![]() In addition to Odette/Odile, Alina dances Nikiya in La Bayadere, Aurora in The Sleeping Beauty, Medora in Le Corsaire, Sugar Plum Fairy in The Nutcracker, Kitri as well as Queen of the Dryads in Don Quixote, and leading roles in Balanchine’s Ballet Imperial and others. Especially influential was Lyudmila Safronova with whom Alina studied during her last three years at the school. Alina started ballet classes at the legendary Vaganova Academy at age five, and credits all her teachers there for developing her technique. She joined the Mariinsky at seventeen and – thanks to talent, training, and an iron will – danced Swan Lake the very next year. But the slender, almost fragile-looking blonde is also a powerhouse at allegro, with a soaring, space-devouring jump. ![]() Alina has exquisite long limbs and total mastery of them her adagio is riveting – achieving and sustaining astounding positions. ![]() Her phenomenal extension and technique reveal new possibilities for classicism, expanding the boundaries of ballet’s lines and steps. “It’s easier to point, easier to balance and turn, easier to jump – and I love the sleek, arched look they give my foot – I won’t dance in anything else now.”Īlina Somova: quite possibly the prototype of the 21st century ballerina, indisputably a star in the making at the legendary Mariinsky (Kirov) Ballet in St.
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