A rehearsal for Balanchine's “Diamonds" is getting underway in St. Petersburg, and Kristina Shapran is smiling and teasing her partner, Xander Parish, as she adjusts a belt to protect her sore back. As soon as the pianist plays the first notes of Tchaikovsky's score, however, the Mariinsky Ballet first soloist transforms. Suddenly, she seems to be stepping onstage, her classically beautiful face projecting as if to the back of an auditorium; with luminous simplicity, she embodies the elusive Russian soul, that spiritual quality that the St. Petersburg ballet tradition values so highly.
Surprisingly, Shapran's road to the Mariinsky was a difficult one, from St. Petersburg to Moscow and back, with much self-doubt along the way. Her delicate, singing lines are a pure product of her Vaganova training, but instead of entering the Mariinsky straight after graduation, she opted to join smaller Russian companies—first the Stanislavsky Ballet, then the Mikhailovsky Ballet. There, she struggled with loneliness and technical frailty, and it seemed like she might not deliver on her early promise.
In 2014, however, Shapran finally found her way to the Mariinsky, and she has been making up for lost time. At 24, she is on the express track to stardom under acting director Yuri Fateyev, who is nurturing her unique gifts. Rather than a powerhouse technician, Shapran is that rare creature in the fairly stereotyped Russian ballet world: a true dance actress. In her debut as Juliet last July, she moved as if free from any constraints, letting natural reactions take their course and infusing the steps with expressive life.
Shapran in Angelin Preljocaj's "Le Parc." Photo by Natasha Razina, Courtesy Mariinsky Ballet.