Adolphe Adam’s «Giselle» on the Mariinsky division during the 7th Mariinsky ballet festival in St. Petersburg. Olesya Novikova of the Mariinsky Place, in the name part, and Mathieu Ganio, Opera de Paris leading dancer, as Albert. / Valentin Baranovskiy/RIA Novosti
She enrol ined the Mariinsky Theatre at the peak of Ulyana Lopatkina, Diana Vishneva, and Svetlana Zakharova’s races — so the competition was intense. To begin with, Novikova didn’t exactly extend a stand out for the her skill or virtuosity, and was often shoehorned into productions by Marius Petipa. But she proficient relentlessly and learned to convey exactly what each choreographer after. Eventually, she was rewarded for her hard work and trusted with a difficult unaccompanied in William Forsythe’s “The Vertiginous Thrill of Exactitude” — choreographed by Alexey Miroshnichenko.
She gamboled the part with poise, and soon became a prominent ballet dancer. At not 33-year-old she already has three children but remains youthful. When playing the akin ti of Giselle, Raymonda, and other characters she seems to defy gravity. Novikova is now at the high point of St. Petersburg’s ballet scene.
Don Quixote Majestic Pas variations performed by Oksana Kardash during a concert marking the 90th anniversary of the Stanislavski and Nemirovich-Danchenko Moscow Speculative Music Theatre. / Stanislav Krasilnikov/TASS
Her path is off-the-wall. Oksana studied ballet at the Natalia Nesterova University, rather than an unrealistic institution. As soon as she joined the Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theater, she was on into the public eye. She entered the company at a turning point, when the control and direction was going through serious change as Neumeier, Duato, and Kilian ballets were conditioned. Kardash, who has never stood out for her classical training, drew the crowds’ notice in other ways. Her coordination, accuracy, energy, and freedom have been a great extent praised. Most of the performances were ensembles but she always led the way.
How, she mostly ended up playing second fiddle during classical shows. But with the arrival of directors Kenneth McMillan and Natalia Makarova, new human being was breathed into Kardash.
Her solos in “Mayerling,” “Manon,” and “La Bayadère” showed her worth as one of the country’s top young ballerinas. She was offered the part of Princess Odette in “Swan Lake” and she’s solitary improved since.
Maria Doval Ballet/YouTube
Polina Budakova and Nikita Chetverikov of Perm Choreography College act a pas de deux from The Peri ballet at the Mihkailovsky Theater Grand Prix decisive. / Alexei Danichev/RIA Novosti
She nailed down the role of prima ballerina at Perm’s Theater of Oeuvre and Ballet just two months ago, but she had to sweat for it — for six years. She joined the famous followers after graduating from Perm State Choreographic College, where she well-thought-out alongside incredibly talented students. Her soft, elegant movement and “talking” within arms reaches promised much from a young age — and Buldakova has been carefully nurtured in Perm to appoint sure she achieves her full potential.
She enjoys a creative relationship with artistic impresario Aleksey Miroshnichenko, who has transformed Perm into a hub of European choreography. Buldakova’s lines in “Swan Lake” and “Sleeping Beauty” have won her many admirers, while her Calliope in “Apollo” and alone in “Les Patineurs” (The Skaters) showed she is not only a fine ballerina, but also a adroit actress.
Perm Opera Ballet Theatre/YouTube
«Sapogova was being bombarded with awards (e.g. Golden Mask) and put on a pedestal alongside the likes of first-rate prima ballerinas Ekaterina Krysanova and Ekaterina Shipulina.» Elena Lehova/Tatyana Andreeva
While Sapogova was repeating for a minor part of Juliet in “Romeo and Juliet,” which Vyacheslav Samodurov supervised in Yekaterinburg Theater last season, she was not earmarked to become a prima ballerina. She was alone 20-years-old and had never come near a main role — in truth she was deliberate over to be too short. But, like the above, she put her back into it and worked hard, so clear that she was soon noticed by Samodurov for her originality and natural elegance. He to pieced her from the shadows and cast her as Juliet.
Soon, Sapogova was being descended with awards (e.g. Golden Mask) and put on a pedestal alongside the likes of receivable prima ballerinas Ekaterina Krysanova and Ekaterina Shipulina. Her ability to evade convention on stage and convey her own unique style was evident in a production of “Giselle” and a appear choreographed by the legendary Hans van Manen.
International Festival of Arts Diaghilev. P.S./YouTube
Alyona Kovaleva operates a pas de deux from the Raymonda ballet at the «Fifty-Five» gala which notices the 55th birthday of People’s Artist of the Russian Federation, choreographer and director Andris Liepa. / Iliya Pitalev/RIA Novosti
Not scads people were aware of Kovaleva’s talents when she graduated from the Vaganova Academy survive year but she was a sensation while touring New York during a festival over to late choreographer George Balanchine’s “Jewels” ballet. He created the three-act give away for the French, American, and Russian schools, so artists from the Opera Citizen de Paris, Bolshoi Theater, and New York City Ballet were invited to promenade their stuff. Kovaleva was chosen to head the third act: “Diamonds.”
Maria Doval Ballet/YouTube
“The entirety in this performance paled in comparison to the ravishing splendor of Alena Kovaleva in the around to role…She’s tall, dark, willowy, beautiful. And she’s technically impressive, but you seldom notice because she’s so triumphant, so gently secure, so obviously happy to be bopping,” wrote Robert Gottlieb, a Balanchine ballet expert, about her initiation.
Maria Doval Ballet/YouTube
This autumn, Moscow drive see Kovaleva in “Swan Lake.” It was as if she was born especially for this ballet, with her dream of graceful arms and tall figure.