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Atlanta Ballet Welcomes New Artistic Director, Gennadi Nedvigin

Gennadi Nedvigin coaches Atlanta Ballet dancers. Photo by Charlie McCullers, Courtesy Atlanta Ballet.

Atlanta Ballet has hired former San Fran­cisco Ballet principal Gennadi Nedvigin to become the company's fourth leader. He stepped into the role in July, after longtime artistic director John McFall retired on June 1. "I could have danced longer, but I wanted to prioritize this opportunity," explains Nedvigin of his recent retirement from the stage. "It will work best if I do one thing."

While at San Francisco Ballet, Nedvigin's experience included working as a ballet master and stager of Yuri Possokhov's works, in addition to dancing lead roles in a wide variety of repertoire. When he staged Possokhov's Classical Symphony for Atlanta Ballet in 2014, Nedvigin was very impressed with the company. "I also enjoyed the sense of closeness among the dancers and the family atmosphere," he adds.


Glimmers of Nedvigin's vision can already be seen in the 2016–17 season, which includes a new commission choreographed by American Ballet Theatre corps dancer Gemma Bond, his own staging of Paquita, Possokhov's Firebird and the U.S. premiere of Liam Scarlett's Vespertine, as well as the previously successful Atlanta Ballet productions of Carmina Burana and Camino Real.

"I would like to build a platform of works made just for Atlanta Ballet and so well suited that we become known for it," says Nedvigin. He believes agility to be one of the advantages of helming a small company and hopes to start touring more as a result. It's too soon to know how Nedvigin's shift in direction will affect hiring and casting. However, all of the dancers were offered contracts for the 2016–17 season.

The Conversation
Ballet Stars
Angela Sterling, Courtesy PNB

Your teacher at Central Pennsylvania Youth Ballet, Marcia Dale Weary, recently passed away. What impact did she have on you?

I feel deeply indebted to her. She shaped my life's course, and I know that were it not for her, I would not be living out my dream today. She led by example through her remarkable commitment to her work, as well as her genuine kindness and generosity.

You were a trainee with San Francisco Ballet. What was that experience like?

It was an exposure to different schools of thought. We were mostly in the full-lengths, and watching run-throughs of Sleeping Beauty and Don Quixote was revolutionary for me. But I was young and far away from home. That transition was hard. My body started changing. It wanted to be fleshy. Biology is cruel in that way. I desperately wanted to fit in, but it wasn't meant to be.

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The Royal Ballet's Vadim Muntagirov and Marianela Nuñez in La Bayadère. Photo by Bill Cooper, Courtesy ROH.

Do you ever wish you could teleport to London and casually stroll into The Royal Opera House to see some of the world's best-loved ballets? Well, we have a solution for you: The Royal Ballet's 2018-19 cinema season.

Whether live or recorded, the seven ballet programs listed below, streaming now through next October, will deliver all of the magic that The Royal Ballet has to offer straight to your local movie theater. Can you smell the popcorn already?

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Site Network
Left: Misa Kuranaga in The Veritginous Thrill of Exactitude. Gene Schiavone, Courtesy Boston Ballet. Right: Sasha Mukhamedov in Apollo. Altin Kaftira, Courtesy Dutch National Ballet.

San Francisco Ballet just announced some major news: longtime Boston Ballet star Misa Kuranaga will be joining the company as a principal dancer for the 2019-20 season, while Dutch National Ballet principal Sasha Mukhamedov has been hired as a soloist. They join a slew of newly promoted SFB principals and soloists, announced earlier this year.

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Ballet Stars
Xiao Nan Yu in company class. Aaron Vincent, Courtesy National Ballet of Canada.

On June 22, National Ballet of Canada principal Xiao Nan Yu will retire from the stage after 22 years with the company. Originally from Dalian, China, Yu studied at the Shen Yang School of Dance and the Beijing Dance Academy before coming to Canada's National Ballet School at age 17. She joined the National Ballet of Canada less than two years later, and was promoted to principal in 2001.

"She is a supreme dance actress with an innate ability to bring the audience into her world," says NBoC artistic director Karen Kain. "Nan has always brought such a calm confidence into the studio and has been a role model for so many dancers I will miss her generosity both inside the studio and out." We spoke with Yu as she prepared for her final week of performances. She opened up about her initial culture shock upon moving to Toronto, her thoughts on artistry and why she chose Hanna Glawari in The Merry Widow as her final role.

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