Career

The Mariinsky Ballet's Uliana Lopatkina: Purity and Power

Lopatkina and Danila Korsuntsev in Balanchine's "Symphony in C." Photo by N. Razina, Courtesy Mariinsky Theater.

Last weekend, the Mariinsky Ballet announced on its website that one of its most revered prima ballerinas, Uliana Lopatkina, has retired from the stage. A principal dancer since 1995, Lopatkina's interpretation of Odette/Odile and "The Dying Swan", among other roles, was legendary. To honor her dance career, we're re-visiting this interview from the February/March 2013 issue.


What's the toughest part of being a dancer?

More than most professions, ballet erodes the private sphere. You don't fulfill yourself in this career: You serve it; you're a slave to it.


What ballet makes you most nervous?

Swan Lake. Even if it's not the most difficult ballet to perform, it's difficult in another way, a mystical way.



You've been dancing Swan Lake for nearly 20 years. Are you still discovering new things in it?

Yes, but the choreography and the traditions behind it are limiting. All you can bring to it is nuances, and not everyone can see them. I also have my limits. Odile can be very evil, brutal, and I could try that, but I don't want the audience to see me that way.



Of which accomplishment are you most proud?

Perhaps the birth of my daughter, but it's not an accomplishment; it's a gift for me to have been able to have a child.


Who is your toughest critic?

My mother. She comes to all my performances in St. Petersburg. I don't even want to call her afterwards, but she calls me!


What do you do to stay injury-free?

I try to be very reasonable with rehearsals, to warm up well and be precise in the studio. You have to treat your body like a child: Don't indulge its whims, but know the limits of what it can endure.


When you're offstage, are you more sneakers and sweatpants or high heels?

Neither. I like wearing ballet flats, jeans and a lace top or something made of natural fibers.


Photo courtesy Lopatkina


What do you do on your days off?

I try to think of ways I can keep my figure!


What would you take with you to a desert island?

My faith in God.


How would you like to be remembered?

With very simple words: She was a good person.

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Garrett Anderson. Photo Courtesy Ballet Idaho.

Big news in Boise: Ballet Idaho has announced that Garrett Anderson will succeed Peter Anastos as the company's next artistic director, starting in July. Anderson, who had an extensive dance career as a soloist with San Francisco Ballet and Royal Ballet of Flanders, and later danced with Hubbard Street Dance Chicago, has a special connection with Ballet Idaho's home city. He performed with the Trey McIntyre Project in 2011 and later as a guest artist with Boise-based LED, a music, film and dance collaborative. Anderson has also served as the chair of the Dance Department at New Mexico School for the Arts in Santa Fe.


Members of Ballet Idaho in "A Midsummer Night's Dream." Photo by Mike Reid, Courtesy ballet Idaho.

Anastos, who has enjoyed a prolific choreographic career, is retiring as Ballet Idaho's artistic director after 10 years at the helm. He leaves behind a company of 18 dancers and 6 apprentices, an academy, and a repertoire ranging from full-length classics to Balanchine to new and contemporary works. In a statement Anderson says: "I am eager to work with these artists and administrators to connect with the larger conversation Boise is having about its future. [...] Together we can continue to extend Ballet Idaho's work throughout the region and expand its artistic voice. Looking forward, my goal is to continue a legacy that is inclusive of all audiences, while pushing the boundaries of dance and helping to define its relevance in our community."

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Aviva Gelfer-Mundl competing at the 2018 Prix de Lausanne. Photo by Gregory Bartadon, Courtesy Prix de Lausanne.

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Angelina Vorontsova in the company's revival of "Cinderella." Photo by Stas Levshin, Courtesy Mikhailovsky Ballet.

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Under Messerer, the Mikhailovsky Ballet has carved a niche on the Russian and international stage by investing in coaching and dancers' growth. Unlike the older Mariinsky, St. Petersburg's second ballet company was only founded after World War I. But with a classically focused repertoire and productions that rotate onstage every month, it offers plenty of opportunities for talent to thrive.


Ballet master in chief Mikhail Messerer. Photo Courtesy Mikhailovsky Ballet.

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San Francisco Ballet's program entitled Bright Fast Cool Blue is up at the War Memorial Opera House through February 24 and features works by George Balanchine and Benjamin Millepied, as well as the SFB premiere of Justin Peck's Rodeo: Four Dance Episodes. The photos that the company has been posting of Balanchine's Serenade are absolutely gorgeous. From February 17-25 the company is also presenting Distinctly SF Ballet. This trio of works by artistic director Helgi Tomasson, Val Caniparoli and Myles Thatcher were all created for SFB. You can check out the program's trailer below.

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The New York Times reports that a two-month long internal investigation into sexual harassment and physical abuse allegations against Peter Martins, New York City Ballet's former ballet master in chief, has found that the accusations could not be corroborated. In December, an anonymous letter sent to NYCB and its affiliated School of American Ballet accused Martins of sexual harassment, although the claims were non-specific. Afterwards, several former dancers and one current company member came forward to the press accusing him of physical assault and verbal abuse. Martins, who directed the company for 35 years and has denied the accusations, retired on New Year's Day after taking a leave of absence. An interim team led by ballet master Jonathan Stafford has been overseeing the company in the meantime.

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