The Soviet Union redefined standards in classical ballet in the 1960s, producing opulent story ballets and dancers with refined, yet daring technique. Dancers like Natalia Makarova and Valery Panov, who were among the leading performers with the Kirov Ballet (now the Mariinsky) at that time, were at the pinnacle of the art form. In this 1964 film of the Kirov's The Sleeping Beauty, Makarova and Panov dance together as Princess Florine and the Bluebird. Despite the nostalgic trappings of the soundstage dance film, their strength and intention in this pas de deux make for a timeless performance.
Before Maria Khoreva danced her first performance as a member of the Mariinsky Ballet, she was already a superstar, with devoted Instagram fans following her life as a pupil in the Vaganova Academy (follow her @marachok). Her talent was already obvious—as were her exceptionally long lines, elegant technique and charisma—and when she joined the company's corps de ballet last summer, it was apparent that her artistry was also far beyond her 18 years.
Khoreva didn't last long in the corps: in November artistic director Yuri Fateev promoted her to first soloist, the Mariinsky's second-highest rank. Not even one year into Khoreva's professional career, her repertoire already includes the title role in Paquita, the lead in Balanchine's "Diamonds" and Terpsichore in his Apollo, plus Medora in Le Corsaire, which she is performing this week during the Mariinsky's annual tour to the Kennedy Center. Between performances in Washington, D.C., we spoke to Khoreva via Skype about her life in ballet, overcoming injuries and keeping in touch with 300,000 friends on Instagram.
The luminous Olesya Novikova has become one of St. Petersburg's best-kept secrets. Pushed into leading roles early, the 34-year-old has been out of the limelight in recent years, partly because she has given birth to three children with husband Leonid Sarafanov. Last March, however, for the bicentenary of Marius Petipa's birth, she was tasked with leading a revival of Sergei Vikharev's landmark reconstruction of The Sleeping Beauty, first performed in 1999.
What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.
Here they are: the 25 up-and-coming artists we believe represent the future of our field.
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.
Last summer, Mariinsky Ballet prima ballerina Uliana Lopatkina retired after more than 20 years as a principal. Adored in Russia and by audiences around the world, Lopatkina's virtuosity, elegance and humble presence have been sorely missed. Although best known for powerful interpretations of classical roles like Odette/Odile, Lopatkina also brought unparalleled drama to contemporary works, as in this clip by Dutch choreographer Hans van Manen. Lopatkina performed the austere, but emotionally fraught duet, titled Trois Gnossiennes, with her frequent Mariinsky partner Ivan Kozlov at the Hans van Manen Festival in 2007.
From June 10–23, 119 competitors from 19 countries will gather in Jackson, Mississippi, for the 11th USA International Ballet Competition. Held every four years, the USA IBC has helped launch the careers of dozens of stars, including Daniil Simkin, Misa Kuranaga and Brooklyn Mack. "The 2014 competition was good, but we're making this year better," says jury chairman John Meehan. Changes include broadened age limits for competitors and a larger sum of prize money. This summer's competition also has a special focus on Marius Petipa in honor of his 200th birthday. There will be an emphasis on Petipa repertoire, and choreographer Alexei Ratmansky will give a workshop for competitors on his reconstructions of original Petipa choreography. This edition will also honor the legacy of Robert Joffrey, who was a catalyst in launching the USA IBC with founder Thalia Mara. Dancers from The Joffrey Ballet will perform in the opening ceremony.
At the beginning of the month, 74 young dancers from around the world gathered in Lausanne, Switzerland to compete in the 46th Prix de Lausanne. At the end of a packed week, eight candidates were named prizewinners, including 16-year-old California-native Aviva Gelfer-Mundl. One of seven Americans to enter the competition, Gelfer-Mundl—who trains both at V&T Classical Ballet Academy in Laguna Hills, CA and privately with Alla Khaniashvilli and Nazgul Ryskulova Shinn—was the only one to leave as a prizewinner. Pointe caught up with this nascent star to hear about her former career as a rhythmic gymnast, her time at the Prix and her plans to study at the Vaganova Ballet Academy in Russia next year.
Before ballet, you were a rhythmic gymnast. Why did you make the switch to ballet?
I started rhythmic gymnastics when I was around six or seven and I competed for several years. I was actually state champion and winner of the Junior Olympics in level 5. However at age 10 I got a really bad hamstring injury, and that caused me to reconsider if I really wanted to continue the sport. I wanted something easier on the body, so I started ballet and immediately fell in love with it.
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Hollywood portrayals of the dance world tend to be either campy love stories or dark, twisted melodramas. But a new French drama coming soon to American cinemas offers a more introspective (and authentic) perspective of one dancer's search for artistic fulfillment. Polina, co-directed by French choreographer Angelin Preljocaj and his wife Valerie Müller, tells the story of a talented Russian ballet student who turns down a contract with the Bolshoi Ballet to pursue a contemporary dance career. Starring Anastasia Shevtsova (a Vaganova Academy graduate who has performed with the Mariinsky Ballet), former Paris Opéra Ballet étoile Jérémie Bélengard and Academy Award-winning actress Juliette Binoche (a beautiful mover in her own right), the almost two-hour film has no shortage of dancing.
The movie, based on a graphic novel by Bastien Vivés, follows Polina's rigorous Russian training, which her working-class parents struggle to pay for. Her future at the the Bolshoi seems set, but when a French contemporary company comes to town, she's so inspired by the performance that she follows her boyfriend to France to audition for its choreographer/director (played by Binoche). She works obsessively to change her technique, but ultimately ends up in Antwerp, auditioning endlessly and tending bar. It takes a chance meeting with Karl, a choreographer and improvisation instructor, to help open her eyes to new possibilities.
Preljocaj and Müller direct Polina with a dancer's sensitivity. Many of the rehearsals were shot at his company's studio in Aix en Provence, and scenes from his ballet Snow White are featured throughout. Yes, there are subtitles, but don't let that deter you—Polina is relatable to any artist who's ever struggled to find his or her place in the dance world. The film opens August 25 in New York and September 1 in L.A., followed by a national roll-out. To find it at a theater near you, click here.
Bolshoi ballerina Evgenia Obraztsova is sunny and spritely in this 2003 video clip from the Grand Pas Classique Hongrois in Raymonda. She performed this solo at 19 during her first year with the Mariinsky Ballet. Audiences around the world love Obraztsova's contagious sense of joy, and this fun little variation is a preview of her successes down the road in other high energy-roles.
Obraztsova beams as she flies across the stage in this video, nailing the fast footwork. At some points she seems to barely touch the floor. She incorporates folksy details, like a charming head wobble, with a natural flair for character. Even in this light-hearted and super-quick dance, Obraztsova lets her soul shine through. It's sure to make you smile. Happy #ThrowbackThursday!
"The whole thing was—I like jewels," the choreographer George Balanchine told an interviewer in the spring of 1967, when asked about his newest creation for New York City Ballet, a triptych called—what else?—Jewels. He had his photograph taken while gazing appreciatively at Van Cleef & Arpels designs, or surrounded by ballerinas wearing bejeweled headpieces and gem-toned costumes by Karinska. Balanchine had an instinct for promotion; the ballet was a huge success and is still regularly performed by NYCB and other companies around the world. At the Lincoln Center Festival this summer (July 20–23), 50 years after the first performance, three companies—the Paris Opéra Ballet, NYCB and the Bolshoi Ballet—will join together to perform it in a single night. The French will dance "Emeralds." On different nights, the Russians and the Americans will alternate in "Rubies" and "Diamonds."
This seems appropriate, as each of Jewels' sections alludes to a different style of ballet: French, American, Russian. Ballet was born in France. More importantly, France is where Romantic ballet, with its feather-light technique and delicate, wafting arms, was refined. (Think La Sylphide and Giselle.) The next chapter of its development took place in Russia, where ballet acquired its grandeur, thanks to the imagination of Marius Petipa and the splendor of the Imperial Theatres. After the Russian Revolution of 1917, this world disappeared. Balanchine, along with many others, left the country, bringing his ideas about ballet to Europe and later to America, or, more precisely, to New York City.
Diana Vishneva gave her final performance with American Ballet Theatre last month after 12 years as a principal. The Russian ballerina made her first appearance with ABT even earlier as a guest artist in 2003. In this video of Aurora's Act III variation from the same year, it's easy to see why Vishneva was in demand all over the world.