Let's Dance!
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Sergei and Akane Takada reahearsing for Alina Cojocaru’s Gala
(via bremertonrarebks)
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The Kirov’s Alina Somova. Pointe Magazine outtake. Photo by Nathan Sayers (2011).
Somova has danced all the major roles. She has beauty, stamina, elegant line. Yet reviewers still can’t decide if she’s a technical wonder with no soul, or a young artist with a soul that’s just not always visible onstage. “Dancer or circus pony?” went a 2009 headline in the London Telegraph.
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Roberta Marquez in La Nuit © Bill Cooper
(via borrowed-flight)
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Michele Wiles, shown here performing in the ballet Etudes. Photo by Rosalie O’Connor.
Wiles received her early training in Washington, D.C. At the age of ten, she received a full scholarship to the Kirov Academy of Ballet in Washington, D.C. Wiles also participated in the summer programs at The Joffrey Ballet and The Royal Ballet before joining American Ballet Theatre’s Studio Company (now ABT II) in 1997.
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still-she-haunts-me-phantomwise:
Despite what Walt said, it didn’t start with a mouse. It started with a little girl…
(via mothgirlwings)
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(via borrowed-flight)
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Laurretta Summerscales in Agent Provocateur. Photograph: John Davis. Styled by Fabio Immediato.
Designers contributed couture tutus to the English National Ballet auction, which raises money for the ballet. Quite the thing to turn up to your exercise class in, no?
Picks of the costumes, for wearability let alone general gorgeousness, include Agent Provocateur’s long chiffon skirt and lace bodice.
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(via borrowed-flight)
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Agrippina Vaganova in the pas de trois from Paquita. Saint Petersburg, circa 1910.
Vaganova (Russian, 1879-1951) developed her own system of teaching. It gave birth to the new Soviet style and today is used as the basis of ballet training both in Russia and in the West. Published in Fundamentals of the Classic Dance (1934), her system took elements from the graceful French school and the more athletic Italian school, and added the dramatic soulfulness of the Russian national character.
