Xander Parish in Balanchine's "Apollo." Photo by Valentin Baranovsky, courtesy Mariinsky Ballet.
What do you enjoy more: performing or being in the studio? Performing. My coaches understand that I'm not a studio dancer—sometimes, in the studio, it can go quite horrendously. They'll say: It's okay, we know onstage you can do it.
In reaching the top, how much was talent and how much was sweat? A lot more sweat than talent. I've got certain attributes: long legs, nice feet. That's a blessing, but I wasn't naturally coordinated. I was called Bambi in school because I couldn't really control what I had. I was a very late developer: I got my strength together when I was maybe 27.
Lendorf in Don Quixote. Photo by Rosalie O'Connor, courtesy ABT.
What do you enjoy most: performing, or being in the studio? The moment right after performing. It's never a perfect show, but however you feel about it, there is a satisfaction, a sense of fulfillment.
What qualities do you admire most in other dancers? Openness. We're all afraid of being ourselves: Like actors and singers, you're being judged all the time, and you know you're being judged. You need to let go and try to be honest with yourself, because that's what appeals most to the audience and other dancers.
Angelina Vorontsova in the company's revival of "Cinderella." Photo by Stas Levshin, Courtesy Mikhailovsky Ballet.
Ella Persson remembers the rehearsals for her debut as Giselle. "I was in my first year with the company, and I started preparing with Mikhail Messerer during late evenings," the Mikhailovsky Ballet's Swedish-born coryphée says. "I was definitely not ready, but he gave me a chance to push myself and made me so much stronger, mentally and physically."
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.
McNally and Marcelino Sambé in Crystal Pite's harrowing "Flight Pattern." Photo by Tristram Kenton, Courtesy ROH.
Kristen McNally has long been one of the most versatile dramatic talents at The Royal Ballet. Since joining the company in 2002, the Liverpool-born dancer has carved a niche for herself by excelling at both character and contemporary roles, from Carabosse and the Queen in The Sleeping Beauty to work by Javier de Frutos or Hofesh Shechter.
This is Pointe's December 2017/January 2018 Cover Story. You can subscribe to the magazine here, or click here to purchase this issue.
Few ballets are as unforgiving for a young dancer as Swan Lake. Both Odette's heartbreak and Odile's deceit of Siegfried demand the kind of dramatic commitment and maturity that often come with experience. At the same time, when a director entrusts an 18-year-old corps de ballet member with the double role, the implicit promise is clear: A special ballerina will emerge from that chrysalis.
So it was with Alena Kovaleva, who turned 19 shortly after her Swan Lake debut, last September, on the historical stage of the Bolshoi Ballet in Moscow. Barely a year after her graduation from the Vaganova Ballet Academy, Kovaleva isn't a full-fledged Swan Queen yet. At nearly 5' 10", she is so tall that her coltish limbs sometimes falter, and she was visibly tiring by Odette's final pleas.
Kovaleva in "Swan Lake." Photo by M. Logvinov, Courtesy Bolshoi Ballet.
Cesar Corrales photographed by Nathan Sayers for Pointe.
This is Pointe's October/November 2017 Cover Story. You can subscribe to the magazine here, or click here to purchase this issue.
At just 20 years old, Cesar Corrales has skyrocketed to principal at English National Ballet.
English National Ballet was midway through a precise but polite performance of William Forsythe's In the middle, somewhat elevated last spring when Cesar Corrales burst into view. The 20-year-old principal turned his solo, a minor one in Forsythe's ballet, into a blaze of technical power and audacious phrasing. The tension at London's Sadler's Wells ratcheted up several notches, and his colleagues joined in his contagious energy.
It wasn't the first time Corrales had raised the stakes on stage. In three short seasons with English National Ballet, he has gone from promising virtuoso to one of the British companies' most vital members. Even among the outstanding crop of men hired by artistic director and principal dancer Tamara Rojo, Corrales' feline technique and generous presence have stood out in ballets including Le Corsaire and Akram Khan's Giselle.
Photo by Erik Berg, Courtesy Norwegian National Ballet.
One of the first things you notice about Ingrid Lorentzen is her laugh—the Norwegian National Ballet director exudes warmth. It's obvious why, in 2012, she was appointed for the job, despite the fact that she was a leading dancer at NNB with little management experience. But Lorentzen knew it wouldn't all be smooth sailing. "I started my first speech by telling the company: 'I'm going to disappoint you all,' " she remembers with a chuckle.
That lucidity, along with her open-minded philosophy, has contributed to lifting the profile of Norway's national company, founded in 1958. As director, Lorentzen has challenged her 65 dancers with boundary-pushing new productions, from Alexander Ekman's water-filled A Swan Lake to ballets based on Scandinavian plays. Programmers have taken notice: This creative vibe and NNB's close relationship with Jirˇří Kylián have led to a series of international engagements.
Kylián's "Falling Angels." Photo by Erik Berg, Courtesy NNB.
Francesca Velicu in Pina Bausch's Le Sacre du printemps by English National Ballet. Photo by Laurent Liotardo, Courtesy ENB.
There was total silence by the end of English National Ballet's first go at Pina Bausch's raw Rite of Spring, and much of the performance's success came down to a tiny dancer: Francesca Velicu. Handpicked to be The Chosen One, the Romanian corps member threw herself into the role with an innocence that made the ritual newly terrifying. "It brought me the most intense and emotional moments that I'll ever experience onstage," she says.
At just 19, Velicu is already walking in the footsteps of ballet's reigning Romanian star, her ENB colleague Alina Cojocaru. Born in Bucharest, Velicu earned top finishes at Youth America Grand Prix and completed her training at the Bolshoi Ballet Academy. In 2015, she joined the Romanian National Ballet under Johan Kobborg, who fast-tracked her: In one season, she danced Kitri, Theme and Variations and numerous soloist roles, honing her effervescent technique with breezy confidence.