New York City Ballet principal Sara Mearns in a A Dancer’s Dream. New York Philharmonic. Le Baiser de la Fée, Excerpts from Neige, Petrushka. June 2013. Although doll roles abound in ballet, we lost more than we gained as Mearns changed from human to artifact. Mearns was placed at the vulnerable, emotional core of the Baiser story as a girl who discovers a snow-clad realm and romance before being distanced from them. In Petrushka she was a supporting character without serious feeling
Dancer Polina Semionova in Arsen und Spitzentanz for Harper’s Bazaar Germany, February 2014. Photograph by Jason Kim. “Fragiles Kraftpaket. Polina Semionova im Tüllkleid mit Netzeinsätzen und Blüten aus Baumwolle und Leinen von Antonio Marras. Highwaist-Panty von Triumph Essence.” "Fragile powerhouse. Polina Semionova in tulle dress with mesh inserts and flowers of cotton and linen by Antonio Marras. Highwaist panty by Triumph Essence“
Yuan Yuan Tan in Possokhov’s Firebird. San Francisco Ballet, February 2014. Photograph by Erik Tomassen. Yuan Yuan Tan as The Firebird was delightful to behold, her fire color more saffron than red. The unitard costume, by Sandra Woodall, dazzled, as did Tan, with long red-orange hair cascading down her back, and a matching tail. Her dancing was explosive, playful and articulated
Melissa Hamilton in “Now Is All There Is – Bodies in Motion” by Rick Guest. Exhibition at The Hospital Club, January 2013. The standout composition is of soloist Hamilton. A billowing white dress almost engulfs the en pointe ballerina. One arm is elongated forward and the other extended above her head, and there, peeping from the skirt, is her second ballet shoe joining her extended arm in a perfect straight line. It is exquisitely moving to see a body behave with such natural elegance while performing something which, to many, seems impossibly painful
Clarice Silva Vitkauskas in “Arty Ballerine” for Grazia France, 30th August 2013. Photographer: David Roemer. Stylist: Candice Fauchon. “Robe bustier en laine et jupon en soie métallique, Dior. Pull en mohair noué à la taille, Sportmax Code. Bijou d’oreille en or rose,Repossi”
Zenaida Yanowsky in “Now Is All There Is – Bodies in Motion” by Rick Guest. Showcasing a fusion of dance, fashion and photography in an exhibition at The Hospital Club, January 2013 The exhibition takes its name from a quote by choreographer George Balanchine calling for his dancers to be in the moment, to never hold back and to give everything, ‘What are you waiting for? What are you saving yourself for? Now is all there is!’
Latvian model Ginta Lapina in ”Glacial Glamour“ for Vogue Russia, November 2011. Photographer: Vincent Peters. The shoot subtly uses elements of seduction and sensuality mixed with ballet, which Lapina exuded with ease. With inspiration from Marilyn Monroe, Lapina wears the hand-made garments from the heavyweight labels Dior, Chanel, Valentino, Versace, Armani and Givenchy in a behind-the-scenes ballet theatre shoot
Jemma Baines in "Arty Ballerine" for Grazia France, 30th August 2013. Photographer: David Roemer. Stylist: Candice Fauchon. “Top et jupe en drap de laine et fourrure, mitaines en cuir, Nina Ricci”
Diana Vishneva for Vogue Russia, September 2011. Photographer: Patrick Demarchelier. In Demarchelier’s editorial, Vishneva gives new life, power and beauty to the featured Proenza Schouler, Lanvin, Vika Gazinskaya, Bottega Veneta, Givenchy and Jason Wu creations. She strikes the most powerful and stylish prima-ballerina poses for the camera proving that a classical dancer can easily outdo any modern supermodel when it comes to fashion
Ashley Bouder (New York City Ballet) in “Tarantella” at Dance Open Ballet Festival, April 2011, Saint Petersburg, Russia. Photographer Stas Levshin. Sadly Ashley Bouder and Daniel Ulbricht (New York City Ballet)’s Tarantella failed to impress, lacking in neatness and exuberance and, despite a few quicksilver moments, their dance lost steam as it proceeded
Maria Alexandrova, Bolshoi Ballet, in The Flames of Paris, Moscow, 15 May 2013. © E Fetisova. Alexandrova clearly revels in the role of Jeanne which allows her to unleash that glorious physical power and freedom of movement and show that she can jump just as high as the men (she even treated the audience to a few extra grands jetés during the curtain calls). Dramatically she was less coherent, perhaps reflecting the dichotomy of the ballet itself
Svetlana Zakharova in Macbeth. Russian Ballet Icons, Galina Ulanova Gala Rehearsals, London Coliseum (May 2011). Photographer Paolo Bonciani. A pas de deux from Macbeth was danced by Svetlana Zakharova and Andrei Uvarov. Vasiliev’s choreography appears very similar to Grigorovich’s heroic Soviet genre, with extravagant lifts conveying extreme emotional states. Lady Macbeth spent much of her time on Macbeth’s back, her legs upstretched or wrapped around him, while he agonised under his cloak
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