Browse Items (12 total)

Grey discusses her notion of a "musical dancer" which was a term often used to describe her style. Grey discusses the importance of a good conductor in ballet performances, learning about the role of Giselle from Audrey De Vos, and the challenge of…

Shearer talks about her first contact with Swan Lake at age 11 at the Sadler’s Walls ballet school. She was one of the singers and they only performed once or twice a year. She also discusses learning the title role in Giselle, and the difficulty…

Lander discusses her time at the Royal Danish Ballet with Harald Lander. She also discusses working with David Blair and Anthony Tudor. She focuses primarily on the dual role as Odette-Odile in Swan Lake. Biographical note: Born in Copenhagen in…

Ananiashvili discusses how she wanted to make a change from figure skating to classical ballet. She began dancing in pointe shoes and talks about joining the older girls in classes.Biographical note:Ananiashvili is a Georgian ballerina who started…

Sarry talks about learning the role of Swanilda in Coppelia and crafting a "flashy" ending for her final performance of the Aurora Variation.Biographical note: Sarry got her start in the ballet world when she was scouted by the Joffrey Ballet in high…

MacLeary discusses his role as Prince Siegfried in Swan Lake. Biographical note: MacLeary was born in Glasgow in 1937. He began his training with Sheila Ross in Inverness shortly before he entered Sadler’s Wells Ballet School and joined Sadler’s…

Marks discusses his role as Prince Siegfried in Swan Lake. He presents his interpretation of a particular scene in Swan Lake where Prince Siegfried spots Odette. Marks speaks about the intuitiveness of the Prince's character, and wishes for more…

Sibley discusses her training at Sadler's Wells School and her roles in classical ballet, focusing on Swan Lake. She explains what it means to be a musical dancer and the huge impact music played in helping her interpret roles. Sibley speaks about…

Larsen talks about becoming a dancer and the technique of miming. He discusses his debut in a Balanchine product of Boutique Phantasm as a young man. He also offers an in-depth analysis of the role of Dr. Coppelius in the classical ballet…

Youskevitch tells how he was recruited to become a dancer, and his effort to master the role of Albrecht in the classical ballet Giselle. Biographical note: Born in the Ukraine in 1912, Youskevitch and his family fled the Russian Revolution to settle…

Vilzak talks about learning and dancing the classical ballet repertory in tsarist Russia. The principal works discussed are Tchaikovsky's Swan Lake and Sleeping Beauty. In the interview clip, Vilzak reminisces about watching dancers perform from the…

Alonso talks about her approach to learning lead roles (such as Giselle) from observing steps, entrances, and exits while in the corps de ballet (chorus). She discusses her "famous year" in bed, rehearsing steps on her fingers from memory. Alonso…
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