This story originally appeared in the April/May 2016 issue of Pointe. 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...