Alina Cojocaru was born in Bucharest, Romania in 1981. When Alina was a kid she was studying gymnastics and never saw a live ballet. This all changed when she was sent to Bucharest Ballet School and several months later sent with eight other students to Kiev to participate in student exchange program.
At the age 16 Alina won a gold medal at a prestigious international ballet competition Prix de Lausanne. The medal came with another benefit - a six month scholarship at the Royal Ballet School in London.
After intense ballet training in London Alina Cojocaru made a decision to join the Kiev Ballet as a principal dancer. After one season she returned back to the Royal Ballet in London in 1999, and soon she got promoted there to the principal dancer in 2001.
Since that time she performed in many dramatic roles on stage including her famous ballet dancing as Giselle, alongside her partner in life and on stage Johan Kobborg. Her famous performance was recorded in 2006 and aired in England on Boxing Day.
Tuesday, April 3, 2012
Thursday, January 19, 2012
Famous Georgian ballerina Nina Ananiashvili
Famous Georgian ballerina Nina Ananiashvili was born in Tbilisi, Georgia in 1963. The beginning of her career was quite unusual, as at first little Nian was dreaming to become a figure skating star. And she even became a champion in the junior division in her native Republic of Georgia. However, at the age of 13 she entered the Moscow Choreographic Institute, successfully graduate from it and got invited into corps de ballet of entered the Bolshoi Ballet in 1981.
She quickly rose through ranks and became a prima ballerina in Bolshoi. With her dancing partner Andris Liepa she was the first Soviet dancer to appeared as a guest performer at the New York City Ballet in 1988 (they were first Soviet dancers invited to show their mastership there). Soon Nina became a principal dancer for the American Ballet Theatre, and in 1999 she joined the Houston Ballet with that same rank.
After her native Georgia became independent Nina Ananiashvili headed the National Ballet Ensemble of Georgia as an artistic director. Since 2006, she has been appointed as an United Nations National Goodwill Ambassador.
She quickly rose through ranks and became a prima ballerina in Bolshoi. With her dancing partner Andris Liepa she was the first Soviet dancer to appeared as a guest performer at the New York City Ballet in 1988 (they were first Soviet dancers invited to show their mastership there). Soon Nina became a principal dancer for the American Ballet Theatre, and in 1999 she joined the Houston Ballet with that same rank.
After her native Georgia became independent Nina Ananiashvili headed the National Ballet Ensemble of Georgia as an artistic director. Since 2006, she has been appointed as an United Nations National Goodwill Ambassador.
Wednesday, October 26, 2011
Famous Ballerinas of Modern Ballet
Born in 1926 Diana Adams was the favorite of George Balanchine and ruled the stage of the New York City Ballet from 1950 to 1963. She was the leading dancer for NYCB. When Diana retired from the stage, she switched to successful teaching and training young ballerinas and eventually became a dean at the School of American Ballet. She died on January 10, 1993.
Anneli Elisabeth Alhanko Skoglund is one of a few chosen ballerinas in the world with the title Prima Ballerina Assoluta. Alhanko was a dance student at Operabaletten, The Opera Ballet in Stockholm, Sweden. For many years she was the leading ballerina in the Opera Ballet in Stockholm. After retirement from the stage Anneli taught and then became a founder of the elite dance school Base 23 in Stockholm which opened its doors to young ballerinas on January 2010.
Eleonora Abbagnato was born in Palermo, Italy in 1978. When she was only 11 she debuted on Italian live TV program. At age 12 she moved to Monte Carlo, where she studied in the ballet school of Marika Bresobrasova. She went on with ballet training in Cannes and then entered famous ‘Ecole danse in Parisian Opera in 1992. She made an amazing career as she entered corps de ballet of Parisian Opera in 1996, and became a coryphee in 1999 , sujet in 2000 and premiere danseuse in 2001 .
Anneli Elisabeth Alhanko Skoglund is one of a few chosen ballerinas in the world with the title Prima Ballerina Assoluta. Alhanko was a dance student at Operabaletten, The Opera Ballet in Stockholm, Sweden. For many years she was the leading ballerina in the Opera Ballet in Stockholm. After retirement from the stage Anneli taught and then became a founder of the elite dance school Base 23 in Stockholm which opened its doors to young ballerinas on January 2010.
Eleonora Abbagnato was born in Palermo, Italy in 1978. When she was only 11 she debuted on Italian live TV program. At age 12 she moved to Monte Carlo, where she studied in the ballet school of Marika Bresobrasova. She went on with ballet training in Cannes and then entered famous ‘Ecole danse in Parisian Opera in 1992. She made an amazing career as she entered corps de ballet of Parisian Opera in 1996, and became a coryphee in 1999 , sujet in 2000 and premiere danseuse in 2001 .
Monday, September 26, 2011
Russian ballerina Svetlana Adyrkhayeva
The leading Russian ballerina Svetlana Adyrkhayeva was born in 1938 in a small Northern Ossetian city of Khumalg. Svetlana Adyrkhayeva successfully finished Leningrad Choreographic School which later got renamed as the Russian Ballet Academy, in 1955. Her way to Bolshoi Ballet was not easy, she danced for several years on stages of Chelyabinsk and Odessa before she was invited to Bolshoi Theater in 1960.
This is when Svetlana got her chance to shine. She was soloist and leading ballerina until 1988. Adyrkhayeva got very complex dramatic roles and made them her own. But Adyrkhayeva not only danced, she also became a russian balletmaster in 1980. She taught classical dance at Choreographic Academy until she returned back to Bolshoi Theater where she currently works as a Balletmaster-Repetiteur.
This is when Svetlana got her chance to shine. She was soloist and leading ballerina until 1988. Adyrkhayeva got very complex dramatic roles and made them her own. But Adyrkhayeva not only danced, she also became a russian balletmaster in 1980. She taught classical dance at Choreographic Academy until she returned back to Bolshoi Theater where she currently works as a Balletmaster-Repetiteur.
Tuesday, August 16, 2011
First in history
For example: in an entrechat-quatre starting from fifth position, right foot front, the dancer will jump crossing legs and beating first the right heel on the back of the left heel, then at the front of the left heel, landing in the same starting position.
Young ballerina who performed first in history of ballet entrechat quatre was magnificent dancer Marie Camargo. She performed it during her debut at the Paris Opera with the ballet Les Caracteres de la Danse in 1726. It brought Marie Camargo fame and fortune. And, no doubt she deserved it: after all at those times the standard women’s ballet shoes looked differently. These were not ballet slippers or pointe shoes as we know them. Ballerinas danced in the conventional shoes that had heels!
Young ballerina who performed first in history of ballet entrechat quatre was magnificent dancer Marie Camargo. She performed it during her debut at the Paris Opera with the ballet Les Caracteres de la Danse in 1726. It brought Marie Camargo fame and fortune. And, no doubt she deserved it: after all at those times the standard women’s ballet shoes looked differently. These were not ballet slippers or pointe shoes as we know them. Ballerinas danced in the conventional shoes that had heels!
Sunday, July 10, 2011
There are two classes of entrechats
It is impossible to imagine modern or classical ballet dance without entrechat. So what is entrechat in ballet moves, anyways? Basically, it is a step of beating in which a ballet dancer jumps into the air and rapidly crosses the legs before and behind each other. The dancer usually jumps from the fifth position and lands back in the fifth position. We count entrechats moves from two to ten according to the number of crossings required and counting each crossing as two movements, one by each leg. For example, in an entrechat quatre each leg makes two distinct movements.
There are two classes of entrechats in ballet dancing: even-numbered and odd-numbered. The even-numbered entrechats, or those which land on two feet: deux, quatre, six, huit and dix (2,4,6,8,10). The odd-numbered entrechats, or those which land on one foot: trois, cinq, sept and neuf (3,5,7,9).
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There are two classes of entrechats in ballet dancing: even-numbered and odd-numbered. The even-numbered entrechats, or those which land on two feet: deux, quatre, six, huit and dix (2,4,6,8,10). The odd-numbered entrechats, or those which land on one foot: trois, cinq, sept and neuf (3,5,7,9).
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Friday, June 10, 2011
In any ballet studio
In any ballet studio we observer horizontal bars, approximately waist height, and wooden bars mounted along the walls. They are very important for ballet exercises and for developing dance techniques. In fact, every ballet training class for young and mature ballerinas start with basic barre ballet positions. These warm up exercises are very important for dancers as they relax ballerinas muscles. And this is just one of the benefits that barre work brings.
Typically, barre exercises make up a significant portion of the beginning ballerinas class. Young dancers who have just joined ballet studio may find barre exercises boring at first because they are slow and repetitive. Yet, soon enough, they learn to depend upon them.
Overall, barre exercises are extremely important in all levels of ballet training. They gradually build strength while teaching the body correct placement. Beginning pointe dancers will find them extremely useful too, as their ankles may not be strong enough to support them in the center. Barre work also prepares ballerinas for partnering, with the barre providing support that a partner would offer later, during actual partnering.
Typically, barre exercises make up a significant portion of the beginning ballerinas class. Young dancers who have just joined ballet studio may find barre exercises boring at first because they are slow and repetitive. Yet, soon enough, they learn to depend upon them.
Overall, barre exercises are extremely important in all levels of ballet training. They gradually build strength while teaching the body correct placement. Beginning pointe dancers will find them extremely useful too, as their ankles may not be strong enough to support them in the center. Barre work also prepares ballerinas for partnering, with the barre providing support that a partner would offer later, during actual partnering.
Friday, May 20, 2011
Famous ballet clothing
Romantic Tutu is probably the most famous of all ballet clothing. Specialists say that Marie Taglioni, famous ballet dancer of Romantic ballet era invented it and popularized it among European ballet dancers. This bell shaped tulle skirt is free flowing and emphasizes lightness and ethereal quality of the romantic ballets. The length varies between the knee and the ankle.
The last type of a tutu has an interesting origin. Father of American ballet and famous ballet master George Balanchine often choreographed ballets with a large assembly of dancers on stage. This led to an unusual problem with the traditional pancake tutus - ballerinas skirts often brushed against each other.
In 1950 famous designer Karinska that costumed Ballanchine’s ballets solved this problem. She invented so-called powder puff tutu that had looser appearance than a stiff pancake tutu. Her newly designed tutu was self supporting and did not require the wired hoop anymore.
The last type of a tutu has an interesting origin. Father of American ballet and famous ballet master George Balanchine often choreographed ballets with a large assembly of dancers on stage. This led to an unusual problem with the traditional pancake tutus - ballerinas skirts often brushed against each other.
In 1950 famous designer Karinska that costumed Ballanchine’s ballets solved this problem. She invented so-called powder puff tutu that had looser appearance than a stiff pancake tutu. Her newly designed tutu was self supporting and did not require the wired hoop anymore.
Tuesday, April 26, 2011
4 major types of tutus
One can not confuse a ballet tutu with any other female skirt. Designers use various materials to create tutus, the most traditional among them are tulle, voile, muslin and nylon.
It’s been a couple of centuries since female ballet dancers started using tutus during ballet performance. To an untrained eye they all look the same, but balletomanes know that it is not true. In the modern ballet there are 4 major types of tutus worn for ballet dancing. Two of them are classical with the difference in shape (bell or pancake). And the other too are romantic tutu and Balanchine-Karinska tutu.
Classical tutus of both types extend outwards from the hips. They are made with layers of netting and have fitted bodice. The main difference between them is that the tutu shaped as a bell does not use a wired hoop while the pancake tutu uses one that keeps the layers flat and stiff.
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It’s been a couple of centuries since female ballet dancers started using tutus during ballet performance. To an untrained eye they all look the same, but balletomanes know that it is not true. In the modern ballet there are 4 major types of tutus worn for ballet dancing. Two of them are classical with the difference in shape (bell or pancake). And the other too are romantic tutu and Balanchine-Karinska tutu.
Classical tutus of both types extend outwards from the hips. They are made with layers of netting and have fitted bodice. The main difference between them is that the tutu shaped as a bell does not use a wired hoop while the pancake tutu uses one that keeps the layers flat and stiff.
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Monday, March 28, 2011
A simple idea
It seemed such a simple idea to create special shoes for ballet dancing that would be lightweight and give the appearance of dancing barefoot. However, it took centuries to implement the whole concept before ballet slippers (or ballet shoes) began to look the way we know it now.
Ballet slippers usually come in four colors: pink, black, gray or white and made from satin, canvas or leather with flexible thin soles. People who just start to learn about the ballet dancing usually confuse them with pointe shoes, which have their own place in the history of ballet as we know it.
Male ballet dancers almost always wear ballet shoes, which is understandable, because they practically don’t dance en pointe. Young ballerinas always start with ballet slippers as their young bones and muscles are not strong enough for more for more sophisticated type of footware. It takes them not less than five years and lot of training before they can wear both types.
Ballet slippers usually come in four colors: pink, black, gray or white and made from satin, canvas or leather with flexible thin soles. People who just start to learn about the ballet dancing usually confuse them with pointe shoes, which have their own place in the history of ballet as we know it.
Male ballet dancers almost always wear ballet shoes, which is understandable, because they practically don’t dance en pointe. Young ballerinas always start with ballet slippers as their young bones and muscles are not strong enough for more for more sophisticated type of footware. It takes them not less than five years and lot of training before they can wear both types.
Tuesday, February 8, 2011
32 fouettes en tournant
The highest rank that ever existed in ballet is Prima Ballerina Assoluta. It is rarely bestowed on the best of the best ballerinas for their exceptional talents and mastership. The rank itself was invented by famous French balletmaster Marius Petipa who headed for many years Russian Imperial Ballet. The idea came to Petipa when he studied the history of the early Romantic Ballet. So, he became the official father of this title when he awarded it to the famous Italian ballerina Pierina Legnani whom he considered a supreme danseuse of all Europe.
Legnani went through extensive training at famous La Scala where she developed her technical expertise. At the time when Petita awarded her with the title, Pierina was also performing on the stage of St Petersburg Imperial Ballet. She was the first Ballerina in the world to perform outstanding 32 fouettés en tournant during the performance of the ballet Cinderella.
Although Legnani danced only for 8 years at the Imperial Ballet, she left deep impression on the contemporaries who witnessed her strength, stamina, and technique. Even today 32 fouettes en tournant is still considered a very difficult step to do.
Legnani went through extensive training at famous La Scala where she developed her technical expertise. At the time when Petita awarded her with the title, Pierina was also performing on the stage of St Petersburg Imperial Ballet. She was the first Ballerina in the world to perform outstanding 32 fouettés en tournant during the performance of the ballet Cinderella.
Although Legnani danced only for 8 years at the Imperial Ballet, she left deep impression on the contemporaries who witnessed her strength, stamina, and technique. Even today 32 fouettes en tournant is still considered a very difficult step to do.
Sunday, January 2, 2011
Legendary ballet moves
Olga was also lucky that she managed to emigrate from Bolshevik Russia in 1921 and bring her talents of a ballet dancer and teacher to the West. For the next two years she taught in Milan, London, Buenos Aires and Berlin and, finally moved to France. In Paris Preobrajenska opened her famous ballet school that was thought to be one of the best in the world. It existed practically till the death of its owner and closed its doors in 1960.
During the life of the ballet school practically any major ballet dancer of the times visited Preobrajenska to learn her legendary ballet moves. Among her students were Fonteyn, Baranova, Toumanova and others. Olga did not live long after her retirement in 1960. She passed away in 1960 when she was 91 years old.
During the life of the ballet school practically any major ballet dancer of the times visited Preobrajenska to learn her legendary ballet moves. Among her students were Fonteyn, Baranova, Toumanova and others. Olga did not live long after her retirement in 1960. She passed away in 1960 when she was 91 years old.
Thursday, December 9, 2010
Famous for improvisation and creativity
Famous prima ballerina Olga Preobrajenska was one of the most popular dancers in Russian Imperial Ballet. She earned her title in 1900, right in the beginning of the 20th century. Her performance was famous for its improvisation and creativity, thus Olga was praized and loved by the audience and the critics.
Preobrajenska was lucky to have great teachers right when she was just started her dancing career. She was trained by world class ballet dancers like Maurice Petipa, Nicholas Legat, Christian Johansson and others whose names had already been engraved in the history of the 19th century classical ballet.
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Preobrajenska was lucky to have great teachers right when she was just started her dancing career. She was trained by world class ballet dancers like Maurice Petipa, Nicholas Legat, Christian Johansson and others whose names had already been engraved in the history of the 19th century classical ballet.
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Tuesday, November 9, 2010
Patrons of the Renaissance art and culture
Female dancers of those times were not supposed to show their legs or even ankles to the public. All ballet dancers used masks without showing their faces to the public. Their artistic expression was supposed to agitate and excite the audience to such degree that it would join the participants in the end of their performance.
Ballo got big exposure when future French king Henry the Second married Catherine Medici who was surrounded by the patrons of the Renaissance art and culture since her birth. New bride replaced old Medieval dances with vivacious and extravagant dances of her native Italy. Ballo instantly became fashionable, and first famous ballet dancers became recognizable figures at the French court.
Ballo got big exposure when future French king Henry the Second married Catherine Medici who was surrounded by the patrons of the Renaissance art and culture since her birth. New bride replaced old Medieval dances with vivacious and extravagant dances of her native Italy. Ballo instantly became fashionable, and first famous ballet dancers became recognizable figures at the French court.
Sunday, August 15, 2010
Invention of the ballet
The majority of general public does not really know that ballet was not the invention of the French or Russian dancers but appeared much earlier. In fact, all ballet specialists conclude, that first ballet originated in Italy in the times of Renaissance. Naturally, ballet slippers, tutus or complex ballet positions and moves had not been invented yet.
First ballet or “ballo” as it was called in Italy, was the dancing performance designated for special occasions. It was not the entertainment of poor people, of course, it was the privilege of aristocrats. Only the highest nobility could organize ballo for lavish court pageantry, big weddings, or festivals.
All Renaissance ballet dancers - ballerinas - dressed according to the fashions of the times. But the choreography gradually was getting more complex - from simple dances to all kind of adaptations of court dance steps. This probably allowed the evolution of the ballo into more sophisticated type of dance in the end.
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First ballet or “ballo” as it was called in Italy, was the dancing performance designated for special occasions. It was not the entertainment of poor people, of course, it was the privilege of aristocrats. Only the highest nobility could organize ballo for lavish court pageantry, big weddings, or festivals.
All Renaissance ballet dancers - ballerinas - dressed according to the fashions of the times. But the choreography gradually was getting more complex - from simple dances to all kind of adaptations of court dance steps. This probably allowed the evolution of the ballo into more sophisticated type of dance in the end.
Read more ...
Thursday, July 8, 2010
The First Ballet Master Gaetan Vestris
In the middle of 18th century nobody could compete with his popularity as well as with his ego. His contemporaries claimed that not once Gaetan would say that his was one of three greatest men in Europe, comparing himself to the king of Prussia and Voltaire.
Gaetan Vestris was also lucky in marriage. He married German actress Anna Heinel and who had a brilliant career as a opera singer of European prominence. His children followed his steps. For example, his illegitimate son Auguste Vestris was the leading dancer of French Opera for 36 years.
As the years rolled by he became the First Ballet master and was also composing ballets but, eventually retired in 1776 and died quietly in 1808. Another great ballet master Jean Georges Noverre took his place and worked on creating famous ballet d’action.
Gaetan Vestris was also lucky in marriage. He married German actress Anna Heinel and who had a brilliant career as a opera singer of European prominence. His children followed his steps. For example, his illegitimate son Auguste Vestris was the leading dancer of French Opera for 36 years.
As the years rolled by he became the First Ballet master and was also composing ballets but, eventually retired in 1776 and died quietly in 1808. Another great ballet master Jean Georges Noverre took his place and worked on creating famous ballet d’action.
Wednesday, June 9, 2010
Favorite dancer of the French royal family
In 1729 when a boy was born in the popular theatrical family in Florence. They named him Gaetano Appolino Baldassare Vestris. Nobody in the family could even dream that one day this boy would become the most famous French male ballet dancers of the 18th century. However, even as a teenager Gaetano Vestris showed so many talents in ballet that he got a chance to study dance at the Royal Academy in Paris. There he shortened his Italian name to Gaetan Vestris.
His dancing debut took place when he was only some twenty years old at the famous Paris Opera. Soon Gaetan Vestris became the favorite dancer of the French royal family and went up the career ladder even further. He was promoted to the title of the king’s dancing master and was teaching his technique to Louis XVI.
Gaetan Vestris entered the history of ballet not only because of his excellent dancing abilities. He was also the first ballet dancer who discarded the mask that traditionally was worn by European dancers. After he removed the mask he made another historical innovation - Vestris started using his face in mime and succeeded in it as he was not only great dancer but an excellent mimic as well.
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His dancing debut took place when he was only some twenty years old at the famous Paris Opera. Soon Gaetan Vestris became the favorite dancer of the French royal family and went up the career ladder even further. He was promoted to the title of the king’s dancing master and was teaching his technique to Louis XVI.
Gaetan Vestris entered the history of ballet not only because of his excellent dancing abilities. He was also the first ballet dancer who discarded the mask that traditionally was worn by European dancers. After he removed the mask he made another historical innovation - Vestris started using his face in mime and succeeded in it as he was not only great dancer but an excellent mimic as well.
Read more ...
Thursday, May 13, 2010
Amazing career of a ballet dancer
His mentors and teachers that helped him start his amazing career of a dancer were also the best that Russian ballet could offer. Gerdt’s first teacher was Alexander Pimenov who himself was a student of the Father of Russian ballet - Charles Didelot. His next teacher was Jean Petipa, famous ballet dancer, father of probably the second person of importance after Didelot for Russian ballet - Marius Petipa. Old Jean in his youth underwent extensive training by the giant of the French ballet Auguste Vestris.
Paul Gerdt was quite an eccentric, nobody at the theater knew how old he was. When asked, he would give one and the same response, claiming that he was 23 years old. He excelled not only in dancing but in teaching as well. He left after himself the whole brilliant team of students among which there were Anna Pavlova, George Balanchine, Michel Fokin, Tamara Karsavina and Vaslav Nijinsky. It is interesting to note that Michel Fokin trained Gerdt’s daughter - great ballerina Elizaveta Gerdt. And Vaslav Nijinsky was Elizaveta’s partner in ballet dancing.
Paul Gerdt was quite an eccentric, nobody at the theater knew how old he was. When asked, he would give one and the same response, claiming that he was 23 years old. He excelled not only in dancing but in teaching as well. He left after himself the whole brilliant team of students among which there were Anna Pavlova, George Balanchine, Michel Fokin, Tamara Karsavina and Vaslav Nijinsky. It is interesting to note that Michel Fokin trained Gerdt’s daughter - great ballerina Elizaveta Gerdt. And Vaslav Nijinsky was Elizaveta’s partner in ballet dancing.
Thursday, April 1, 2010
Blue Cavalier
If you could ask any Russian ballet fan of the 19th who is his favorite male ballet dancer, there would come up only one name - Paul Gerdt. He spent fifty six years on the ballet stage and performed in the roles of nearly every lead male character of famous Russian ballets. For his extraordinary ballet technique and dancing Paul Gerdt received the mot prestigious title of the Premier Danseur of all three significant theaters in the tsarist Russia: the Imperial Ballet, The Bolshoy Kammeny Theater and Mariinsky Theater.
Gerdt had the unusual longevity for any male ballet dancer: he was born in 1844, started performing very young and retired one year before his death in 1917. Public loved and worshiped him. In addition, to his brilliant career and titles, audience nicknamed him Blue Cavalier. Admiring public also awarded him with another title: the Prince of Saint Petersburg stage. This was true enough because Paul Gerdt was the first to dance Prince Siegfried in Swan Lake, Prince Desire in Sleeping Beauty, and Prince Coqueluche in The Nutcracker.
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Gerdt had the unusual longevity for any male ballet dancer: he was born in 1844, started performing very young and retired one year before his death in 1917. Public loved and worshiped him. In addition, to his brilliant career and titles, audience nicknamed him Blue Cavalier. Admiring public also awarded him with another title: the Prince of Saint Petersburg stage. This was true enough because Paul Gerdt was the first to dance Prince Siegfried in Swan Lake, Prince Desire in Sleeping Beauty, and Prince Coqueluche in The Nutcracker.
Read more ...
Wednesday, March 3, 2010
Her pirouettes were astounding
These dangerous competitions led to dueling during which several of them were killed. Among those who died for Avdotia Istomina was influential young Count Sheremetev. Even Russian famous playwright and diplomat Alexander Griboedov was shot through the palm during one of those dangerous competitions.
The contemporaries describe her as a medium built, well-shaped brunette. She had black, fiery eyes veiled by long eye-lashes, great strength in her feet, aplomb on the stage, and together with that, grace. Lightness and speed in movements; her pirouettes and her elevation were astounding.
She was on the peak of her fame when suddenly famous Didelot left the theatre after a conflict with theater administration in 1829. It all went down the hill after Father of Russian ballet left. Many romantic leading roles were taken away from Istomina and she played older characters on stage as the years rolled by. Her salary was lowered twice and in the end she requested her retirement from ballet and it was officially given to her by the emperor Nicholai I. Her days ended in relative obscurity in 1848.
The contemporaries describe her as a medium built, well-shaped brunette. She had black, fiery eyes veiled by long eye-lashes, great strength in her feet, aplomb on the stage, and together with that, grace. Lightness and speed in movements; her pirouettes and her elevation were astounding.
She was on the peak of her fame when suddenly famous Didelot left the theatre after a conflict with theater administration in 1829. It all went down the hill after Father of Russian ballet left. Many romantic leading roles were taken away from Istomina and she played older characters on stage as the years rolled by. Her salary was lowered twice and in the end she requested her retirement from ballet and it was officially given to her by the emperor Nicholai I. Her days ended in relative obscurity in 1848.
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