It's just my personal reaction. I don't think I'll change my mind. To William Forsythe's razor-edged modern ballet, she also says no - "there is no heart" and it is "too radical on the body".
She danced it in Russia, made her decision, and the Kirov's Forsythe programme in London will go on without her. She also censors her classical roles because of her firm ideas of what a ballerina role should look like. She believes she can suit a "big" princess, like Raymonda, but not a "petite" one, as she has always imagined Aurora in The Sleeping Beauty - she prefers the secondary role of the Lilac Fairy.
And although she performs some of George Balanchine's more romantic roles La Valse in London , she believes, to my great chagrin, that she is too heavy for men to partner in his neo-classical masterpieces, Apollo and Agon. She appears to have an astonishing power of choice in the Kirov, and yet she exercises that choice astonishingly narrowly. I am lucky that I have this choice. Very rarely ballet throws up an artist who embodies more than supreme skill and theatrical personality, and comes to epitomise a sort of national dream.
When did she get that choice? She doesn't know. It happened. But inside the Russian ballet establishment, there seems to be some consensus that she is too special to be buffeted about by normal orders.
She is revered by the Maryinsky Theatre's supremo Valery Gergiev, and theatre staff speak highly of her. Very, very rarely ballet throws up an artist who embodies more than supreme skill and compelling theatrical personality, and comes to epitomise a sort of national dream. Galina Ulanova and Margot Fonteyn suffered that fate, and it looks as if Lopatkina is being pushed the same way.
It does all feed a worry - at 31 she is much too young to ossify in a tiny repertory, walled up in a myth. She might just get grand and mannered. Or she might even stop altogether. During a long foot injury, Lopatkina got married and had a daughter, Maria, now three pictured right, mother and child, courtesy Mariinsky. Since her return, she has danced quite rarely. I am terrified what resonance it will have for the future of my child. I imagine myself at my death, thinking, did my child see me do the best thing for her, did I live my life right?
Those sort of thoughts are always with me now. From the early age Uliana took dancing classes and was admitted to the Academy of Russian Ballet named after Vaganova St. Petersburg where she studied the art of dancing from Galina Novitskaya in primary school and Natalia Dudinskaya in higher school.
Petersburg, After graduation from the Academy in Uliana joined Mariinsky theatre company St. In Uliana was called the principal dancer of Mariinsky theatre where her teachers were Olga Moiseeva and Ninel Kurgapkina.
Uliana danced at the most famous theatres of the world. Among them are the Mariinsky theatre in St. Her net worth has been growing significantly in So, how much is Ulyana Lopatkina worth at the age of 48 years old?
She is from. We have estimated Ulyana Lopatkina's net worth, money, salary, income, and assets. Lopatkina was married to architect and writer Vladimir Kornev until their divorce in They have a daughter, Masha, born Lopatkina revealed details about her daily life in an interview to The Sunday Times in She wakes up between 9am to 10am. At the Kirov she first attends a class with other dancers and followed this with a personal rehearsal with Ninel Kurgapkina, until the latter's death.
After a break, Lopatkina has more rehearsals or helps teaching younger dancers.
0コメント