As one of the foremost classical ballerinas of her generation, Diana Vishneva has captivated audiences with her magnetic stage presence and pristine technique. In a move that's sure to disappoint fans on this side of the Atlantic, she recently announced that she'll give her final performances with American Ballet Theatre on June 19 and 23, 2017, as Tatiana in Onegin. She'll dance with long-time partner, ABT principal Marcelo Gomes. Luckily for Russia, Vishneva will continue as a principal at the Mariinsky.

The first time I was able to see Vishneva dance live was in the summer of 2009, when I secured a student rush ticket to see Frederick Ashton's Sylvia at ABT. Even though I was sitting so high up I could literally touch the opera house ceiling, I felt lucky to see her in that ballet with its wildly differing acts.


Vishneva told The New York Times that because she has too many projects, she's unable to focus 100 percent of her energy on ABT, and that would be a disservice to the company—though she didn't rule out the possibility of future guest appearances. Along with her regular repertoire at the Mariinsky, she'll continue the contemporary dance festival she founded, called Context—this year's festival will be held in Moscow and St. Petersburg. Vishneva will perform with Paris Opéra Ballet director Aurélie Dupont, in a new work choreographed by Batsheva Dance Company director Ohad Naharin. Now that's something I would rush to Russia to see.

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Are you a total bunhead who loves to write? You might be the perfect fit for Pointe. We're seeking an editorial intern who's equally passionate about ballet and journalism.

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Rachel Neville, Courtesy Ellison Ballet

If you've got your heart set on dancing for, say, San Francisco Ballet, you should attend a school that specializes in Balanchine, right? Not necessarily: It's actually a misconception that you have to train in a particular style or technique in order to pursue a career in that style. Ellison Ballet in New York City—which specializes in Vaganova technique—is living proof: Graduates of Ellison's year-round program and summer intensives go on to ballet companies that perform in a wide range of styles, and use what they've learned from Vaganova to land jobs.

Here are five reasons why studying Vaganova technique can actually make you a sought-after dancer for any number of ballet companies:

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Karina González in Ben Stevenson's Coppélia. Amitava Sarkar, Courtesy Houston Ballet.

Are you more of a Giselle or a Juliet?

I've always said that my favorite role is Juliet, because of her vulnerability and maturity throughout the ballet. But now that I've performed Giselle, I find her so incredibly enjoyable, from being a village girl who falls in love for the first time to the most tender, almost weightless dancing in Act II.

Are you more at home in the studio or onstage?

I love the time in the studio. The process of starting from zero to getting better each day is so rewarding. My favorite phrase in rehearsals is "Let's do it again, so I can sleep in peace tonight." I need to feel so comfortable in the studio so that when I am onstage there are no bad surprises.

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Dancers certainly don't need anyone to tell them how physical their profession is. But now, we have the data to prove it.

Researchers at InsuranceProviders.com analyzed data from the Occupational Information Network (O*NET), a national organization developed through support from the U.S. Department of Labor/Employment and Training Administration, to determine the 20 most physically demanding jobs in the country. They analyzed the level of strength, stamina, flexibility and coordination required for a host of jobs, and each category was assigned

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